Sammlung
Diego Rivera
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Portrait of Ruth Rivera - Diego RiveraPrint
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Nude with Calla Lilies - Diego RiveraPrint
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May Day Procession in Moscow - Diego RiveraPrint
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Portrait of Angelina Beloff - Diego RiveraPrint
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Entry into the Mine - Diego RiveraPrint
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Detroit Industry, South Wall - Diego RiveraPrint
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Flower Festival - Diego RiveraPrint
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The Painter, the Sculptor and the Architect - Diego RiveraPrint
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Zapata's Horse - Diego RiveraPrint
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Motherhood (Angelina and the Child Diego) - Diego RiveraPrint
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Portrait of Oscar Miestchaninoff - Diego RiveraPrint
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The Exploiters - Diego RiveraPrint
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The Mechanization of the Country - Diego RiveraPrint
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Portrait of Two Women - Diego RiveraPrint
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The Painter's Studio - Diego RiveraPrint
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Porträt von Natasha Gelman - Diego RiveraPrint · Framed · Canvas
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Landschaft mit Kaktus und Maske – Diego RiveraPrint · Framed · Canvas
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Porträt von Ramon Gomez de la Serna - Diego RiveraPrint
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Die Hängematte - Diego RiveraPrint
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Das Maisfest – Diego RiveraPrint
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Tehuana-Frauen – Diego RiveraPrint
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Porträt von Cuca Bustamante - Diego RiveraPrint
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Die Geschichte Mexikos - Diego RiveraPrint
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Die Hutmacherin. Porträt von Henri de Chatillon - Diego RiveraPrint
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Artist Biography
Diego Rivera
Rivera painted walls. Big ones. The murals at the National Palace in Mexico City cover over a thousand square feet and depict the entire history of Mexico from the Aztecs to the Revolution. He worked on scaffolding, in fresco, for years at a stretch. The scale was political: he wanted art that belonged to the public, not to collectors.
He studied at the Academy of San Carlos in Mexico City and spent fourteen years in Europe (1907-1921), absorbing Cubism in Paris and working alongside Picasso, Modigliani, and Mondrian. He returned to Mexico and found his subject: the history, labour, and people of his country, painted in a style that combined Renaissance fresco technique with pre-Columbian imagery and Marxist ideology.
The Detroit Industry Murals at the Detroit Institute of Arts (1932-33) are twenty-seven panels depicting the Ford Motor Company's River Rouge plant. The workers are heroic. The machinery is beautiful. Henry Ford's son Edsel commissioned them. The business community wanted them destroyed. They survived.
He married Frida Kahlo in 1929. They divorced in 1939. They remarried in 1940. The relationship was mutually unfaithful, politically intense, and artistically productive for both of them. Rivera said Kahlo was the better painter. Whether he believed this or was performing generosity is an open question.
He accepted a commission from Nelson Rockefeller for a mural in Rockefeller Center in 1933 and included a portrait of Lenin. Rockefeller asked him to remove it. Rivera refused. The mural was destroyed. Rivera repainted it in Mexico City. He died in 1957, at seventy.
He studied at the Academy of San Carlos in Mexico City and spent fourteen years in Europe (1907-1921), absorbing Cubism in Paris and working alongside Picasso, Modigliani, and Mondrian. He returned to Mexico and found his subject: the history, labour, and people of his country, painted in a style that combined Renaissance fresco technique with pre-Columbian imagery and Marxist ideology.
The Detroit Industry Murals at the Detroit Institute of Arts (1932-33) are twenty-seven panels depicting the Ford Motor Company's River Rouge plant. The workers are heroic. The machinery is beautiful. Henry Ford's son Edsel commissioned them. The business community wanted them destroyed. They survived.
He married Frida Kahlo in 1929. They divorced in 1939. They remarried in 1940. The relationship was mutually unfaithful, politically intense, and artistically productive for both of them. Rivera said Kahlo was the better painter. Whether he believed this or was performing generosity is an open question.
He accepted a commission from Nelson Rockefeller for a mural in Rockefeller Center in 1933 and included a portrait of Lenin. Rockefeller asked him to remove it. Rivera refused. The mural was destroyed. Rivera repainted it in Mexico City. He died in 1957, at seventy.
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