Diego Rivera, ‘Emiliano Zapata’, 1932, Print, Lithograph on wove paper, Christie's
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Diego Rivera

Emiliano Zapata, 1932

Lithograph on wove paper
18 7/8 × 15 3/8 in
47.9 × 39.1 cm
Edition 57/100
.
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About the work
C
Christie's

Signed and dated in pencil, numbered 57/100, with margins (the sheet edges unevenly trimmed), a …

Medium
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, ‘Emiliano Zapata’, 1932, Print, Lithograph on wove paper, Christie's
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View
View in room
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About the work
C
Christie's

Signed and dated in pencil, numbered 57/100, with margins (the sheet edges unevenly trimmed), a small loss at the lower left sheet corner, uneven light- and mat staining, a ¾-in. skillfully repaired tear at the lower left sheet edge and other lesser defects, framed
Image: 16 ¼ x 13 1/8 in. (413 x 333 mm.)
Sheet: 18 7/8 …

Medium
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

Emiliano Zapata, 1932

Lithograph on wove paper
18 7/8 × 15 3/8 in
47.9 × 39.1 cm
Edition 57/100
.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Series by this artist
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