The Politics of Patronage: The Story Behind Man Controller of the Universe

Art is a mirror of society, reflecting its values, tensions, and aspirations. Nowhere is this relationship more intricate than corporate commissions, where creative freedom is balanced with expectations of flattery. From New York City to Mexico City and back again, I followed the story of Diego Rivera’s mural Man, Controller of the Universe. Originally commissioned for Rockefeller Center and later destroyed due to its controversial themes, the mural was repainted in Mexico City, presenting a compelling study on how art both shapes and is shaped by the forces that fund it.

In the early 1930’s Diego Rivera’s star was on the rise with a recent exhibition at the Museum of Modern Art (MoMA) that put him on the radar of the wealthy Rockefeller family. He was commissioned in 1932 to paint a three-panel mural for the lobby of Rockefeller Center in New York depicting technological progress and the contract between capitalism and socialism. As work progressed, the mural’s content became more contentious with the incorporation of a portrait of Vladimir Lenin. Rivera was asked to remove the portrait but refused, leading to its destruction.

The mural however was not lost forever. As outrage swelled, Rivera had asked an assistant to take photographs of the mural. Using them as a reference, Rivera repainted the piece at the Palacio de Bellas Artes in Mexico City where it was renamed Man, Controller of the Universe. Build in 1934, the Palacio de Bellas Artes is an opulent museum and theater that blends Art Nouveau and Art Deco styles. Constructed primarily from radiant white Carrara marble, the facade is adorned with intricate reliefs and sculptures that embody both classical European influences. The building’s most distinctive feature is its iridescent domed roof, covered in colorful glazed tiles that evoke traditional Mexican ceramics and catch the sunlight in dazzling displays. This fusion of imported materials, Italianate design principles, and nods to Mexican cultural motifs makes the Palacio de Bellas Artes an architectural jewel and a national treasure.

Art Deco motifs dominate the interior of the Palacio de Bellas Artes, characterized by angular lighting fixtures, intricate metalwork, and striking murals. In addition to Man, Controller of the Universe, the Palacio de Bellas Artes houses a remarkable collection of murals by renowned Mexican including David Alfaro Siqueiros and José Clemente Orozco. These masterpieces adorn the walls of the main hall, nestled beneath an impressive Tiffany stained-glass elliptical dome.

Back in New York, a replacement mural was made by Josep Maria Sert for Rockefeller Center titled American Progress, the Triumph of Man’s Accomplishments Through Physical and Mental Labor. The piece celebrated industrial and intellectual advancement like Rivera’s artwork but Sert’s mural aligned neatly with the ideals of its patrons, emphasizing communal optimism rather than ideological conflict.

In color, technique, and sensibility, the stark contrast between the two murals is a vivid reminder of the delicate balance between artistic expression and the values of those who commission it.