The Exploiters - Diego Rivera
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A powerful social realist mural by Diego Rivera, depicting the tension between labourers and overseers in post-revolutionary Mexico.
The Exploiters is a section of the larger mural cycle created by Diego Rivera for the Chapel at the Chapingo Autonomous University in Mexico. Executed in 1926, the work reflects the artist's engagement with the social and political realities of post-revolutionary Mexico. Rivera employs a clear, narrative structure to contrast the labour of the indigenous population with the presence of armed overseers.
The composition is divided into distinct groups. On the left, a worker is searched by an official, his arms raised in a gesture of submission. In the centre and right, other labourers carry heavy loads or toil in the earth, their bodies bent under the weight of their tasks. Looming above them are mounted figures, one brandishing a firearm, representing the authority that enforces this system of extraction. The figures are rendered with the monumental, sculptural quality characteristic of Rivera's mature style, with simplified forms and earthy tones that ground the scene in the physical reality of the land.
Rivera uses a muted palette of ochre, brown, and soft blue to unify the scene, allowing the tension between the figures to remain the primary focus. The mural serves as a visual critique of the economic structures that governed rural life during this period. By depicting the physical toll of manual labour alongside the coercive power of the landowners, Rivera provides a direct commentary on the class dynamics of the time. The work remains a significant example of the muralist movement, which sought to make art accessible to the public while addressing themes of national identity and social justice.
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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
The Exploiters - 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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