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realistic and ultra-realistic portraits in schematic, stylized compositions. The technique is tight, rather stiff, and the result of the small, carefully-controlled brush strokes. In some areas it is almost like embroidery, and, in its indirect building up of tones suggests the technique of egg-tempera.
Unlike easel paintings, in evaluating and criticizing murals one must consider how the artist has organized and composed his design within the architectural limitations imposed. One must relate the result to
1- The intention of the artist. Was the mural conceived as two or three-dimensional problem? Was the problem to decorate, yet retain the wall, or to destroy it with an illusion of space beyond?
2- Is the design in harmony and suitable to the style and scale of the architecture?
3- Is the subject matter of the design suitable to the functions of the building.
4- Is the design suitable for the public for whom it is intended--will it be understandable to them?
Diego Rivera in his paintings rarely destroys the wall surface. His designs vary from pure flat decoration to those comparable to bas-reliefs. His organization is generally symmetrical, and built up in flat planes; occasionally one finds the composition organized on the principle of radiation. However, judged in relation to the arbitrary standards setup in points 2,3 and 4, his murals often fall short. Certainly one feels in the murals at Detroit, a complete disregard for scale and