Diego Maria Rivera
Mercado de Flores
Diego Maria Rivera
1886-1957
1930
Lithograph
10 3/4 x 15 1/2 in. (27.3 x 39.4 cm)
Signed and Dated Lower Left
Ed. 100/100
A market scene crowded with vendors and buyers around baskets of flowers, characteristic of Rivera's lifelong focus on the everyday life and labor of Mexico's indigenous and working communities — a theme central to his murals and easel paintings alike, translated here into an intimate, linear graphic idiom.
This lithograph belongs to the body of prints Rivera produced in 1930 at the request of Carl Zigrosser of the Weyhe Gallery and Rivera's friend William Spratling, marking the artist's first sustained engagement with lithography and his deliberate entry into the American market at the height of his rising fame. The flower market subject is one of Rivera's most enduring — he returned to it across paintings, watercolors, and prints throughout his career — making this an early, foundational treatment of a theme collectors closely associate with him. The Weyhe editions from this year are considered scarce and desirable precisely because they represent Rivera learning and mastering a new medium at the peak of his international visibility.
Diego Rivera (1886–1957)
Diego Rivera stands as the central figure of the Mexican Muralist movement, alongside José Clemente Orozco and David Alfaro Siqueiros. Trained in Mexico City and later in Europe — where he absorbed Cubism during a decade in Paris — Rivera returned to Mexico in 1921 and devoted himself to a public, politically engaged art rooted in Mexican history and indigenous identity. His large-scale murals for the Secretaría de Educación Pública, the Palacio Nacional, and institutions in Detroit and San Francisco established him as one of the twentieth century's most consequential artists. Rivera's graphic work — lithographs and drawings — extended the same monumental figuration of the murals into an intimate scale, often taking as subject the women closest to him, including his wife, the painter Frida Kahlo. Rivera's work is held in major museum collections worldwide, including MoMA, the Metropolitan Museum of Art, and the Museo Dolores Olmedo in Mexico City.
Ed. 100/100
A market scene crowded with vendors and buyers around baskets of flowers, characteristic of Rivera's lifelong focus on the everyday life and labor of Mexico's indigenous and working communities — a theme central to his murals and easel paintings alike, translated here into an intimate, linear graphic idiom.
This lithograph belongs to the body of prints Rivera produced in 1930 at the request of Carl Zigrosser of the Weyhe Gallery and Rivera's friend William Spratling, marking the artist's first sustained engagement with lithography and his deliberate entry into the American market at the height of his rising fame. The flower market subject is one of Rivera's most enduring — he returned to it across paintings, watercolors, and prints throughout his career — making this an early, foundational treatment of a theme collectors closely associate with him. The Weyhe editions from this year are considered scarce and desirable precisely because they represent Rivera learning and mastering a new medium at the peak of his international visibility.
Diego Rivera (1886–1957)
Diego Rivera stands as the central figure of the Mexican Muralist movement, alongside José Clemente Orozco and David Alfaro Siqueiros. Trained in Mexico City and later in Europe — where he absorbed Cubism during a decade in Paris — Rivera returned to Mexico in 1921 and devoted himself to a public, politically engaged art rooted in Mexican history and indigenous identity. His large-scale murals for the Secretaría de Educación Pública, the Palacio Nacional, and institutions in Detroit and San Francisco established him as one of the twentieth century's most consequential artists. Rivera's graphic work — lithographs and drawings — extended the same monumental figuration of the murals into an intimate scale, often taking as subject the women closest to him, including his wife, the painter Frida Kahlo. Rivera's work is held in major museum collections worldwide, including MoMA, the Metropolitan Museum of Art, and the Museo Dolores Olmedo in Mexico City.
Diego Maria Rivera
1933
Print
