Diego Rivera, ‘Desnudo de Lola Olmedo (Lola Olmedo Nude)’, 1930, Print, Lithograph, on wove paper, with full margins., Phillips
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Diego Rivera

Desnudo de Lola Olmedo (Lola Olmedo Nude), 1930

Lithograph, on wove paper, with full margins.
23 × 15 in
58.4 × 38.1 cm
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About the work
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Provenance
P
Phillips

Property from a Private Collection, Florida

I. 16 3/8 x 9 3/8 in. (41.6 x 23.8 cm)
S. 23 x 15 in. …

Medium
Signature
Signed, dated and numbered '68-100' in pencil, published by Weyhe Gallery, New York, unframed.
Diego Rivera
Mexican, 1886–1957
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Inspired by Renaissance frescoes and motivated by a conviction in the value of public art, Diego Rivera found his calling as a muralist. A visit to the Soviet Union informed his signature earth-toned, Social Realist style. In accordance with his Marxist views, he “made the masses the heroes of monumental art,” painting narrative scenes championing indigenous Mexican culture and workers who toiled in the name of progress. Detroit Industry (1932-3), a 27-panel tribute to the city’s labor force, reveals Rivera’s interest in the form and function of industrial technology. While his concern for the working class resonated in the United States, his inclusion of a portrait of Lenin in Man at the Crossroads (1933), a mural commissioned for Rockefeller Center in New York City, proved highly controversial.

Diego Rivera, ‘Desnudo de Lola Olmedo (Lola Olmedo Nude)’, 1930, Print, Lithograph, on wove paper, with full margins., Phillips
Save
Save
View
View in room
Share
Share
About the work
Articles
Bibliography
Provenance
P
Phillips

Property from a Private Collection, Florida

I. 16 3/8 x 9 3/8 in. (41.6 x 23.8 cm)
S. 23 x 15 in. (58.4 x 38.1 cm)

Medium
Signature
Signed, dated and numbered '68-100' in pencil, published by Weyhe Gallery, New York, unframed.
Diego Rivera
Mexican, 1886–1957
Follow

Inspired by Renaissance frescoes and motivated by a conviction in the value of public art, Diego Rivera found his calling as a muralist. A visit to the Soviet Union informed his signature earth-toned, Social Realist style. In accordance with his Marxist views, he “made the masses the heroes of monumental art,” painting narrative scenes championing indigenous Mexican culture and workers who toiled in the name of progress. Detroit Industry (1932-3), a 27-panel tribute to the city’s labor force, reveals Rivera’s interest in the form and function of industrial technology. While his concern for the working class resonated in the United States, his inclusion of a portrait of Lenin in Man at the Crossroads (1933), a mural commissioned for Rockefeller Center in New York City, proved highly controversial.

Diego Rivera

Desnudo de Lola Olmedo (Lola Olmedo Nude), 1930

Lithograph, on wove paper, with full margins.
23 × 15 in
58.4 × 38.1 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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