Zapata's Horse - Diego Rivera
Archival giclée
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Description
A detailed section of Diego Rivera's mural at the Palace of Cortés, featuring the iconic white horse of revolutionary leader Emiliano Zapata.
This image captures a specific section of the expansive mural cycle commissioned for the Palace of Cortés in Cuernavaca, Mexico. Diego Rivera, a central figure in the Mexican Muralism movement, utilised the fresco technique to communicate narratives of national identity and historical struggle. The composition is organised around a central architectural arch, which dictates the placement of the figures. On the left, the figure of Emiliano Zapata stands beside a white horse, a visual shorthand for the agrarian revolution and the fight for land reform. The white of the horse and the peasant clothing provides a stark contrast against the darker, more complex scenes of colonial oppression and religious activity depicted elsewhere in the work.
Rivera employs a flattened perspective, typical of his mature style, which draws inspiration from both pre-Columbian art and European modernism. The figures are rendered with solid, sculptural forms, reflecting his interest in the monumental quality of public art. The scene includes various vignettes: indigenous labourers, colonial figures, and symbolic representations of the conflict between the Spanish conquest and the native population. The monochromatic panels at the base provide a secondary narrative layer, echoing the themes of power and subjugation found in the primary mural space. By integrating these historical elements into a public building, Rivera aimed to make the history of Mexico accessible to the public, moving art away from the confines of private galleries. This print offers a view into the technical precision and thematic density that defined his work during the post-revolutionary period in Mexico.
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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.
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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.
Care and materials
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
Zapata's Horse - 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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