In Italy he devoted his time studying works that would be useful for
future mural projects. . . . His drawings from this trip still reveal the
influence of the avant-garde; although he mostly depicted religious
subjects, his drawing method was conceived with a surprising capacity
for synthesis, always recalling the analytical faculties of a good Cubist
painter. . . . His use of line was quick but self secure, firm and precise.
It captured the exact structure of his subject and contained great
expressiveness.
Luis-Martin Lozano,
Diego Rivera: Art and Revolution
, excerpts from the catalogue, p.
152
