The Embrace - Diego Rivera
Archival giclée
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Description
A monumental fresco by Diego Rivera, depicting two figures in a close embrace against a stark, mountainous backdrop.
The Embrace is a work from the early period of Diego Rivera, created shortly after his return to Mexico from Europe. This piece reflects his engagement with the aesthetic traditions of the Italian Renaissance, particularly the frescoes of Giotto, which he studied during his travels. The composition features two figures locked in a close, protective hold, their forms simplified and monumental against a rugged, mountainous backdrop. The use of a golden halo around the central figure suggests a religious or spiritual dimension, common in Rivera's early synthesis of European art history and his own cultural heritage.
The colour palette relies on earthy ochres, muted greens, and deep shadows, which provide a sense of weight and permanence to the figures. The background, with its stark, rolling hills and distant structures, creates a sense of isolation and timelessness. Rivera employs a flattened perspective, prioritising the emotional gravity of the subjects over realistic depth. The texture of the work, characteristic of the fresco medium, is visible in the subtle variations of tone and the deliberate application of pigment.
This image captures a moment of quiet intensity. The figures are rendered with a focus on volume and mass, a stylistic choice that would later define his large-scale public murals. By stripping away unnecessary detail, Rivera directs the viewer to the physical connection between the two individuals. The work remains a clear example of his transition from the experiments of Cubism to the more figurative, narrative-driven style that defined his career in Mexico. It is a study in human connection, rendered with the technical discipline of a painter who spent years analysing the masters of the past.
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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
The Embrace - 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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