  
  About the Artwork
  
  
  The themes established on the east wall are continued on the west wall, where the technologies of the air (aviation) and water (shipping and pleasure boating) are represented in the upper panels. The half-face/half-skull in the central monochrome panel symbolizes both the coexistence of life and death as well as humanity's spiritual and physical aspects, while the star symbolizes aspirations and hope for civilization. This heraldic image introduces another major theme of the cycle: the dual qualities of human beings, nature, and technology. Vertical panels on each side of the west entrance to the court introduce the automobile industry theme through the representation of Power House No. I, the energy source for the Rouge complex.
  
  
  Title
  Detroit Industry Murals
  
  
  Artwork Date
  1932-1933
  
  Artist
  Diego M. Rivera
  
  
  
  Life Dates
  1886 - 1957
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  Mexican
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Frescoes
  
  
  Dimensions
  various dimensions
  
  
  Classification
  Paintings
  
  
  Department
  American Art before 1950
  
  
  Credit
  Gift of Edsel B. Ford
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum&acirc;&#128;&#153;s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems&acirc;&#128;&#148;no longer assigned&acirc;&#128;&#148;that identify specific donors or museum patronage groups.
  
  
  
  33.10
  
  
  Copyright
  Public Domain
  
  
  
