Question: What meaning did the painting Man at the Crossroads have to Rivera?
About the article "Man at the Crossroads", section "Work".

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. 
Man at the Crossroads was a fresco by Diego Rivera in the Rockefeller Center, New York.
The painting was controversial because it included an image of Lenin and a Soviet Russian May Day parade.
Despite protests from artists, Nelson Rockefeller ordered its destruction before it was completed.
Only black-and-white photographs exist of the original incomplete mural, taken when Rivera was forced to stop work on it.
Using the photographs, Rivera repainted the composition in Mexico under the variant title "Man, Controller of the Universe".
The creation and destruction of the mural is dramatized in the films "Cradle Will Rock" (1999) and "Frida" (2002). 
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. 
The Rockefeller-Rivera dispute has become an emblem of the relationship of politics, aesthetics, creative freedom and economic power.
The American poet Archibald MacLeish's 1933 collection "Frescoes for Mr. Rockefeller's City" was inspired by the incident.
It included six "irony-laden" poems about the mural in which both Rockefeller and Rivera were criticised.
"The New Yorker" magazine published E. B.
White's poem "I paint what I see: A ballad of artistic integrity" on May 20, 1933, an imaginary debate between Rockefeller and Rivera.
It has been discussed or dramatized in a number of films dealing with the politics of art.
The events are dramatized in the American films "Cradle Will Rock" and "Frida", both set in the 1930s.
In "Cradle Will Rock", the painting we see is identical to the Mexican version.
When it is smashed, only the fragment of plaster containing the depiction of syphilis remains.
It is also discussed in the Tamil film "Anbe Sivam", in which an Indian Communist argues with a supporter of the capitalist system. 
"Frida" begins just before the traumatic accident Frida Kahlo (Salma Hayek) suffered at the age of 18 when a trolley bus collided with a motor bus she was riding.
She is impaled by a metal pole and the injuries she sustained plague her for the rest of her life.
To help her through convalescence, her father brings her a canvas upon which to start painting.
Throughout the film, a scene starts as a painting, then slowly dissolves into a live-action scene with actors.
"Frida" also details the artist's dysfunctional relationship with the muralist Diego Rivera (Alfred Molina).
When Rivera proposes to Kahlo, she tells him she expects from him loyalty if not fidelity.
Diego's appraisal of her painting ability is one of the reasons that she continues to paint.
Throughout the marriage, Rivera cheats on her with a wide array of women, while the bisexual Kahlo takes on male and female lovers, including in one case having an affair with the same woman as Rivera.
The two travel to New York City so that he may paint the mural "Man at the Crossroads" at the Rockefeller Center.
While in the United States, Kahlo suffers a miscarriage, and her mother dies in Mexico.
Rivera refuses to compromise his communist vision of the work to the needs of the patron, Nelson Rockefeller (Edward Norton); as a result, the mural is destroyed.
The pair return to Mexico, with Rivera the more reluctant of the two.
Kahlo's sister Cristina moves in with the two at their San Ángel studio home to work as Rivera's assistant.
Soon afterward, Kahlo discovers that Rivera is having an affair with her sister.
She leaves him, and subsequently sinks into alcoholism.
The couple reunite when he asks her to welcome and house Leon Trotsky (Geoffrey Rush), who has been granted political asylum in Mexico.
She and Trotsky begin an affair, which forces the married Trotsky to leave the safety of his Coyoacán home.
Kahlo leaves for Paris after Diego realizes she was unfaithful to him with Trotsky; although Rivera had little problem with Kahlo's other affairs, Trotsky was too important to Rivera to be caught up with his wife.
When she returns to Mexico, he asks for a divorce.
Soon afterwards, Trotsky is murdered in Mexico City.
Rivera is temporarily a suspect, and Kahlo is incarcerated in his place when he is not found.
Rivera helps get her released.
Kahlo has her toes removed when they become gangrenous.
Rivera asks her to remarry him, and she agrees.
Her health continues to worsen, including the amputation of a leg, and she ultimately dies after finally having a solo exhibition of her paintings in Mexico.