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Diego Rivera

El Mercado De Flores (Flower Market), 1930

Lithograph on gray PMF (Italia) Ingres laid paper
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About the work
D
Doyle

Image: 10 3/4 x 15 3/4 inches; 273 x 400 mm.

Sheet: 18 3/4 x 24 3/4 inches; 476 x 629 mm.

published …

Read more

Image: 10 3/4 x 15 3/4 inches; 273 x 400 mm.

Sheet: 18 3/4 x 24 3/4 inches; 476 x 629 mm.

published by The Weyhe Gallery, New York, with full margins, framed.

Medium
Print
Signature
Signed, dated and numbered 89-100 in black crayon
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.

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About the work
D
Doyle

Image: 10 3/4 x 15 3/4 inches; 273 x 400 mm.

Sheet: 18 3/4 x 24 3/4 inches; 476 x 629 mm.

published …

Read more

Image: 10 3/4 x 15 3/4 inches; 273 x 400 mm.

Sheet: 18 3/4 x 24 3/4 inches; 476 x 629 mm.

published by The Weyhe Gallery, New York, with full margins, framed.

Medium
Print
Signature
Signed, dated and numbered 89-100 in black crayon
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

El Mercado De Flores (Flower Market), 1930

Lithograph on gray PMF (Italia) Ingres laid paper
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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