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Guide To Excerpts and Annotated Bibliography on Print Sources on Diego Rivera’s
Pan American Unity, at Rosenberg Library, City College of San Francisco, for
English 93 Students. (Second Draft, July 2012) By Jeffrey Goldthorpe
Table of Contents
Introduction: Toward a User-Friendly Bibliography
Part A- Annotated Guide to Excerpts from Print Sources on Diego Rivera’s Pan
American Unity (PAU), Subdivided by Panels and Themes
A-1 Excerpts on PAU Panel 1
A-2 Excerpts on PAU Panel 2 (top)
A-3 Excerpts on PAU Panel 2 (bottom)
A-4 Excerpts on PAU Panel 3
A-5 Excerpts on PAU Panel 4 (top)
A-6 Excerpts on PAU Panel 4 (bottom)
A-7 Excerpts on PAU Panel 5
A-8 Excerpts Related To Political Themes
A-9 Excerpts Related To Golden Gate International Exposition
A-10 Excerpts Related To Visual Analysis of Mural
A-11 Excerpts Related To Criticism/ Interpretation of Pan American Unity
Part B- Annotated Bibliography on Whole Sources at Rosenberg Library (MLA
style)
Arranged alphabetically by author’s last name or title
Part C- Other Library Sources Related to PAU
C-1 Selected Biographies of Diego Rivera at Rosenberg Library
C-2 Binders at East Reference Desk
Introduction: Toward a User-Friendly Bibliography
Dedication: This Guide To Excerpts and Annotated Bibliography was begun in the Latin
American and Latino/a Studies class LALS 14 (Diego Rivera: Art and Social Change),
taught by Professor Greg Landau. I want to dedicate this bibliography to Professor
Landau, who was always supportive and open-minded, and to the enthusiastic and
inspired scholars of the Pan American Unity mural, Julia Bergman and Will Maynez.
The Guide To Excerpts is arranged by common essay topics in English 93 essays in my
classes, so that students can easily decide which print sources they want to retrieve from
Rosenberg Library.
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Reading entries in “Guide to Excerpts”. Within the Guide, entries are ordered in normal
MLA style: alphabetical order by last name of author, or if no author, then by first letter
of the title.
Second is a few words of the title, such as “Three San Francisco Murals…” The full title
is listed in the Annotated Bibliography.
Third is the page numbers of the excerpt, for example: pp. 14-17.
Fourth is a description of the excerpt as “Introductory,” (usually a direct comment on the
PAU mural) or as “In depth,” (usually a comment on related issues beyond the mural.
Fifth is an annotation that summarizes or evaluates related to the English 93 assignment
in my class.
This may not be helpful to a student who is in another class or has other purposes. The
Pan American Unity mural will be abbreviated as “PAU.” The full publication
information (and library call number) can be located in the entry in Annotated
Bibliography.
An example or an entry from Guide to Excerpts:
Brown, Betty Ann. “The Past Idealized…” pp. 139-140. In-depth.
Criticism of Rivera’s idealizing and his inaccuracies about Aztecs, balanced by an
appreciation for his popularizing of destroyed cultures.
Notice what is different about an entry in the Annotated Bibliography:
Brown, Betty Ann. “The Past Idealized: Diego Rivera’s Use of Pre-Columbian Imagery”
Diego Rivera: A Retrospective. Ed. Cynthia Newman Helms. Minneapolis: Lerner
Publications. 1996. 139-155. This is an analysis and evaluation on Rivera’s general
use and ideas about representing Pre-Spanish Conquest imagery in his murals. It
includes balanced criticism of Rivera’s historical inaccuracies, while crediting him
with popularizing representations of cultures previously destroyed and ignored. Very
challenging reading. Academic style. Illustrations, some in color.
Call # ND 259 .R5 A42 1986.
Reading entries in Annotated Bibliography: This kind of entry begins with the author’s
last name, the title (here an essay within a larger anthology) and so on, following the
MLA style of “Works Cited,” followed by an annotation about the whole essay, or whole
book. At the end of this annotation, are other important notations that are not following
the MLA standard.
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First there is a notation about reading difficulty for English 93 students: either “Easy
reading,” “Somewhat challenging reading,” or “Very challenging reading.”
Second is a notation about writing style, either academic, popular, or journalistic style.
Third is about amount, and quality of illustrations, and whether they are in color.
Fourth, there might be a notation that a copy is On Reserve or only in the Diego Rivera
Archive. This information may be incomplete, and may change from one semester to
another, based on what materials instructors put On Reserve.
Fifth, there is the library call number, which will help you locate the book in the library.
Flexibility Needed- Because a reading is listed here, does not mean it will be available to
you. You may need the help of a librarian to find it, or to ask other English 93 students if
they have it. You may need to check out or read another source that seems second best
instead of your favorite. When you do find your source in the stacks, think of the other
students—consider reading the source and taking notes on it at a library desk, rather than
taking it home. If you check out the source, please return it promptly.
Other Locations- Some sources are available in other places than the library stacks. The
most important place to check is behind the library check-out counter with materials
placed “On Reserve” by instructors. They can be loaned out for 2 hours or 2 days at a
time, depending on the instructor. Entries in Part B do note that some of these works are
On Reserve, but those listings may not be complete, and they can change from one
semester to another.
Diego Rivera Archive --Also, many of these print sources are in the Diego Rivera
Archive, (also known as the Posner Room), on the 5th floor of the library, but those
cannot be checked out. You can make an arranged visit to the Archive, and can take
notes on the source at a table or a computer in the Archive. You can also talk with the
librarian on duty there.
Limitations—Remember, these are only print sources, primarily books, and only those in
the Rosenberg Library at CCSF. It does not include many periodical sources, or
Reference Book sources. It does not include any on-line sources. An easy way to find on
line sources is to access the bibliography in CCSF’s Diego Rivera Project Website, which
includes hyperlinks to many other websites related to Rivera. It also does not include
videos about Rivera, which City College Audio-Visual office in Rosenberg Library has
several of (my students should check a list of videos in their Course Readers).
Improving This Bibliography—These documents have recently been created to help
students search for materials. It will have flaws and mistakes. Please explain the
problems you see to Jeff Goldthorpe through your course Insight page, or by e-mail at
[email protected]. Thank you for your assistance!
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Section A- Annotated Guide To Excerpts, Subdivided by Panels and Themes
A-1 Excerpts Related To Panel 1
Barden, Merrill E. “Understanding The Evolution…” pp. 14-17. Introductory.
Panel 1 of PAU is described and interpreted.
Braun, Barbara. Pre-Columbian… p. 186. In-depth.
Rivera’s general interest in Pre-Conquest civilizations.
Braun, Barbara. Pre-Columbian… pp. 241-242. In-depth.
A balanced appreciation of Rivera’s “packaging” of Pre-Columbian art.
Brown, Betty Ann. “The Past Idealized…” pp. 139-140. In-depth.
Rivera’s general interest in Pre-Conquest civilizations. Also includes criticisms of
Rivera’s idealizing and inaccuracies about Aztecs, balanced by author’s appreciation for
his popularizing of destroyed cultures.
Craven, David. Diego Rivera As Epic… pp. 113-115. In-Depth.
A defense of Rivera against the “idealizing Aztecs” criticism by interpreting some of the
National Palace murals.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 88-92. Introductory.
Panel 1 of PAU is described carefully, compared to panel 5 (her numbering different).
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 103-104. In-depth.
Compares PAU Panel 1 theme of Pre-Conquest Mexico to Rivera’s earlier murals on the
same theme.
Goldstein, Ernest. The Journey… pp. 20-21. In-depth.
Rivera’s discovery of Pre-conquest artifacts and the impact this discovery had on his art.
Hamill, Pete. Diego Rivera. pp. 81-84 and pp. 87-90. In-depth.
How the painter was introduced to issues of Mexican history and national identity in the
early twenties, resulting in his great murals in the Ministry of Education building.
Kettenmann, Andrea. Diego Rivera, 1886-1957… pp. 22-43. In-depth.
Explains how Mexican muralists understood Pre-conquest Mexican history.
Rodriguez-Prampolini, Ida. “Rivera’s Concept of History.” P. 131. In-depth.
Quetzalcoatl, a symbol of myth and magic, painted on the National Palace murals ,and
how it relates to Marx’s theory of class struggle, also referred to in the mural.
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Wolfe, Bertram D. The Fabulous Life… p. 131-133. In-depth.
Political background on how the Mexican government encouraged Diego Rivera and
other muralists to learn about Pre-Conquest Mexico to do educational public murals.
Wolfe, Bertram D. The Fabulous Life… p.147-149. In-depth.
Rivera’s idealization of Aztec society and its importance to his painting,
Wolfe, Bertram D. The Fabulous Life… p. 261-262. In-depth.
How Rivera thought about painting past and present Mexico in National Palace murals.
Wolfe, Bertram D. The Fabulous Life… p. 426-428. In-depth.
General interpretation of Rivera’s inspired idealization of past societies, related to his
enthusiasm for modern political causes.
Zakheim, Masha. “Pan American Unity: A Fresco…” p. 8, Introductory.
Panel 1 of PAU is described carefully, with a little interpretation(in Course Reader).
A-2 Excerpts Related To Panel 2 (upper)
Barden, Merrill E. “Understanding The Evolution…” pp. 17-19. Introductory.
Panel 2 of PAU is described and interpreted.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 95-96. Introductory.
Panel 2 of PAU is described carefully, compared to panel 4. (different numbering)
Goldstein, Ernest. The Journey… pp. 53-55. In-depth.
Rivera’s use of the Quetzalcoatl figures in his National Palace murals.
Kettenmann, Andrea. Diego Rivera, 1886-1957… pp. 45-55. In-depth.
Summarizes Rivera’s work and travel in the USA, relevant to scene in panel of American
city.
Reinhardt, Richard. Treasure Island: San Francisco’s Exposition Years. pp. 11-40. In
Depth. Historical background about the Bay Area of the 1930’s, the building of the
Golden Gate and Oakland Bay Bridges, the building of Treasure Island at the time as the
locale of the GGIE, in order to celebrate the construction of these two bridges.
Rodriguez-Prampolini, Ida. “Rivera’s Concept of History.” P. 131. In-depth.
Rivera’s use of Quetzalcoatl on the National Palace murals.
Wolfe, Bertram D. The Fabulous Life… pp. 276-277. In depth.
Rivera’s enthusiasm for American cities and industry.
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Wolfe, Bertram D. The Fabulous Life… p.289-290. In-depth.
Rivera’s warm response to San Francisco’s people, culture, and environment.
Zakheim, Masha. “Pan American Unity: A Fresco…” pp. 8-9 Introductory,
Panel 2 is described carefully, with limited interpretation(in Course Reader).
A-3 Excerpts Related To Panel 2 (lower)
Barden, Merrill E. “Understanding The Evolution…” pp. 17-19. Introductory.
Panel 2 of PAU is described and interpreted.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 92-93. Introductory.
Describes lower panel 2 (different panel numbers) and compares to lower panel 4.
Goldstein, Ernest. The Journey… pp. 24-29. In-depth.
Rivera’s appreciation for traditional Mexican crafts.
Goldstein, Ernest. The Journey… pp. 75-81. In-depth.
In relation to heroes in lower panel 2, see chapter on portraits, especially his contrast of
Lincoln to John Brown (p. 78) in an earlier New York mural.
Zakheim, Masha. “Pan American Unity: A Fresco…” pp. 8-9 Introductory,
Panel 2 is described carefully, with limited interpretation(in Course Reader)..
A-4 Excerpts Related To Panel 3
Barden, Merrill E. “Understanding The Evolution…” pp. 24-26. Introductory.
Panel 3 of PAU is described and interpreted.
Barden, Merrill E. “Understanding The Evolution…” pp. 48-51. In-depth.
Panel 3 is interpreted as an overview and synthesis of the entire PAU mural.
Braun, Barbara. Pre-Columbian… pp. 215-223. In-depth.
Rivera combined celebration of technology with Aztec idea of unity of life and death. In
PAU and Detroit Industry, Aztec goddess Coatlicue’s terrifying powers are identified
with the powers of modern technology.
Braun, Barbara. Pre-Columbian… pp. 224-226. In-depth.
More specifically: Rivera’s life/death mask in PAU is borrowed from Aztec sources.
Brown, Betty Ann. “The Past Idealized…” pp. 142-143. In-depth.
Comment on Coatlicue in PAU and Detroit murals.
Brown, Betty Ann. “The Past Idealized…” pp. 152-154. In-depth.
Comment on “final images of life and death” in Rivera’s murals.
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Downs, Linda Bank. Diego Rivera: The Detroit… p. 166. In-depth.
Comments on Coatlicue and machine in a larger chapter on that topic.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 97-99. Introductory.
Panel 3 is described carefully (with different panel numbering).
Rivera, Diego. Diego Rivera: The Story of… pp. 150-153. In depth.
Rivera’s own overview and interpretation of the PAU mural. (in Course Reader).
Rivera, Diego. My Art,… pp. 151-153. Introductory
Artist talking about unity of art and industry.
Wolfe, Bertram D. The Fabulous Life… pp. 295-296. In Depth.
Rivera’s statement about genuine and false American art, written in early thirties, but
relevant to PAU.
Wolfe, Bertram D. The Fabulous Life… pp. 430-432. In Depth.
General interpretation of Rivera’s ideas and inspiration, relevant to PAU.
Wolfe, Bertram D. The Fabulous Life… pp. 306-307. In Depth.
Rivera ‘s exploration of Detroit’s factories in the thirties moved him as an artist to new
ways of representing industrial machines in painting.
Zakheim, Masha. “Pan American Unity: A Fresco…” pp. 9-10 Introductory,
Panel 3 is described carefully, with limited interpretation (in Course Reader)..
A-5 Excerpts Related To Panel 4 (upper)
Barden, Merrill E. “Understanding The Evolution…” pp. 19-22. Introductory.
Panel 4 of PAU is described and interpreted.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 95-96. Introductory.
Panel 4 of PAU is described carefully, compared to panel 2. (different numbering)
Kettenmann, Andrea. Diego Rivera, 1886-1957… pp. 45-55. In-depth.
Summarizes Rivera’s work and travel in the USA, relevant to scene in panel of American
city.
Reinhardt, Richard. Treasure Island: San Francisco’s Exposition Years. Pp. 11-40. Indepth. Historical background about the Bay Area of the 1930’s, the building of the
Golden Gate and Oakland Bay Bridges, the building of Treasure Island at the time as the
locale of the GGIE, in order to celebrate the construction of these two bridges.
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Wolfe, Bertram D. The Fabulous Life… p. 289-290. In-depth.
Rivera’s warm response to San Francisco’s people, culture, and environment.
Wolfe, Bertram D. The Fabulous Life… p. 276-279. In-depth.
Rivera’s enthusiasm for modern urban industrial life in the U.S.
Zakheim, Masha. “Pan American Unity: A Fresco…” pp. 11-12 Introductory,
Panel 4 is described carefully, with limited interpretation(in Course Reader).
A-6 Excerpts Related To Panel 4 (lower)
Barden, Merrill E. “Understanding The Evolution…” pp. 19-22. Introductory.
Panel 4 of PAU is described and interpreted.
Birdwell, Michael. Celluloid Soldiers… No pages selected. In Depth. It gives specific
coverage related to Confessions of a Nazi Spy, which is one of the movies Rivera
illustrated in Panel 4 of PAU. The book also covers other anti-Nazi movies of the
Warner Brothers studios, and how Nazism looked less threatening to Americans in the
thirties than it seems today.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” p. 93-95. Introductory.
Lower panel 4 described, compared to lower panel 2 (different panel numbering).
Goldstein, Ernest. The Journey… pp. 70-73. In-depth.
Comment on Picasso’s Guernica is of interest to those studying Panel 4. See Zakheim
entry in this section below.
Hamill, Pete. Diego Rivera. pp.188-195. In-depth.
Relation of Rivera to political intrigue involving Stalin, Trotsky, and Hitler in 1939-1940.
McDonald, Gerald, Michael Conway, Mark Ricci. The Films of Charlie Chaplin pp.
204-210. In-depth.
Detailed description of The Great Dictator with several still photographs from movie.
Rivera, Diego. “I Am Not A Communist.” Pp. 1-2. In-depth.
Rivera’s political views at the time he was painting PAU (in Course Reader).
Scheide, Frank and Mehran, Hooman. Chaplin: The Dictator And The Tramp. No page
references. In Depth. This collection focuses on Chaplin’s 1940 film satire about Adolf
Hitler. Several scenes from The Great Dictator are included in Panel 4 of the PAU.
Wolfe, Bertram D. The Fabulous Life… pp. 237-239. In-depth.
Rivera’s early involvement with Trotskyism, and then Trotsky himself, in opposition to
Stalin’s communism in the thirties.
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Wolfe, Bertram D. The Fabulous Life… p.265-266. In-depth.
How Rivera incorporated his Marxist political ideas into his history of Mexico at the
National Palace murals. Relevant to panel 4.
Zakheim, Masha. “Pan American Unity: A Fresco…” pp. 11-12. Introductory,
Panel 4 is described carefully. Notice comment on p. 12 about Guernica reference(in
Course Reader).
A-7 Excerpts Related To Panel 5
Azuela, Alicia. “Rivera and The Concept…” pp. 125-130. In depth.
Analyzes Rivera’s murals for how issues of capitalism, technology, and Marxism relate.
Barden, Merrill E. “Understanding The Evolution…” pp. 22-24. Introductory.
Panel 5 of PAU is described and interpreted.
Craven, David. Diego Rivera as Epic… pp. 131-138. In-depth.
Explains how different viewers can have, with justice, opposing interpretations of
whether Rivera is praising or criticizing capitalist industrial production.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 90-92. Introductory.
Panel 5 of PAU is described, with a little interpretation. Different panel numbering.
Goldstein, Ernest. The Journey… pp. 50-51. Introductory.
Rivera’s strong interest in American industry and machines.
Hamill, Pete. Diego Rivera. pp.155-162. In-depth.
Relation of Rivera’s love of modern industrial production and labor processes.
Kettenmann, Andrea. Diego Rivera, 1886-1957… pp. 45-55. In-depth.
Summarizes Rivera’s work and travel in the USA, relevant to American industry.
Wolfe, Bertram D. The Fabulous Life… pp. 301. In depth.
Rivera’s Frozen Assets painting criticizing American capitalism.
Wolfe, Bertram D. The Fabulous Life… pp. 306-307. In depth.
Rivera’s enthusiasm for the American auto industry in Detroit in 1932, his close
observation of it, and his inspired painting about it. Look for references to Henry Ford,
who appears in PAU panel 5.
Wolfe, Bertram D. The Fabulous Life… pp. 311-312. In depth.
The divide between what inspired Rivera about American life, and what Americans
thought was proper to show in art.
Wolfe, Bertram D. The Fabulous Life… pp. 314-316. In depth.
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Comments written by a friend of Rivera’s in 1933 about “the poetry of the machine” that
may have influenced his art work.
Wolfe, Bertram D. The Fabulous Life… pp. 364-366. In depth.
Criticism and interpretation of the drab appearance of panel 5 of PAU , in comparison to
beautiful colors and forms of panel 1.
Zakheim, Masha. “Pan American Unity: A Fresco…” pp. 12-13 Introductory,
Panel 5 is described carefully, with limited interpretation (in Course Reader).
A-8 Excerpts Related To Political Themes
Barden, Merrill E. “Understanding The Evolution…” pp. 52-58. In depth.
Barden’s overview on PAU’s meaning, in relations to other Rivera murals, and in
historical context.
Birdwell, Michael. Celluloid Soldiers… No pages selected. In-depth. It gives specific
coverage related to Confessions of a Nazi Spy, which is one of the movies Rivera
illustrated in Panel 4 of PAU. The book also covers other anti-Nazi movies of the
Warner Brothers studios, and how Nazism looked less threatening to Americans in the
thirties than it seems today.
Braun, Barbara. Pre-Columbian… p. 42. In depth.
Background about the U.S. government’s use of the term “Pan American unity” during
the 1930’s and 1940’s.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 63-65. Introductory.
Comparing views of workers in several different Rivera murals.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 76-79. Introductory.
Criticism of PAU from the right (conservative, capitalist).
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” p. 83. Introductory.
Criticism of PAU from the left, quotation from Mexican art critic Antonio Rodriguez.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 83-84. Introductory.
Rivera’s 1953 criticism of his earlier “Trotskyism” after re-joining Communist Party.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” p. 148. Introductory.
Quotation on Rivera’s personality in relation to politics.
Goldstein, Ernest. The Journey… pp. 50-51. Introductory.
Rivera’s communist views, in relation to Stalin, and to capitalist patrons.
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Gonzalez, Robert Alexander. Designing Pan-America. PP. 4-12. In Depth.
Historical background on the idea (not the painting) of Pan American Unity and how it
developed both in Latin America and the United States, specifically on p. 12 under
Franklin Roosevelt, President at the time of the painting of the PAU mural.
Hamill, Pete. Diego Rivera. pp. 90-98. In-depth.
A lively, opinionated account of Rivera’s involvement with Mexican Communist Party
1922-1924.
Hamill, Pete. Diego Rivera. pp. 130-132 and pp. 137-138. In-depth.
Rivera’s 1927 visit to Soviet Russia, how Stalinism affected him, and politics in Mexico
leading to his expulsion in 1929 from the Mexican Communist Party.
Hamill, Pete. Diego Rivera. pp. 162-168. In-depth.
Account of Rivera’s Rockefeller Center murals, which were openly anti-capitalist, and
were torn down by his capitalist patrons.
Hamill, Pete. Diego Rivera. pp. 188-195. In-depth.
Rivera’s sponsorship of Trotsky into Mexico, and his later assassination in Mexico by
Stalinist agents, while Rivera was painting PAU.
Kettenmann, Andrea. Diego Rivera, 1886-1957… pp. 44-55. In-depth.
Explains how Rivera’s communist politics/ art related to rich American art patrons in
some detail.
Platt, Susan. Art and Politics… pp. 99-101. In depth.
Analysis of Rivera’s work in relation to art movement she calls “proletarianism”. She
compares the less confrontational Detroit Industry to more directly Marxist Man At The
Crossroads, and considers Rivera’s effects on American muralists.
Rivera, Diego. “I Am Not A Communist.” Pp/ 1-2. Introductory.
Rivera’s statement about his political beliefs at the time he was painting the PAU mural.
Rodriguez-Prampolini, Ida. “Rivera’s Concept of History.” P. 131. In Depth.
Explores the politics of Rivera’s historically oriented murals.
Scheide, Frank and Mehran, Hooman. Chaplin: The Dictator And The Tramp. No page
references. In Depth. This collection focuses on Chaplin’s 1940 film satire about Adolf
Hitler. Several scenes from The Great Dictator are included in Panel 4 of the PAU.
Wolfe, Bertram D. The Fabulous Life… pp. 384-385, 418-419. In-Depth.
Rivera’s involvement in Mexican Communist Party, and his expulsion in 1929.
Wolfe, Bertram D. The Fabulous Life… pp. 384-385, 418-419. In-Depth.
Interpretation of Rivera’s Marxist politics in relation to his political painting.
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Zakheim, Masha. “Diego Rivera in San…” pp. 1-4 Introductory.
Brief exploration of political issues, and the communist/ capitalist contradictions in
Rivera’s work when he came the USA to paint in the early 1930’s.
A-9 Excerpts Related To Golden Gate International Exposition
Barden, Merrill E. “Understanding The Evolution…” pp. 10-12. Introductory.
Rivera’s connection to GGIE, in a larger section on his activity in the USA.
“Famed Muralist Makes Known…” p. 1. Introductory.
This brief article describes the opening ceremony of the Pan American Unity mural.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” Introductory. pp. 67-84
GGIE as the immediate background of PAU, and the influence of his earlier US visit,
including critics.
Lee, Anthony. Painting On The Left… pp. 184-208. In Depth.
Detailed account of circumstances around GGIE and “Art In Action” Exhibit.
Reinhardt, Richard. Treasure Island: San Francisco’s Exposition Years. In Depth. Pp.
11-40. Historical background about the Bay Area of the 1930’s, the building of the
Golden Gate and Oakland Bay Bridges, the building of Treasure Island at the time as the
locale of the GGIE, in order to celebrate the construction of these two bridges.
Zakheim, Masha. “Pan American Unity: A Fresco…” pp. 2-4. Introductory.
A brief history of the GGIE and origins of the PAU mural (in Course Reader).
A-10 Excerpts Related To Visual Analysis of Mural
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 99-101. Introductory.
Great explanation of balanced design in PAU.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 99-102. In Depth.
Analysis of design, concept, contrasting colors.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 105. In Depth.
Author summarizes her analysis of PAU.
Goldstein, Ernest. The Journey… pp. 60-69 In Depth.
Excellent introduction to visual analysis of painting, applied to Rivera’s murals.
Lee, Anthony. Painting On The Left… pp. 208-214. In Depth.
A lengthy, careful, dense description of the PAU mural, with critical interpretation.
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Rivera, Diego. Diego Rivera: The Story of… In depth.
Rivera’s own overview and interpretation of the mural, with annotated drawing of mural.
Rivera, Diego. My Art,… pp. 151-153. Introductory
The artist’s description of the PAU mural. (in Course Reader).
Wolfe, Bertram D. The Fabulous Life… pp. 430-431. In Depth
Interpretation of Rivera’s general ideas about designing murals.
Zakheim, Masha. “Diego Rivera In San Francisco…” pp. 23-26. Introductory.
Background on the mural and very perceptive analysis of mural’s overall design.
Zakheim, Masha. “Pan American Unity: A Fresco…” pp. 4-7 Introductory.
Excellent introduction to Panel 3 and its overall design and concept (in Course Reader).
A-11 Excerpts Related To Criticism/ Interpretation of Pan American Unity
Barden, Merrill E. “Understanding The Evolution…” pp. 52-58. In Depth.
Barden’s overview on PAU’s meaning, in relations to other Rivera murals, and in
historical context.
Braun, Barbara. Pre-Columbian… p. 42. In depth.
Background about the U.S. government’s use of the term “Pan American unity” during
the 1930’s and 1940’s.
Craven, David. Diego Rivera As Epic… pp. 160-161. In-Depth.
Comments on Panel 3’s synthesis, mural’s distinctive style, and the political context of
the 1939 Hitler-Stalin pact.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 85-105 Introductory.
Overall description and formal analysis of PAU.
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” pp. 76-79. In Depth.
Criticism of PAU from the right (conservative, capitalist).
Fuentes-Rojas, Elizabeth. “Three San Francisco Murals…” p. 83. In Depth.
Criticism of PAU from the left, quotation from Mexican art critic Antonio Rodriguez.
Gonzalez, Robert Alexander. Designing Pan-America. PP. 4-12. In Depth.
Historical background on the idea (not the painting) of Pan American Unity and how it
developed both in Latin America and the United States, specifically on p. 12 under
Franklin Roosevelt, President at the time of the painting of the PAU mural.
Kettenmann, Andrea. Diego Rivera, 1886-1957… pp. 70-73. Introductory.
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Comments on PAU mural.
Lee, Anthony. Painting On The Left… pp. 208-214. In Depth.
A lengthy, careful, dense description of the PAU mural, with some criticism.
Marnham, Patrick. Dreaming With… p. 318-324. In-Depth.
Author’s interpretation: Rivera was personally and politically confused at the time of
painting PAU, which affected the painting.
Rivera, Diego. Diego Rivera: The Story of… In depth.
Rivera’s own overview and interpretation of the mural (in Course Reader).
Rivera, Diego. My Art,… pp. 151-153. Introductory.
Artist’s description of the PAU mural. (in Course Reader).
Wolfe, Bertram D. The Fabulous Life… pp. 295-296. In Depth.
General interpretation of Rivera’s ideas and inspiration, relevant to PAU.
Wolfe, Bertram D. The Fabulous Life… pp. 311-312. In depth.
The divide between what inspired Rivera about American life, and what Americans
thought was proper to show in art.
Wolfe, Bertram D. The Fabulous Life… pp. 363-366. In-Depth.
Description of PAU, and interpretation. Compares the “Indian” side to the American
side, criticizing Rivera’s limited appreciation for American culture, shown in painting.
Zakheim, Masha. “Diego Rivera In San Francisco…” pp. 23-26. Introductory.
Background on PAU and very perceptive analysis of mural’s overall design.
Zakheim, Masha. “Pan American Unity: A Fresco…” pp. 5-7, Introductory.
Very good overview of overall meaning and design of PAU (in Course Reader).
Part B- Annotated Bibliography: Print Sources on Diego Rivera’s Pan American
Unity (PAU) at Rosenberg Library, City College of San Francisco, For English 93
Students. (MLA style) by Jeffrey Goldthorpe
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Reading entries in Annotated Bibliography: This kind of entry begins with the author’s
last name, the title (here an essay within a larger anthology) and so on, following the
MLA style of “Works Cited,” followed by an annotation about the whole essay, or whole
book. At the end of this annotation, are other important notations that are not following
the MLA standard.
First there is a notation about reading difficulty for English 93 students: either “Easy
reading,” “Somewhat challenging reading,” or “Very challenging reading.”
Second is a notation about writing style, either academic, popular, or journalistic style.
Third is about amount, and quality of illustrations, and whether they are in color.
Fourth, there might be a notation that a copy is On Reserve or only in the Diego Rivera
Archive. This information may be incomplete, and may change from one semester to
another, based on what materials instructors put On Reserve.
Fifth, there is the library call number, which will help you locate the book in the library.
Flexibility Needed- Because a reading is listed here, does not mean it will be available to
you. You may need the help of a librarian to find it, or to ask other English 93 students if
they have it. You may need to check out or read another source that seems second best
instead of your favorite. When you do find your source in the stacks, think of the other
students—consider reading the source and taking notes on it at a library desk, rather than
taking it home. If you check out the source, please return it promptly.
Other Locations- Some sources are available in other places than the library stacks. The
most important place to check is behind the library check-out counter with materials
placed “On Reserve” by instructors. They can be loaned out for 2 hours or 2 days at a
time, depending on the instructor. Entries in Part B do note that some of these works are
On Reserve, but those listings may not be complete, and they can change from one
semester to another.
Diego Rivera Archive --Also, many of these print sources are in the Diego Rivera
Archive, (also known as the Posner Room), on the 5th floor of the library, but those
cannot be checked out. You can make an arranged visit to the Archive, and can take
notes on the source at a table or a computer in the Archive. You can also talk with the
librarian on duty there.
Limitations—Remember, these are only print sources, primarily books, and only those in
the Rosenberg Library at CCSF. It does not include many periodical sources, or
Reference Book sources. It does not include videos, which are kept in the Audio-Visual
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office of Rosenberg Library (see Course Reader) It does not include any on-line sources.
An easy way to find on line sources is to access the bibliography in CCSF’s Diego Rivera
Project Website, which includes hyperlinks to many other websites related to Rivera.
Improving This Bibliography—These documents have recently been created to help
students search for materials. It will have flaws and mistakes. Please explain the
problems you see to Jeff Goldthorpe through your course Insight page, or by e-mail at
[email protected]. Thank you for your assistance.
Annotated Bibliography
Azuela, Alicia. “Rivera and The Concept of Proletarian Art.” Diego Rivera: A
Retrospective. Ed. Cynthia Newman Helms. Minneapolis: Lerner Publications,
1996. 125-130. This essay analyzes issues of Marxism, capitalism, and technology
in Rivera’s painting, especially in Detroit Industry. Very challenging reading.
Academic style. Some color illustrations. Also copy On Reserve.
Call # ND 259 .R5 A42 1986.
Barden, Merrill E. Understanding the Evolution of Diego Rivera’s Message to the
United States: An Explication of the Pan American Unity Mural. San Francisco: City
College of San Francisco, 1992. This scholarly paper covers Rivera’s educational and
artistic background in Mexico, the history of his encounters with the United States,
and mainly focuses on a panel by panel description and interpretation of the mural
(easily viewed in its Table of Contents). A more thematic analysis compares panel 1
to panel 5 and panel 2 to panel 4, and generalizes about the overall meaning of panel
3. It includes a final interpretation of the mural as a whole. This unpublished thesis
is the only academic-style work that is solely focused on the Pan American Unity
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mural. Somewhat challenging reading. Academic style. Illustrations are few,
sometimes inferior, black/white. Also copies On Reserve.
Call # ND 259 .R5 B37 1992.
Birdwell, Michael. Celluloid Soldiers: Warner Brothers’ Campaign Against Nazism.
New York: New York University Press, 1999. This book covers both the anti-Nazi
movie production of the Warner brothers studios, the larger responses among
Hollywood studios and people in the industry, and the larger political forces in the
United States that were for or against U.S. military involvement in Europe, before
U.S. entry into World War II. It is a reminder of how Nazism looked less threatening
to Americans in the thirties than it seems today. It gives specific coverage to
production and publicity related to Confessions of a Nazi Spy, which is one of the
movies Rivera illustrated in Panel 4 of PAU. Somewhat challenging reading.
Academic style. Some B/W illustrations.
Call # PN 1995 .W3 B57 1999.
Braun, Barbara. Pre Columbian Art and the Post-Columbian World: Ancient American
Sources. New York: New York: Harry Abrams Inc., 1993. This book investigates the
influence of ancient indigenous American art and architecture on modern artists. A
long chapter (pp. 185-250) examines in detail the pre-Columbian aspects of Rivera’s
paintings and the artifacts that influenced him. Author covers a very wide range of
Rivera’s art (including Pan American Unity mural), and she provides excellent
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illustrations. Very challenging reading. Academic style. Many fine illustrations,
many in color.
Call # N 7428 .5 .B73 1993.
Brown, Betty Ann. “The Past Idealized: Diego Rivera’s Use of Pre-Columbian Imagery”
Diego Rivera: A Retrospective. Ed. Cynthia Newman Helms. Minneapolis: Lerner
Publications. 1996. 139-155. This is an analysis and evaluation on Rivera’s general
use of and ideas about representing Pre-Spanish Conquest imagery in his murals. It
includes balanced criticism of Rivera’s historical inaccuracies, while crediting him
with popularizing representations of cultures previously destroyed and ignored. Very
challenging reading. Academic style. Illustrations, some in color. Copy On Reserve.
Call # ND 259 .R5 A42 1986.
Cockcroft, James. Diego Rivera. New York: Chelsea House Publishers, 1991. This is a
good introductory biography by an expert in the field of Latin American studies. It
describes Rivera’s politics, art, personality, without going into issues of criticism and
interpretation. Easy reading. Popular style. Some illustrations, mostly B/W.
Call # ND 259 .R5 C57 1991.
Craven, David. Diego Rivera As Epic Modernist. New York: G. K. Hall & Co., 1997.
This is a book of criticism and interpretation of Rivera’s painting, not a biography,
though it includes biographical details. It covers his main works, and combines
theories of both art and politics to present an interpretation: that at his best, Rivera
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combined modern techniques to produce a narrative of the entire Mexican nation (and
humanity, viewed metaphorically), focusing more on the people than individual
heroes or gods. Very challenging reading. Academic style. Many B/W illustrations,
Call # ND 259 .R5 C66 1997.
Craven, David. Art and Revolution in Latin America 1910-1990. New Haven: Yale
University Press, 2002. This book begins by putting Latin American public art, from
Mexico, Cuba, and Nicaragua, in a political and theoretical context. Its long chapter
on the Mexican muralists, Rivera chief among them, is carefully written and insightful
about art, politics and history. Very challenging reading. Academic style. Many
illustrations, some in color. Also: copy on reserve.
Call # N 6502 C735 2002.
Downs, Linda Bank. Diego Rivera: The Detroit Industry Murals. New York: WW
Norton, 1999. This book offers a very detailed description and analysis of Rivera’s
Detroit murals, with a lengthy description of his ideas about machinery, technology,
and labor. Illustrations are excellent, with sketches, as well final mural paintings.
Very challenging reading. Academic style. Illustrations, some in color.
Call # ND 259 .R5 D68 1999.
“Famed Muralist Makes Known His True Stand In The International Drama.” Russian
Hill Runt. <San Francisco, CA.> 6 December 1940. 1. Print. This brief article
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describes the opening ceremony at the completion of the Pan American Unity mural.
Easy reading. No illustration. Reprinted in COURSE READER.
Call #ND 259 .R5 A35 1940.
Fuentes Rojas de Cadena, Elizabeth. Three San Francisco Murals of Diego Rivera: A
Documentary and Artistic History. Thesis. University of California, Davis, 1980.
This long paper gives some historical background on the situation in San Francisco
leading up to each mural, as well as describing and analyzing each mural, the
circumstances of its commission, and multiple opinions about each one. A long third
chapter is about City College’s Pan American Unity mural, including controversies
and criticisms, and a very thorough visual analysis (her panel numbering is different
than ours). Its bibliography cites many San Francisco publications. Somewhat
challenging reading. Academic style. B/W illustrations, poor quality.
Also copies On Reserve.
Call # ND R.5 F845 1980.
Goldstein, Ernest. The Journey of Diego Rivera. Minneapolis: Lerner Publications,
1996. This book has a compact, but perceptive review of Diego Rivera’s work by an
arts educator writing for non-experts. The book is short. It maintains a balance of
historical interpretation, biography, thematic explanation, but its main focus is to
explain the style of his painting and his motives as a painter. Somewhat challenging
reading. Popular writing style. Illustrated in color. Copy On Reserve.
Call # ND 259 .R5 G66 1996.
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Gonzalez, Doreen. Diego Rivera: His Art, His Life. Springfield, N.J.: Enslow
Publishers, 1996. Biography discusses Rivera’s art and politics, early family life and
relationship with Frida Kahlo. Easy reading. Popular writing style. Illustrated in
black and white.
Call # ND 259 .R5 G67 1996.
Gonzalez, Robert Alexander. Designing Pan-America: U. S. Architectural Visions for
the Western Hemisphere. Austin: University of Texas Press, 2011. Print. This is a
history of an idea (Pan Americanism) shown in the expositions and “world’s fairs”
celebrating that idea, and specifically in the buildings (the writer is an architect as
well as an academic) and monuments in those expositions. The writer puts those
buildings, events, and ideas into a historical and even anthropological perspective.
Very challenging reading. Academic writing style. Richly illustrated in color.
Call # NA 710 .5 .P36 G66 2011
Hamill, Pete. Diego Rivera. New York: Harry Abrams Inc., 1999. This biography is
detailed and lively, and includes criticism and interpretation of Rivera’s painting. The
artist and his paintings are the main focus. The biographer has a definite viewpoint:
that Rivera’s painting can be divided into a “Warm Diego,” which is poetic, humane,
celebratory and “Cold Diego,” which is painting as propaganda, caricature, without
pity and compassion (see pp. 114-116 for exposition). Here he follows the views of
Bertram Wolfe, an earlier biographer, very closely. Somewhat challenging reading.
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Popular journalist style. Many color illustrations.
Call # ND 259 .R5 H28 1999.
Helms, Cynthia Newman. Diego Rivera: A Retrospective. New York: W.W. Norton,
1986. This is an academic anthology, but has many excellent color illustrations of
Rivera’s work. It includes a detailed chronology of Rivera’s life, and scholarly
evaluation of important topics related to his work: history, pre-Columbian imagery,
Marxism, self-portraits, and influence on American artists. Very challenging reading.
Academic style. Many color illustrations. Copy On Reserve.
Call # ND 259 .R5 A42 1986.
Kettenmen, Andrea. Diego Rivera 1886-1957: A Revolutionary Spirit in Modern Art.
Koln, Germany: Taschen, 1997. A short biography with introductory criticism and
interpretation. Good background on Mexican political and cultural contexts, and
Rivera’s politics in relation to American patrons of his art. Somewhat challenging
reading. Style between popular and academic. Many color illustrations. Copy On
Reserve.
Call #ND 259 .R5 K48713 1997.
Lee, Anthony. Painting On The Left: Diego Rivera, Radical Politics and San
Francisco’s Public Murals. Berkeley, CA: University of California Press, 1999. The
book covers the place of mural painting in San Francisco before Rivera’s arrival, the
specifics of Rivera’s San Francisco murals, and how they affected San Francisco
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artists and civic life, and the place of art in San Francisco and the United States’
artistic and political life. It is very detailed about relevant local details (for example
the Chinese American artists affiliated with the American Communist Party). It
includes a lengthy interpretation of the PAU mural, and gives extensive background
on the circumstances surrounding the Golden Gate International Exposition.
Very challenging reading. Academic style. Some color and B/W illustrations.
Call #ND 259 .R5 L44 1999.
Litwin, Laura Baskes. Diego Rivera: Legendary Mexican Painter. Berkeley Heights,
N.J.: Enslow Publishers, 2005. This short book for young readers is a good
introductory biography about Rivera, covering the main phases of his life. The “Pan
American Unity mural is not covered. Easy reading. Popular style. Some B/W
illustrations.
Call # ND 259 .R5 L57 2005.
Marnham, Patrick. Dreaming With His Eyes Wide Open: A Life of Diego Rivera.
London: Bloomsbury Publishing, 1998. This is a full length, in-depth biography. It
has much information on his art and politics, but above all it is about the psychology
and individual life of Diego Rivera. It is detailed and carefully researched. Very
challenging reading. Academic style. Some B/W illustrations.
Call #ND 259 .R5 M27 1998b.
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McDonald, Gerald, Michael Conway, Mark Ricci. The Films of Charlie Chaplin.
Detailed description of all of Chaplin’s films, including The Great Dictator (included
in Rivera’s PAU), with several still photographs from the movie. Somewhat
challenging reading. Academic style. Many B/W illustrations. Only in Diego Rivera
Archives.
Call # PN 2287 .C5 M24 1965b.
Platt, Susan Noyes. Art and Politics In the 1930’s: Modernism, Marxism, Americanism.
A History of Cultural Activism During the Depression Years. New York: Midmarch
Arts Press, 1999. This book covers American artists in relation to the history of the
politics and the art world in the USA. Author stresses Rivera’s connection with Anita
Brenner, a Mexican art writer who lived in New York at the time of the Rockefeller
Center controversy. Very challenging reading. Academic style. Some B/W
illustrations.
Call #N72 .P6 P57 1999
Reinhardt, Richard. Treasure Island: San Francisco’s Exposition Years. San
Francisco: Scrimshaw Press, 1973. Print. Historical background (and the author’s
personal perspective) about both San Francisco of 1940, and the specifics of the
Golden Gate International Exposition and the construction of an artificial island
(Treasure Island). Somewhat challenging reading. Popular style. Many quality B/W
photographs and illustrations.
Call #T 876 1939. B1 R44.
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Rivera, Diego. Diego Rivera: The Story of His Mural at the 1940 Golden Gate
International Exposition. <interview by Dorothy Puccinelli> San Francisco: 1940.
This is a very important primary source on the Pan American Unity mural. The
artist himself briefly describes the meaning and design of this mural, and the larger
ideas surrounding it. Somewhat challenging reading. Academic style. Includes B/W
illustrations, one of Rivera painting the mural on a scaffold, and another a “cartoon”
of the mural design, with annotations by Rivera himself. Text (not diagram of mural)
is in the Course Reader. Also copy On Reserve.
ND 259 .R5 P3 1940
Rivera, Diego. “I Am Not A Communist.” Russian Hill Runt. <San Francisco, CA.>
6 December 1940. 1-2. Print. This article by Rivera is also an important primary
source about Rivera’s political views at the time that he was painting Pan American
Unity. He states that he was expelled from the (Mexican) Communist Party in 1929
for “its repeated attacks upon the democratic principles of the workers’ and peasant
organizations.” He emphasizes his opposition to Stalinism as an international political
tendency and as an anti-democratic and pro-bureaucratic regime in Russia. Somewhat
challenging reading. One B/W illustration. In Course Reader.
Call #ND 259 .R5 A35 1940
Rivera, Diego. My Art, My Life: An Autobiography with Gladys March. New York:
Dover Publications, 1991. This short book covers a wide range of events and topics in
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Rivera’s life. Much of it is written with a light touch, covering odd topics and
incidents, and glossing over major ones, for example his political changes of position.
But it is a very significant source that gives the artist’s perspective about many topics
and events, including careful coverage of the Pan American Unity mural and his 1940
visit to San Francisco. However, it cannot be treated as a reliable factual source—this
is widely acknowledged by Rivera writers and researchers. Easy reading. Some B/W
illustrations. Also: copy on reserve.
Call #ND 259 .R5 A2 1991
Rochfort, Desmond. Mexican Muralists: Orozco, Rivera, Siqueiros. San Francisco:
Chronicle Books, 1998. Book is about the larger public mural movement in Mexico,
looking at all three of “los tres grandes” (the three great muralists) in their artistic,
historical and political contexts. Important details on the Mexican political and artistic
context for Rivera’s work. Very challenging reading. Academic style. Many color
illustrations, high quality. Also: copy on reserve.
Call # ND 2644 .R594 1998.
Rodriguez, Antonio. A History of Mexican Mural Painting. New York: G.P. Putnam’s
Sons, 1969. This book begins with a section covering pre-Conquest civilizations of
Mexico, and their earlier traditions of mural painting. It has a section about Mexican
painting after the Conquest, and a long section on modern revolutionary muralism,
largely about Rivera’s work. This is an important source for students interested in the
historical dimension of Rivera’s painting. Very challenging reading. Many
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illustrations, some color.
Call # ND 2644 .RR598 1969.
Rodriguez-Prampolini, Ida. “Rivera’s Concept of History.” Diego Rivera: A
Retrospective. Ed. Cynthia Newman Helms. Minneapolis: Lerner Publications,
1996. 125-130. This essay relates Quetzalcoatl, an Aztec God, and symbol of myth
and magic, to the Marxist theory of class struggle, a major theme in Rivera’s National
Palace murals. Very challenging reading. Academic style. Some color illustrations.
Copy On Reserve.
Call # ND 259 .R5 A42 1986.
Scheide, Frank and Mehran, Hooman. Chaplin: The Dictator And The Tramp. London:
British Film Institute, 2004. This collection of essays and interviews focuses
exclusively on Chaplin’s 1940 film satire about Adolf Hitler, Nazi Germany, and prewar Europe. Several scenes from The Great Dictator are included in Panel 4 of the
PAU, and Rivera was a fan of Chaplin’s films and involved with Chaplin’s then-wife,
Paulette Goddard. This collection is closely linked to a BBC documentary by the
same name, which is included in City College’s Great Dictator DVD (available
through the Audio-Visual office). Essay collection is only in Rivera Archive.
Call # PN 2287 .C5 C 525 2004.
Wolfe, Bertram D. The Fabulous Life of Diego Rivera. Lanham, MD.: Scarborough
House, 1992. This biography is written in an entertaining manner, with close
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attention to both Rivera’s art, individual psychology and his politics. Because Wolfe
was friend of Rivera, and once a communist political associate, he had close personal
knowledge, and access to Rivera’s papers. Because this book was written years after
Rivera’s death, it has some beneficial distance from the topic. Wolfe also had become
a staunch anti-communist by the time he rewrote this second edition biography. Don’t
confuse it with an earlier 1st edition. Somewhat challenging reading. Popular style.
Many B/W illustrations, many by Rivera, some of poor quality. Copy On Reserve.
Call # ND 259 .R5 W56 1990.
Zakheim. Masha. “Diego Rivera In San Francisco.” Second edition. 2001. City College
of San Francisco Library. This short (28 pages, double spaced) but carefully written
and researched introduction to Diego Rivera’s San Francisco murals describes each
mural briefly, as well as immediate political and social contexts of each work. Also
included is a description of related murals done by local San Francisco artists
influenced by Rivera. On pages 23-26 there is a very clear introductory analysis of
the overall visual design of the Pan American Unity mural. Somewhat challenging
reading. Academic Style. No illustrations.
Call # ND 259 .R5 Z354 2001
Zakheim. Masha. “Pan American Unity: A Fresco by the Mexican Artist Diego Rivera
Painted for City College of San Francisco at the Golden Gate International
Exposition at Treasure Island, 1939-1940.” 1991. City College of San Francisco
Library. Reprinted in my students’ Course Readers. This short (17 pages, double
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spaced) paper begins with a brief biography, and a review of Rivera’s American
murals. Most of the paper is a careful description and analysis of the Pan American
Unity mural itself, beginning with analysis of its overall design, and then describing
each panel one by one. It is an excellent, well- informed introduction. Somewhat
challenging reading. Academic Style. No illustrations. Also copy On Reserve.
Call # ND 259 .R5 Z355 1991.
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Part C- Other Library Sources Related to PAU
C-1 Selected Biographies of Diego Rivera at Rosenberg Library, CCSF.
See Annotated Bibliography for further information.
Cockcroft, James. Diego Rivera.
Gonzalez, Doreen. Diego Rivera: His Art, His Life.
Hamill, Pete. Diego Rivera.
Kettenmen, Andrea. Diego Rivera 1886-1957: A Revolutionary Spirit in Modern Art.
Litwin, Laura Baskes. Diego Rivera: Legendary Mexican Painter.
Marnham, Patrick. Dreaming With His Eyes Wide Open: A Life of Diego Rivera.
Rivera, Diego. My Art, My Life: An Autobiography with Gladys March.
Wolfe, Bertram D. The Fabulous Life of Diego Rivera.
C-2 Pan American Unity Binders at East Reference Desk
Three binders on Pan American Unity are available for selective reading note-taking, and
photo-copying,, and are an ideal place to begin doing research on people, buildings,
objects or landscapes in the mural. There are two other binders that you may also find
useful, one on Diego Rivera, and one on Frida Kahlo. The detailed guide here is only for
the Pan American Unity binders.
If you are going to take notes, make sure to copy all the bibliographical information
available. If this information is not clear, you can ask the Reference Librarian for help.
BINDER 1: A-G
A
450 Sutter Building
Alcatraz Island
Anthony, Mary
B
Bay Bridge
Goldthorpe
Big Horn Mountain Ram
Bolivar, Simon
Brown, John
C
Cairns, Donald
Carter, Dudley
Chaplin, Charlie
Cigar Store Indian
Coatlique
“Confessions of a Nazi Spy”
Crlenkovich, Helen
D
Deichmann, Otto
E
Edison, Thomas
F
Ford, Henry
Fulton, Robert
G
Gerstle, Sara
Goddard, Paulette
Golden Gate Bridge
Golden Gate International Exposition
The Great Dictator
BINDER 2: H-P
H
Hidalgo, Miguel
Hitler, Adolf
Hoffman, Mona
I
Ixtacihuatl (mountain)
J
Jaguar God
Jefferson, Thomas
L
Lassen (mountain)
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Lederer, Frances
Lincoln. Abraham
M
Magana, Mardonio
Mixtec
Morales, Jose
Morse, Samuel
N
Nahuatl (temple)
Netzahualcoyotl
O
Oakie, Jackie
P
Pacific Telephone Building
Packard, Emmy Lou
Pan American Unity Mural
Pan-Am Unity Mural (Criticism and Interpretation)
Pflueger, Timothy L.
Popocatepetl (mountain)
Posada, Jose
BINDER 3: Q-Z
Q
Quetzacoatl (God)
Quetzacoatl (temple)
R
Robinson, Edward G.
Ryder, Albert P.
S
Shasta (mountain)
Stalin, Joseph
T
Tehuantepec
Teotihuacan
Toltec
W
Washington, George
Goldthorpe
Wilkie, Wendell
Wright, Frank Lloyd
Y
Yaqui Deer dancers
DIEGO RIVERA BINDER
OPAC
Internet
SF Newspaper Index
Articles (1940)
Reference Books (biography)
Biography Index
Art Index
Master biography Index
Book Chapters
Bibliography
FRIDA KAHLO BINDER
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