Question: How much was Rivera paid for his work on Rockefeller Center?
About the article "Man at the Crossroads", section "Commission".

Candidate passages:
The Rockefellers wanted to have a mural put on the ground-floor wall of Rockefeller Center.
Nelson Rockefeller wanted Henri Matisse or Pablo Picasso to do it because he favored their modern style, but neither was available.
Diego Rivera was one of Nelson Rockefeller's mother's favorite artists and therefore was commissioned to create the huge mural.
He was given a theme: "Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future."
Rockefeller wanted the painting to make people pause and think.
Rivera was to be paid $21,000 for the work.
He was officially commissioned by Todd-Robertson-Todd Engineering, the development agents for the building.
The full commission envisaged three murals.
"Man at the Crossroads" would be in the center.
It would be flanked by "The Frontier of Ethical Evolution" and "The Frontier of Material Development".
The central composition was intended to contrast Capitalism and Socialism.
This basic compositional idea was approved by Rockefeller.
On 24 April 1933 the "New York World-Telegram" newspaper published an article attacking the mural as anti-capitalist propaganda.
A few days later Rivera added the portrait of Lenin to the work.
This precipitated a major controversy by May.
The bad publicity greatly upset Rockefeller.
Rivera was asked to remove the picture of Lenin, but refused, instead offering to add Abraham Lincoln to the work as way of a compromise.
Rockefeller then left the decision about the future of the mural to Todd-Robertson-Todd.
Rivera was fully paid the promised amount for his work, but the mural was covered in drapery and left incomplete.
Despite protests from art lovers and attempts to get it to moved to the Museum of Modern Art, it remained covered until the early weeks of 1934, when it was destroyed by workmen.
The destruction caused widespread controversy.
Ralph Stackpole and Bernard Zakheim (who headed a group of artists commissioned by the WPA to paint murals at the Coit Tower in San Francisco) protested, and also included references to the incident in the form of headlines in newspapers held by figures in their paintings.
The Rockefeller Center commissioned a mural by Jose Maria Sert entitled "American Progress" to replace Rivera's work.
It used Abraham Lincoln as its focal point. 
Rockefeller served as a trustee of the Museum of Modern Art from 1932 to 1979.
He also served as treasurer, 1935–1939, and president, 1939–1941 and 1946–1953.
In 1933 Rockefeller was a member of the committee selecting art for the new Rockefeller Center.
For the wall opposite the main entrance of 30 Rockefeller Plaza Nelson Rockefeller wanted Henri Matisse or Pablo Picasso to paint a mural because he favored their modern style, but neither was available.
Diego Rivera was one of Nelson Rockefeller's mother's favorite artists and therefore was commissioned to create the huge mural.
He was given a theme: New Frontiers.
Rockefeller wanted the painting to make people pause and think.
Rivera submitted a sketch for a mural entitled "Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future."
The sketch featured an anonymous man at the center.
However, when it was painted the work caused great controversy due to the inclusion of a painting of Lenin (depicting communism) just off-center.
The Directors of Rockefeller Center objected and Rockefeller asked Rivera to change the face of Lenin to that of an unknown laborer's face as was originally intended, but the painter refused.
The work was paid for on May 22, 1933, and immediately draped.
Rockefeller suggested that the fresco could be donated to the Museum of Modern Art, but the trustees of the museum were not interested.
People protested but it remained covered until the early weeks of 1934, when it was smashed by workers and hauled away in wheelbarrows.
Rivera responded by saying that it was "cultural vandalism".
At Rockefeller Center in its place is a mural by Jose Maria Sert which includes an image of Abraham Lincoln.
The Rockefeller-Rivera dispute is covered in the films "Cradle Will Rock" and "Frida".
Rockefeller was a noted collector of both modern and non-Western art.
During his governorship, New York State acquired major works of art for the new Empire State Plaza in Albany.
He continued his mother's work at the Museum of Modern Art as president, and turned the basement of his Kykuit mansion into a gallery while placing works of sculpture around the grounds (an activity he enjoyed personally supervising, frequently moving the pieces from place to place by helicopter).
While he was overseeing construction of the State University of New York system, Rockefeller built, in collaboration with his lifelong friend Roy Neuberger, the Neuberger Museum on the campus of SUNY Purchase College, designed by Philip Johnson.
He commissioned Master Santiago Martínez Delgado to make a canvas mural for the Bank of New York (City Bank) in Bogotá, Colombia; this ended up being the last work of the artist, as he died while finishing it.
Rockefeller's early visits to Mexico kindled a collecting interest in pre-Columbian and contemporary Mexican art, to which he added works of traditional African and Pacific Island art.
In 1954 he established the Museum of Primitive Art devoted to the indigenous art of the Americas, Africa, Oceania and early Asia and Europe.
His personal collection formed the core of the collection.
The museum opened to the public in 1957 in a townhouse on West 54th Street in New York City.
In 1969 he gave the museum's collection to the Metropolitan Museum of Art where it became the Michael C. Rockefeller Collection.
In 1978, Alfred A. Knopf published a book on primitive art from Rockefeller's collection.
Rockefeller, impressed with the work of photographer Lee Boltin and editor/publisher Paul Anbinder on the book, co-founded Nelson Rockefeller Publications, Inc. with them, with the goal of publishing fine art books of high quality.
After Rockefeller's death less than a year later, the company continued as Hudson Hills Press, Inc.
In 1977 he founded Nelson Rockefeller Collection, Inc., (NRC) an art reproduction company that produced and sold licensed reproductions of selected works from Rockefeller's collection.
In the introduction to the NRC catalog he stated he was motivated by his desire to share with others "the joy of living with these beautiful objects."
In the autumn of 1927, Rivera arrived in Moscow, accepting an invitation to take part in the celebration of the 10th anniversary of the October Revolution.
The following year, while still in Russia, he met the visiting Alfred H. Barr, Jr., who would soon become Rivera's friend and patron, as well as the founding director of the Museum of Modern Art.
Rivera was commissioned to paint a mural for the Red Army Club in Moscow, but in 1928 he was ordered out by the authorities because of involvement in anti-Soviet politics, and he returned to Mexico.
In 1929, Rivera was expelled from the Mexican Communist Party.
His 1928 mural "In the Arsenal" was interpreted by some as evidence of Rivera's prior knowledge of the murder of Julio Antonio Mella allegedly by Stalinist assassin Vittorio Vidali.
After divorcing Guadalupe (Lupe) Marin, Rivera married Frida Kahlo in August 1929.
Also in 1929, the first English-language book on Rivera, American journalist Ernestine Evans's "The Frescoes of Diego Rivera", was published in New York.
In December, Rivera accepted a commission to paint murals in the Palace of Cortés in Cuernavaca from the American Ambassador to Mexico.
In September 1930, Rivera accepted an invitation from architect Timothy L. Pflueger to paint for him in San Francisco.
After arriving in November accompanied by Kahlo, Rivera painted a mural for the City Club of the San Francisco Stock Exchange for US$2,500 and a fresco for the California School of Fine Art, later relocated to what is now the Diego Rivera Gallery at the San Francisco Art Institute.
Kahlo and Rivera worked and lived at the studio of Ralph Stackpole, who had suggested Rivera to Pflueger.
Rivera met Helen Wills Moody, a famous tennis player, who modeled for his City Club mural.
In November 1931, Rivera had a retrospective exhibition at the Museum of Modern Art in New York City; Kahlo was present.
Between 1932 and 1933, he completed a famous series of twenty-seven fresco panels entitled "Detroit Industry" on the walls of an inner court at the Detroit Institute of Arts.
During the McCarthyism of the 1950s, a was placed in the courtyard defending the artistic merit of the murals while attacking his politics as "detestable.
"His mural "Man at the Crossroads", begun in 1933 for the Rockefeller Center in New York City, was removed after a furor erupted in the press over a portrait of Vladimir Lenin it contained.
When Diego refused to remove Lenin from the painting, Diego was ordered to leave.
One of Diego's assistants managed to take a few pictures of the work so Diego was able to later recreate it.
The American poet Archibald MacLeish wrote six "irony-laden" poems about the mural.
"The New Yorker" magazine published E. B.
White's poem "I paint what I see: A ballad of artistic integrity".
As a result of the negative publicity, a further commission was canceled to paint a mural for an exhibition at the Chicago World's Fair.
Rivera issued a statement that with the money left over from the commission of the mural at Rockefeller Center (he was paid in full though the mural was supposedly destroyed.
Rumors have floated that the mural was actually covered over rather than brought down and destroyed.
), he would repaint the same mural over and over wherever he was asked until the money ran out.
In December 1933, Rivera returned to Mexico, and he repainted "Man at the Crossroads" in 1934 in the Palacio de Bellas Artes in Mexico City.
This surviving version was called "Man, Controller of the Universe".
On June 5, 1940, invited again by Pflueger, Rivera returned for the last time to the United States to paint a ten-panel mural for the Golden Gate International Exposition in San Francisco.
"Pan American Unity" was completed November 29, 1940.
As he was painting, Rivera was on display in front of Exposition attendees.
He received US$1,000 per month and US$1,000 for travel expenses.
The mural includes representations of two of Pflueger's architectural works as well as portraits of Kahlo, woodcarver Dudley C. Carter, and actress Paulette Goddard, who is depicted holding Rivera's hand as they plant a white tree together.
Rivera's assistants on the mural included the pioneer African-American artist, dancer, and textile designer Thelma Johnson Streat.
The mural and its archives reside at City College of San Francisco. 
Sculptures and artwork.
Center art.
Rockefeller Center represents a turning point in the history of architectural sculpture: it is among the last major building projects in the United States to incorporate a program of integrated public art.
Sculptor Lee Lawrie contributed the largest number of individual pieces – twelve – including the statue of Atlas facing Fifth Avenue and the conspicuous friezes above the main entrance to the RCA Building.
Paul Manship's highly recognizable bronze gilded statue of the Greek legend of the Titan Prometheus recumbent, bringing fire to mankind, features prominently in the sunken plaza at the front of 30 Rockefeller Plaza.
The model for Prometheus was Leonardo (Leon) Nole, and the inscription, a paraphrase from Aeschylus, on the granite wall behind, reads: ""Prometheus, teacher in every art, brought the fire that hath proved to mortals a means to mighty ends"."
Although some sources cite it as the fourth-most familiar statue in the United States, behind the Lincoln Memorial, Mount Rushmore, and the Statue of Liberty, Manship was not particularly fond or proud of it.
A large number of other artists contributed work at the Center, including Isamu Noguchi, whose gleaming stainless steel bas-relief, "News", over the main entrance to 50 Rockefeller Plaza (the Associated Press Building) was a standout.
At the time it was the largest metal bas-relief in the world.
Other artists included Carl Milles, Hildreth Meiere, Margaret Bourke-White, Dean Cornwell, and Leo Friedlander.
In 1932, the Mexican socialist artist Diego Rivera (whose sponsor was the Museum of Modern Art and whose patron at the time was Abby Aldrich Rockefeller, the wife of John D. Rockefeller, Jr.), was commissioned by their son Nelson Rockefeller to create a color fresco for the wall in the lobby of the then-RCA Building.
This was after Nelson had been unable to secure the commissioning of either Matisse or Picasso.
Previously Rivera had painted a controversial fresco in Detroit entitled "Detroit Industry", commissioned by Abby and John's friend, Edsel Ford, who later became a MoMA trustee.
Thus it came as no real surprise when his "Man at the Crossroads" became controversial, as it contained Moscow May Day scenes and a clear portrait of Lenin, not apparent in initial sketches.
After Nelson issued a written warning to Rivera to replace the offending figure with an anonymous face, Rivera refused (after offering to counterbalance Lenin with a portrait of Lincoln), and so he was paid for his commission and the mural papered over at the instigation of Nelson, who was to become the Center's flamboyant president.
Nine months later, after all attempts to save the fresco were explored – including relocating it to Abby's Museum of Modern Art – it was destroyed as a last option.
(Rivera re-created the work later in Mexico City in modified form, from photographs taken by an assistant, Lucienne Bloch.
)Rivera's fresco in the Center was replaced with a stunning, larger mural by the Catalan artist Josep Maria Sert, entitled "American Progress", depicting a vast allegorical scene of men constructing modern America.
Containing figures of Abraham Lincoln, Mahatma Gandhi, and Ralph Waldo Emerson, it wraps around the west wall of the Grand Lobby at 30 Rock.
In 1962, the center management placed a plaque at the plaza with a list of principles in which John D. Rockefeller Jr. believed, and first expressed in 1941.
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