The Hammock - Diego Rivera
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A serene 1956 painting by Diego Rivera depicting two women resting in a hammock overlooking a coastal bay.
Diego Rivera painted The Hammock in 1956, near the end of his career. The composition features two women resting within a white hammock, positioned against a coastal backdrop. Rivera employs a soft, rounded approach to the human form, which contrasts with the geometric precision often seen in his earlier mural work. The figures occupy the foreground, their relaxed postures suggesting a moment of quietude. The woman on the left wears a pink garment, while the woman on the right is dressed in yellow, creating a balance of warm tones that draw the eye across the canvas. In the background, a coastal view reveals a bay with small boats and distant hills. This setting reflects the artist's interest in the geography of Mexico, specifically the Pacific coast. The inclusion of a book on the tiled floor adds a domestic element to the scene, grounding the figures in a specific, lived-in environment. Rivera uses a palette that leans towards earthy ochres, soft pinks, and blues, which unify the figures with the exterior environment. The treatment of the hammock fabric, with its subtle texture and lace-like edges, demonstrates the artist's attention to detail in rendering everyday objects. This work captures a sense of stillness, moving away from the political narratives that defined much of his earlier output. It remains a clear example of his later focus on personal, domestic subjects and the natural beauty of his home country.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
The Hammock - Diego Rivera
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
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.
You May Also Like