The Perpetual Renewal of the Revolutionary Struggle - Diego Rivera
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A powerful section of Diego Rivera's Ministry of Public Education mural cycle, depicting a solemn scene of revolutionary mourning.
This work is a section of the extensive mural cycle painted by Diego Rivera for the Ministry of Public Education in Mexico City. The composition depicts a solemn scene of mourning and commemoration, typical of Rivera's focus on the human cost of the Mexican Revolution. A fallen figure, draped in a striking orange shroud, lies at the base of a large, gnarled tree. This tree acts as a central anchor for the scene, its roots and branches framing the figures in a manner that suggests a connection between the earth and the cycle of life and death.
Rivera employs a muted, earthy palette, punctuated by the sharp orange of the shroud and the flag held by the standing figures. The figures on the left and right stand as sentinels, dressed in the attire of the agrarian revolutionaries. Their presence provides a sense of order and discipline against the emotional weight of the central figures who are bowed in grief. The style reflects Rivera's synthesis of European modernist techniques, such as the flattened perspective and simplified forms, with indigenous Mexican aesthetic traditions. The mural serves as a visual narrative of the revolutionary process, where the death of the individual is presented as a necessary component of the broader social transformation. By placing the scene within a natural setting, Rivera suggests that the struggle is as constant and organic as the growth of the forest itself. The work remains a primary example of the public art programme initiated after the revolution to educate the populace and construct a national identity through visual storytelling.
Política de devoluciones
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Envío
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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
Para mantener su obra de arte en las mejores condiciones:
- 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 Perpetual Renewal of the Revolutionary Struggle - 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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