Motherhood (Angelina and the Child Diego) - Diego Rivera
Archival giclée
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Description
A 1916 Cubist portrait by Diego Rivera, depicting his partner Angelina Beloff and their son through geometric abstraction and bold colour.
Painted in 1916, this work captures a period of intense experimentation for Diego Rivera during his time in Europe. The composition depicts his partner, the artist Angelina Beloff, cradling their infant son, Diego. Rivera employs the visual language of Cubism to deconstruct the figures into a series of geometric planes and interlocking shapes. Rather than seeking a literal representation, the artist prioritises the structural arrangement of form and colour to convey the intimacy of the maternal bond.
The palette consists of bold, contrasting tones: deep purples, ochre, and sharp yellows, which serve to define the spatial relationships between the mother and child. The figure of the mother is rendered through a synthesis of angular surfaces, while the child is nestled within the central geometry of the composition. This approach reflects the influence of the Parisian avant-garde, where Rivera engaged with the analytical methods of his contemporaries. The work demonstrates his ability to balance rigid geometric order with the emotional subject matter of family life.
Rivera's application of paint is precise, with flat areas of colour that emphasise the two-dimensional nature of the canvas. The inclusion of patterned textures, particularly on the lower portion of the figure, adds a layer of visual variety to the otherwise stark, architectural construction of the scene. This painting remains a significant example of Rivera's early career, documenting his transition from traditional academic training toward the modern styles that would define his later, more widely recognised muralist work. It provides a rare glimpse into his personal life during his formative years in the European art scene.
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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
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- 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
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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
Motherhood (Angelina and the Child Diego) - 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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