Portrait of Lupe Marin - Diego Rivera
Archival giclée
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Description
A 1938 portrait by Diego Rivera depicting his wife, Guadalupe Marin, seated before a mirror in a white dress.
Diego Rivera painted this portrait of his second wife, Guadalupe Marin, in 1938. The work captures the subject seated in a simple wooden chair, positioned against a large, framed mirror that reflects her back. Marin, a model and novelist, is depicted in a white dress, adorned with heavy jewellery that reflects the pre-Columbian aesthetic often explored by the artist. Her posture is composed, with her hands clasped firmly in her lap, while her gaze is directed slightly upward and away from the viewer.
Rivera employs a clear, structured approach to form. The lines are deliberate, defining the folds of the fabric and the physical presence of the sitter with precision. The palette is restrained, relying on the contrast between the stark white of the dress and the warm, earthy tones of the wooden floor and the surrounding interior. The inclusion of the mirror adds a layer of spatial complexity, allowing the viewer to see the subject from two angles simultaneously. This technique provides a sense of volume and depth to the composition.
As a figure in the Mexican Modernist movement, Rivera frequently integrated indigenous motifs and a sense of national identity into his work. This portrait avoids the more overtly political themes found in his large-scale murals, focusing instead on the psychological presence of the individual. The treatment of the hands, rendered with a certain heaviness and anatomical emphasis, is characteristic of Rivera's style during this period. The work remains a clear example of his ability to balance realistic representation with a stylised, monumental quality. It offers a view into the personal life of the artist and his relationship with one of the most compelling figures of the Mexican cultural scene in the early twentieth century.
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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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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
Portrait of Lupe Marin - 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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