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	<?php $description = 'Of all the panels Rivera made for The Museum of Modern Art, <i>Indian Warrior</i> reaches back farthest into Mexican history, to the Spanish Conquest of the early 16th century. An Aztec warrior wearing the costume of a jaguar stabs an armored conquistador in the throat with a stone knife. The Spaniard’s steel blade—an emblem of European claims to superiority—lies broken nearby. Jaguar knights, members of an elite Aztec military order, were known for their fighting prowess; according to legend, their terrifying costumes enabled them to possess the power of the animal in battle. The panel’s jarring vision of righteous violence offered a Mesoamerican precedent for Mexico’s recent revolution, as well as its continuing struggles.' ?>
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								<p>Fresco sobre cemento reforzado en estructura metálica, 41 x 52 1/2" (104.14 x 133.35 cm). Smith College Museum of Art, Northampton, Massachusetts. Adquirido con el Winthrop Hillyer Fund. SC 1934:8-1. © 2011 Banco de México Fundación de Museos Diego Rivera y Frida Kahlo, México, D.F./Artists Rights Society (ARS), New York </p>
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							<div class="date">1931</div>
							<h2>Guerrero indio</h2>
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									<p>El episodio más antiguo en la historia de México al que se refiere Rivera en los tableros realizados para El Museo de Arte Moderno se encuentra en <em>Guerrero indio</em>, que se remonta a la Conquista española a principios del siglo XVI. Un guerrero azteca vestido de jaguar hunde un puñal de obsidiana en la garganta de un conquistador enfundado en su armadura. La navaja de acero del español —un emblema de la supuesta superioridad europea— yace rota a poca distancia. Los Caballeros Jaguares, miembros de una elite militar azteca, eran conocidos por su destreza en la lucha; de acuerdo con la leyenda, sus trajes aterradores les permitían apropiarse del poder del animal en la batalla. La visión desconcertante de violencia justiciera que aparece en el tablero sienta un precedente mesoamericano para la reciente Revolución mexicana así como para sus luchas constantes. </p>
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									<p>Rivera used drawings like this cartoon for <span>Liberation of the Peon</span> 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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