Our Bread - Diego Rivera
Archival giclée
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Description
A classic mural panel by Diego Rivera, depicting a communal meal that celebrates the dignity of labour and social unity.
Our Bread is a panel from the extensive mural cycle located in the Ministry of Public Education in Mexico City. Diego Rivera, a central figure in the Mexican Muralism movement, utilised the fresco technique to communicate themes of labour, social equality, and national identity. The composition centres on a communal meal, reflecting the artist's interest in the collective experience of the Mexican working class.
A central figure sits at the table, breaking bread, while a woman stands behind him carrying a basket of fruit upon her head. This arrangement echoes traditional religious iconography, yet the subject matter is firmly grounded in the secular reality of agrarian life. The surrounding figures represent a cross-section of society, including labourers, soldiers, and children. Their presence reinforces the idea of shared sustenance and the dignity of manual work.
Rivera employs a flattened perspective and earthy tones, which are characteristic of his mature mural style. The figures possess a sculptural quality, their forms defined by clear outlines and solid blocks of colour. The archway framing the scene provides a sense of enclosure, drawing the viewer into the intimate space of the dining table. Above the arch, a banner contains text that integrates the mural into the architectural environment. This work demonstrates Rivera's ability to synthesise European modernist techniques with indigenous Mexican subjects, creating a visual language that is both accessible and politically charged. The focus remains on the human element, with the act of sharing food serving as a metaphor for social unity and the basic requirements of life.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Our Bread - Diego Rivera
Artist Biography
Diego Rivera
He studied at the Academy of San Carlos in Mexico City and spent fourteen years in Europe (1907-1921), absorbing Cubism in Paris and working alongside Picasso, Modigliani, and Mondrian. He returned to Mexico and found his subject: the history, labour, and people of his country, painted in a style that combined Renaissance fresco technique with pre-Columbian imagery and Marxist ideology.
The Detroit Industry Murals at the Detroit Institute of Arts (1932-33) are twenty-seven panels depicting the Ford Motor Company's River Rouge plant. The workers are heroic. The machinery is beautiful. Henry Ford's son Edsel commissioned them. The business community wanted them destroyed. They survived.
He married Frida Kahlo in 1929. They divorced in 1939. They remarried in 1940. The relationship was mutually unfaithful, politically intense, and artistically productive for both of them. Rivera said Kahlo was the better painter. Whether he believed this or was performing generosity is an open question.
He accepted a commission from Nelson Rockefeller for a mural in Rockefeller Center in 1933 and included a portrait of Lenin. Rockefeller asked him to remove it. Rivera refused. The mural was destroyed. Rivera repainted it in Mexico City. He died in 1957, at seventy.
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