Head of a Breton Woman - Diego Rivera
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A 1918 portrait by Diego Rivera, capturing a Breton woman in traditional attire through the lens of early twentieth-century European modernism.
Painted in 1918, this portrait reflects the period Diego Rivera spent in Europe, where he engaged with the formal experiments of the Parisian avant-garde. During these years, Rivera moved away from traditional representation, adopting the structural rigour of Cubism. This work captures a subject from Brittany, a region that attracted many artists of the era due to its distinct cultural identity and traditional dress.
The composition focuses on the subject's face, framed by the stark white fabric of a traditional Breton coif. Rivera employs a controlled palette, contrasting the luminous, warm tones of the woman's skin against the deep, dark background and the solid black of her garment. The brushwork is deliberate, building the form through planes and volumes rather than soft transitions. The coif, with its characteristic wings, provides a geometric structure that echoes the stylistic concerns of his wider body of work from this decade.
Unlike his later, large-scale murals that define his career in Mexico, this painting demonstrates his technical training and his ability to synthesise European modernism with a keen observation of human character. The expression is one of quiet gravity, avoiding sentimentality. The artist uses the rigid lines of the headpiece to anchor the composition, creating a sense of balance between the decorative elements of the costume and the psychological presence of the sitter. This piece offers a view into a specific moment in Rivera's career, showing his transition toward the monumental style that would eventually characterise his public art.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Head of a Breton Woman - Diego Rivera
Artist Biography
Diego Rivera
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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