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	<?php $description = 'In <i>Liberation of the Peon</i>, Rivera developed a harrowing narrative of corporal punishment. A laborer, beaten and left to die, is cut down from a post by sympathetic revolutionary soldiers, who tend to his broken body. Peonage—a system of indentured servitude established by Spanish colonizers, under which natives were forced to work the land—persisted in Mexico into the 20th century. The mural offers the injustice of earlier social and economic conditions as a rationale for the Mexican Revolution.'; ?>
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								<p>Fresco on reinforced cement in a galvanized-steel framework, 73 x 94 1/4" (185.4 x 239.4 cm). Philadelphia Museum of Art. Gift of Mr. and Mrs. Herbert Cameron Morris, 1943. © 2011 Banco de México Diego Rivera & Frida Kahlo Museums Trust, México, D.F./Artists Rights Society (ARS), New York</p>
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								<p>Charcoal and graphite on paper mounted on canvas, 75 3/4 x 95 3/4" (192.4 x 243.2 cm). The Museum of Fine Arts, Houston. Gift of Charles W. Tate in honor of Charles T. Newton Jr. at "One Great Night in November, 1997.”  © 2011 Banco de México Diego Rivera & Frida Kahlo Museums Trust, México, D.F./Artists Rights Society (ARS), New York</p>
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							<div class="date">1931</div>
							<h2>Liberation of the Peon</h2>
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									<p>In <em>Liberation of the Peon,</em> Rivera developed a harrowing narrative of corporal punishment. A laborer, beaten and left to die, is cut down from a post by sympathetic revolutionary soldiers, who tend to his broken body. Peonage—a system of indentured servitude established by Spanish colonizers, under which natives were forced to work the land—persisted in Mexico into the 20th century. The mural offers the injustice of earlier social and economic conditions as a rationale for the Mexican Revolution.</p>
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									<p>Rivera used drawings like this cartoon for <em>Liberation of the Peon</em> to work out the compositions of his murals. In both study and fresco, he focused on the relationship between the figures in the group and the limp body of the peon. In order to facilitate transfer of this image, Rivera drew diagonal lines over the composition, with their intersection marking its center. These lines helped him to position the foreground figure, which is more completely finished than the rest of the drawing.</p>
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