Known all over the world for his colossal murals, Diego Rivera was one of the leading artists of the 20th century. The Guanajuato, Mexico-born painter’s works adorn the interiors of many public buildings throughout his native country, including the Cortés Palace in Cuernavaca, the National School of Agriculture in Chapingo and the Ministry of Public Education in Mexico City. (Rivera’s family moved to Mexico City in 1892, and he later lived and worked in Mexico’s capital with his third wife, fellow Mexican artist Frida Kahlo.)
Rivera expressed Mexican national identity like no one before him. He developed his own style of Cubism, reintroduced fresco painting as a major discipline and was a pioneer of Mexican Muralism. Rivera’s artworks have had a significant impact on the international art world.
At the age of 10 Rivera received a scholarship to study at the Academy of San Carlos in Mexico City. When he was 21, the governor of Veracruz provided the artist with a grant to study in Europe. He began his studies abroad in Spain, but ended up settling in Paris in 1909, where he befriended Spanish artist Pablo Picasso and esteemed French painter Georges Braque. Picasso's Cubist paintings were an inspiration for him — in his own work, Rivera adopted elements of Cubism, a revolutionary art movement for European culture. The painter later developed an admiration for the work of Postimpressionist artists such as Cézanne, but Renaissance paintings — and Italian frescoes, generally — had a monumental influence on the work that followed.
In 1921, Rivera returned to Mexico to work with social realist painter David Alfaro Siqueiros. In the wake of the Mexican revolution, they shared a vision of turning the interior of public buildings into a canvas for exploring concepts associated with national identity and to express sympathy for the revolution.
In 1930, Rivera traveled to the United States, where he examined modern industry and issues facing the working class in commissioned pieces at the California School of Fine Arts in San Francisco, the Detroit Institute of Arts and Rockefeller Center in New York City. For the latter, Rivera’s Man at the Crossroads outraged his sponsors owing to its expression of leftist sentiment — it featured a portrait of Russian revolutionary Vladimir Lenin.
After Rivera refused to remove Lenin from the fresco in the lobby of the RCA building in Rockefeller Center, the artist’s sponsors had the work destroyed. Rivera later repainted the composition in a mural in Mexico, relying on photographs by Lucienne Bloch — his unpaid assistant on the Rockefeller project — that she had covertly taken before the painting was destroyed.
It was the suggestions of artist George Biddle, who had studied with Rivera and was influenced by the Mexican Muralists movement, that helped lay the groundwork for the Public Works of Art Project, which was included as part of Franklin Delano Roosevelt’s New Deal.
When Rivera died in 1957 he left unfinished a grandiose mural on the history of Mexico for the National Palace in Mexico City.
Mother and Child by Diego Rivera
By Diego Rivera
Located in New Orleans, LA
Diego Rivera 1886-1957 Mexican Mother and Child Signed and dated "Diego Rivera 1934" (lower right) Tempera on plaster In this intimate masterwork, Mother and Child, the great Die...
Plaster, Tempera
Desnudo de Frida Kahlo, Signed Lithograph by Diego Rivera
By Diego Rivera
Located in Long Island City, NY
This portrait depicts Rivera's second wife, the artist Frida Kahlo (1907-54), sitting on a bed wearing stockings and shoes and fastening rows of beads around her neck. An accident wh...
Lithograph
1952 Original exhibition poster realized by Diego Rivera Mexican Art
By Diego Rivera
Located in PARIS, FR
Very beautiful poster of exhibition realized by Diego Rivera in order to promote the exhibition "Mexican Art, from pre-Columbian to our days", which took place in 1952 in the National Museum of Modern Art. Diego Rivera was a leading Mexican painter. His large frescoes...
Paper, Lithograph
Mexican Girl Returning from the Market
By Diego Rivera
Located in Saratoga Springs, NY
Diego Rivera (Mexican 1886-1957) Mexican Girl Watercolor on paper, behind glass 11 x 16 inches Signed and dated lower right, ‘Diego Rivera 1954’ Provenance: Sold as “Mexican Girl” M...
Paper, Watercolor
Circa 1955 travel poster by the Mexican artist Diego Rivera - Mexico
By Diego Rivera
Located in PARIS, FR
The circa 1955 travel poster created by the renowned Mexican artist Diego Rivera, promoting Mexico - Décoration murale Palais National, was issued by the National Tourism Office of M...
Paper, Lithograph
From the Vargas Portfolio
By Alberto Vargas
Located in Missouri, MO
From the Vargas Portfolio **Portfolio Cover Not Included** Lithograph Only Alberto Vargas (1896-1982) was born in Arequipa, Peru, in 1896, the son of...
Lithograph
$612Sale Price|25% Off
H 25.99 in W 37.8 in D 0.04 in
Birds. 2020. Watercolor, paper, 66 x 96 cm
By Zigmunds Snore
Located in Riga, LV
Birds. 2020. Watercolor, paper, 66 x 96 cm Seagulls over the sea Zigmunds Šņore was born in 1942 in Latvia. His works has been exhibited since 1969 an...
Paper, Watercolor
From the Vargas Portfolio
By Alberto Vargas
Located in Missouri, MO
From the Vargas Portfolio **Portfolio Cover Not Included** Lithograph Only Alberto Vargas (1896-1982) was born in Arequipa, Peru, in 1896, the son of...
Lithograph
$704Sale Price|20% Off
H 40 in W 83 in
Dense Rolling Clouds, Blue Sky Landscape Triptych, Handmade Cyanotype on Paper
By Kind of Cyan
Located in Barcelona, ES
This is an exclusive handprinted limited edition cyanotype of gorgeous rolling clouds. Details: + Title: Dense Rolling Clouds + Year: 2025 + Edition Size: 100 + Stamped and Certifi...
Lithograph, Paper
From the Vargas Portfolio
By Alberto Vargas
Located in Missouri, MO
From the Vargas Portfolio **Portfolio Cover Not Included** Lithograph Only Alberto Vargas (1896-1982) was born in Arequipa, Peru, in 1896, the son of...
Lithograph
"Breath of history"
By Vasyl Kohutych
Located in Edinburgh, GB
The artist presented a sophisticated architectural landscape, executed in the technique of classical watercolor painting. The painting depicts the majestic dome of St. Paul's Cathedr...
Paper, Watercolor
$730
H 40 in W 55.2 in
Duo of Blue Egyptian Palms, Botanical Diptych Cyanotype on Paper, Vintage Modern
By Kind of Cyan
Located in Barcelona, ES
Exclusive limited edition cyanotype diptych. Details: + Title: Duo of Egyptian Palms + Year: 2024 + Edition Size: 20 + Medium: Cyanotype on Watercolor Paper...
Lithograph, Handmade Paper
From the Vargas Portfolio
By Alberto Vargas
Located in Missouri, MO
From the Vargas Portfolio **Portfolio Cover Not Included** Lithograph Only Alberto Vargas (1896-1982) was born in Arequipa, Peru, in 1896, the son of...
Lithograph
$1,170Sale Price|35% Off
H 18.5 in W 12.75 in
Undergarment Model (1970s Gay Bathhouse Jockstrap Ad)
Located in Wilton Manors, FL
Vintage jockstrap ad poster, 1975. Offset lithograph on paper measures 18.5 x 12.75 inches. Copyright Winifred Bonney. Original offset period print on perio...
Offset
$2,800
H 30 in W 22.5 in
Philip Pearlstein - Nude etching from Atelier International Portfolio, Signed/N
By Philip Pearlstein
Located in New York, NY
Philip Pearlstein Untitled Nude, from Atelier International Portfolio, 1985 Etching. on wove paper Hand signed, numbered 78/85, and dated on the lower front with printer's and publis...
Etching
The Resurrection of Christ
Located in New York, NY
Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...
Tempera, Panel
Tahiti
By Wolfgang Wolff
Located in San Francisco, CA
This artwork titled "Tahiti" 1941 Is a original woodcut by noted French/German artist Wolfgang Wolff, 1909-1994. It is hand signed in pencil by the artist at the lower right corner, ...
Woodcut
Sold
H 24.63 in W 28.63 in
Diego Rivera Modernist Lithograph, 1930, Signed, Framed, El Mercado De Flores
By Diego Rivera
Located in Washington, DC
Artist: Diego Rivera Title: El Mercado De Flores (Flower Market) Medium: Lithograph Date: 1930 Edition: 60/100 Framed Size: 24 5/8" x 28 5/8" Sheet Size: 19" x 24 1/2" Image Size: 1...
Lithograph
Sold
H 34.65 in W 24.02 in
Original travel poster by Diego Rivera - Mexico Mural of national Palace
By Diego Rivera
Located in PARIS, FR
This striking mid-century travel poster celebrates the cultural richness of Mexico through the unmistakable art of Diego Rivera, one of the most influential muralists of the 20th cen...
Paper, Lithograph
Delfina y Dimas by Diego Rivera
By Diego Rivera
Located in New Orleans, LA
Diego Rivera 1886-1957 Mexican Delfina y Dimas Signed and dated 1935 Tempera on masonite In the intimate masterwork Delfina y Dimas, the great Diego Rivera illustrates all of his...
Masonite, Tempera
Vendedora By Diego Rivera
By Diego Rivera
Located in New Orleans, LA
Diego Rivera 1886-1957 Mexican Vendedora (Vendor) Signed and dated (lower right) Watercolor on rice paper Diego Rivera stands among the most important artists of the 20th century...
Watercolor, Rice Paper
Niño Indígena Con Pelota By Diego Rivera
By Diego Rivera
Located in New Orleans, LA
Diego Rivera 1886-1957 Mexican Niño Indígena con Pelota (Indigenous Boy with a Ball) Signed and dated Oil on board A rebel against the traditional school of painting, Diego River...
Oil, Board
Tehuana con Batea by Diego Rivera
By Diego Rivera
Located in New Orleans, LA
Diego Rivera 1886-1957 Mexican Tehuana con batea Signed “D Rivera” (lower right) Graphite on cream wove paper A rebel against the traditional school of painting, Diego Rivera is revered as one of the greatest and most influential artists of the 20th century. Tehuana con batea, completed by Rivera in 1922, represents a glimpse into the artist’s process through a powerful graphite-on-paper sketch. Rivera’s thoughtful marks outline a Tehuana — a woman from the isthmus of Tehuantepec and likely a descendant of the Zapotec indigenous peoples. The woman is rendered with a kind of totemic solidity, accented by the block-like forms of her clothing and the strength of her stance. Her arms reach upwards as she carries a basket atop her head. Although highly stylized, the work retains a narrative element that was important to the artist’s output — telling the stories of the native peoples of Mexico. Composed in 1922, this drawing dates from a pivotal moment in the artist’s career. It marked the painting of his first significant mural, Creation, in the Bolívar Auditorium of the National Preparatory School in Mexico City, the first of many government-sponsored murals he would undertake over the next three decades. Later in the year, Rivera founded the Revolutionary Union of Technical Workers, Painters and Sculptors, and joined the Mexican Communist Party. The public mural projects reflected his communist politics in historical contexts. Aside from the often-controversial reactions they received, these works focused on the working-class “everyman” of Mexico and reflected the folk ideals that were familiar and respected within the native community. In addition to the rarity of this plaque due to its unique perspective, Tehuana con batea has a notable provenance, having been owned by celebrated Museum of Modern Art staff member Patricia Dowd Whitman. Remembered fondly for building relationships with donors and artists including Dorothea Rockburne and Tom Otterness over her thirty-three years at the institution, she served as Director of the Contemporary Arts Council at MoMA from 1990 until her retirement in 2007. A remarkable drawing with provenance, Tehuana con batea is one-of-a-kind. Born in Guanajuato City, Mexico in 1886, Diego Rivera showed a talent for drawing at a very young age. He began his formal art education at the Academy of San Carlos in Mexico. When he moved to Paris in 1907 to live and work with the great gathering of artists in Montparnasse, he was exposed to the burgeoning of Cubism, and fully embraced this new school of thought. His works attracted the attention of the world’s most prestigious art patrons, including Nelson Rockefeller, for whom he painted a controversial mural in 1934. While both his personal and artistic lives were at times tumultuous, it is his artistic vision and compassion for his homeland and people that have formed the legacy of this incredible figure. Created 1922 Paper: 12 7/8" high x 8 3/8" wide Frame: 20 1/2" high x 15 3/8" wide x 1 3/8" deep Provenance: Mary-Anne Martin Fine...
Paper, Graphite
SELF PORTRAIT / AUTORETRATO
By Diego Rivera
Located in Santa Monica, CA
DIEGO RIVERA (1886 – 1957) AUTORETRATO / SELF PORTRAIT, 1930 Lithograph. signed and numbered 14/100 by the artist in pencil. Image 15 x 11 ¼”. Full sheet 20 1/8 x 15” with deckle edges on all four sides. Very good condition save for an expertly repaired vertical tear at top of sheet and a small blue ink smudge on the verso. Rivera’s lithographs are scarce. He only produced 10. They were all published by Weyhe Gallery, NY, then led by Carl Zigrosser. Five were published in 1930 and five in 1932. This example is 1930. Beginning in 1930 Rivera produced a series of monumental mural...
Lithograph
Niño by Diego Rivera
By Diego Rivera
Located in New Orleans, LA
Diego Rivera 1886-1957 Mexican Niño Signed and dated “Diego Rivera 1935” (lower left) Charcoal and sanguine on rice paper A rebel against the traditional school of painting, Diego Rivera is revered as one of the greatest and most influential artists of the 20th century. Niño, completed by Rivera in 1935, represents a masterwork within an important part of the artist’s output — his portraits of children. It is a touching work paying homage to both childhood innocence and the cultural identity of the Mexican people...
Charcoal, Rice Paper
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H 35.75 in W 25 in D 0.1 in
1997 Diego Rivera 'The Flower Vendor' Modernism USA Offset Lithograph
By Diego Rivera
Located in Brooklyn, NY
Paper Size: 35.75 x 25 inches ( 90.805 x 63.5 cm ) Image Size: 28.75 x 24 inches ( 73.025 x 60.96 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Shipp...
Offset
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H 30 in W 24 in D 0.1 in
2001 Diego Rivera 'Flower Vendor' Modernism USA Offset Lithograph
By Diego Rivera
Located in Brooklyn, NY
Paper Size: 30 x 24 inches ( 76.2 x 60.96 cm ) Image Size: 25.5 x 21 inches ( 64.77 x 53.34 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional De...
Offset
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H 23.5 in W 17.5 in D 0.1 in
1997 Diego Rivera 'Delfina Flores and Her Niece Modesta' Modernism USA Offset
By Diego Rivera
Located in Brooklyn, NY
Paper Size: 23.5 x 17.5 inches ( 59.69 x 44.45 cm ) Image Size: 23.5 x 17.5 inches ( 59.69 x 44.45 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Ship...
Offset
Sold
H 35.75 in W 25 in D 0.1 in
1997 Diego Rivera 'The Flower Vendor' Modernism USA Offset Lithograph
By Diego Rivera
Located in Brooklyn, NY
Paper Size: 35.75 x 25 inches ( 90.805 x 63.5 cm ) Image Size: 28.75 x 24 inches ( 73.025 x 60.96 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Shipp...
Offset