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Ce soir, c'est #docu #histoire de l'#art avec la passion dévorante du couple #FridaKahlo et #DiegoRivera. #tv 🎨👨🏽‍🎨🖼📺

@lvtatoo.bsky.social

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#DiegoRivera.

Portrait of Lupe Marin (1938).

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Reunirán a #FridaKahlo y #DiegoRivera
⬇️DALE CLICK A LA LIGA⬇️
gilbertobrenis.com/reuniran-a-f...

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El Museo de Arte Moderno de #NuevaYork (#MoMA) reúne, por primera vez, obras de la pareja de artistas mexicanos #FridaKahlo y #DiegoRivera en una exposición previa a una ópera inspirada en la vida de dos de los artistas más importante de #México, y que se presentará en mayo en la #MetropolitanOpera.

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#DiegoRivera un peintre toujours d'actualité
#Iran

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❤️💛💜 #DiegoRivera. Retrato de la Sra. Elisa Saldívar de Gutiérrez Guzmán (1946) #pintor muralista artista #mexicano
#museoparticular #painting #art

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Went to the Norton Simon Museum Sketch Saturday... I sketched Frida Kahlo in front of her husband Diego Rivera's Girl with Calla Lillies painting... and put the Calla Lillies in her hair. So fun to sketch out in the wilds of Pasadena. #Scriptsky #FridaKahlo #DiegoRivera #NortonSimonSketchSaturday

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Netflix komt met serie over de ingewikkelde relatie tussen Frida Kahlo en Diego Rivera In het kort Netflix werkt aan een dramaserie over de iconische Mexicaanse kunstenares Frida Kahlo en haar man, collega-kunstenaar Diego Rivera. De serie gaat over hun ingewikkelde relatie, die gekenmerkt werd door zowel hartstochtelijke liefde als pijnlijke verraad, tegen de achtergrond van de turbulente politieke en sociale situatie van hun tijd. Regisseursduo De bekende Mexicaanse […] The post Netflix komt met serie over de ingewikkelde relatie tussen Frida Kahlo en Diego Rivera appeared first on Newsmonkey.

Netflix komt met serie over de ingewikkelde relatie tussen Frida Kahlo en Diego Rivera #Netflix #FridaKahlo #DiegoRivera #serie #kunst

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Netflix prépare une série sur la relation explosive entre Frida Kahlo et Diego Rivera | Le Sérigraphe. Netflix développe une série sur la relation tumultueuse entre Frida Kahlo et Diego Rivera, adaptée du roman Rien n’est noir. Patricia Riggen et Gabriel Ripstein réaliseront le projet.

Netflix prépare une série sur la relation passionnée, et franchement chaotique, entre Frida Kahlo et Diego Rivera. Adaptée du roman Rien n’est noir, elle promet une vision plus intime et moins mythifiée des deux artistes.

#Netflix #FridaKahlo #DiegoRivera #SeriesTV

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Museo Anahuacalli is a must. Diego Rivera's homage to ancient Mexico — built from volcanic rock, filled with stunning mosaics & pre-Columbian art. Every detail is pure artist. 🏛️🇲🇽
#MuseoAnahuacalli #DiegoRivera #MexicoCity #VisitMexico #PreColombianArt #CulturalTravel

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Diego Rivera, "Still Life," oil on canvas, 1916; Saint Louis Art Museum. #abstract #abstractart #abstractpainting #modernart #diegorivera #mexico #art #arte #pinturas #peintures #paintings #oiloncanvas #museum #artgallery

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#Mexico #Photography #Chapultepec #DiegoRivera

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once upon a time in #méxico

#diegorivera #rivera #mural #murales #movimientomuralista

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‘Diego Rivera (1886 – 1957) was a prominent Mexican painter born in Guanajuato. He was an active communist, and the husband of painter Frida Kahlo. His large wall works in fresco helped establish the Mexican Mural Renaissance. Between 1922 and 1953, Rivera painted murals among others in Mexico City, Chapingo, Cuernavaca, San Francisco, Detroit, and New York City. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York.’
https://poulwebb.blogspot.com/2021/01/fortune-magazine-part-1.html

‘Diego Rivera (1886 – 1957) was a prominent Mexican painter born in Guanajuato. He was an active communist, and the husband of painter Frida Kahlo. His large wall works in fresco helped establish the Mexican Mural Renaissance. Between 1922 and 1953, Rivera painted murals among others in Mexico City, Chapingo, Cuernavaca, San Francisco, Detroit, and New York City. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York.’ https://poulwebb.blogspot.com/2021/01/fortune-magazine-part-1.html

#Fortune for #MARCH 1932
Illustration by Diego Rivera (1886-1957 👉ALT)
Cover of *Fortune*, March 1932
#FortuneCover #illustration #illustrationart #illustrationartists #DiegoRivera #USSR #RedSquare #Moscow

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#WomanInTheWindow306
#FrauAmFenster
#FemmeALaFenêtre
#MujerEnLaVentana
#art
#DiegoRivera

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#DiegoRivera

Paisaje zapatista (1915).

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Palacio des Bellas Artes is a must see #photography #travel #CDMX #MexicoCity #Mexico #BellasArtes #DiegoRivera #ArtDeco #BlueSkyArtShow #round (ish)

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#DiegoRivera inspired generations of Mexicans and others to see the strength of the common man and workers in his art.

#Mexico
#Mural
#SocialismWorks

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Mexican artist Diego Rivera painted this in Paris during his Cubist period, and it is also a candid portrait of his life there. A standing woman is his first wife, the artist Angelina Beloff, speaking with their friend and fellow artist Alma Dolores Bastián (nicknamed “Moucha”), who is seated. The setting is tied to their Montparnasse building at 26, Rue du Départ for an everyday studio world reframed through the avant-garde grammar of multiple viewpoints and flattened space. 

The two women fill a tall canvas built from crisp, interlocking planes. At left, Alma, in a white dress, reclines in a chair. Her bent arm and hands gather around a small book, its warm cover a rare block of earthy color amid cool grays. At right, Angelina, in a deep blue dress, leans slightly forward, hands clasped at her waist as if pausing mid-thought. Their faces, hair, and bodies are “broken” into facets with cheeks, collarbones, and sleeves suggested through angled shapes rather than smooth contour … so we experience them as both people and architecture. Behind the two ladies, a simplified Paris skyline rises in stacked blocks, turning rooftops and walls into a rhythmic backdrop. The mood is intimate but unsentimental showing two artists sharing space, attention, and conversation inside a modern city that feels close enough to press against the figures.

The Arkansas Museum of Fine Arts notes Rivera looked out on a “vast sea of rooftops” with a “rumble of trains” nearby, a sensory detail that fits the painting’s angular pulse of city and motion. The work’s comparatively lighter palette hints at Rivera’s next turn when he moved away from abstraction and toward socially legible imagery. Within a few years, shaped by revolution and the impact of Italian frescoes, he redirected his ambition into murals meant for broad public audiences, carrying this hard-won modern structure into storytelling about workers, politics, and Mexican history.

Mexican artist Diego Rivera painted this in Paris during his Cubist period, and it is also a candid portrait of his life there. A standing woman is his first wife, the artist Angelina Beloff, speaking with their friend and fellow artist Alma Dolores Bastián (nicknamed “Moucha”), who is seated. The setting is tied to their Montparnasse building at 26, Rue du Départ for an everyday studio world reframed through the avant-garde grammar of multiple viewpoints and flattened space. The two women fill a tall canvas built from crisp, interlocking planes. At left, Alma, in a white dress, reclines in a chair. Her bent arm and hands gather around a small book, its warm cover a rare block of earthy color amid cool grays. At right, Angelina, in a deep blue dress, leans slightly forward, hands clasped at her waist as if pausing mid-thought. Their faces, hair, and bodies are “broken” into facets with cheeks, collarbones, and sleeves suggested through angled shapes rather than smooth contour … so we experience them as both people and architecture. Behind the two ladies, a simplified Paris skyline rises in stacked blocks, turning rooftops and walls into a rhythmic backdrop. The mood is intimate but unsentimental showing two artists sharing space, attention, and conversation inside a modern city that feels close enough to press against the figures. The Arkansas Museum of Fine Arts notes Rivera looked out on a “vast sea of rooftops” with a “rumble of trains” nearby, a sensory detail that fits the painting’s angular pulse of city and motion. The work’s comparatively lighter palette hints at Rivera’s next turn when he moved away from abstraction and toward socially legible imagery. Within a few years, shaped by revolution and the impact of Italian frescoes, he redirected his ambition into murals meant for broad public audiences, carrying this hard-won modern structure into storytelling about workers, politics, and Mexican history.

“Dos Mujeres” (Two Women) by Diego Rivera (Mexican) - Oil on canvas / 1914 - Arkansas Museum of Fine Arts (Little Rock, Arkansas) #WomenInArt #DiegoRivera #Rivera #ArkansasMuseumofFineArts #ArkMFA #Cubism #PortraitofWomen #art #AMFA #artText #BlueskyArt #MexicanArt #CubistArt #pintura #MexicanArtist

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#DiegoRivera,
Señorita Matilde Palou, (1951)

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#CasaAzul the home of #FridaKhalo and #DiegoRivera. #Mexico #MexicoCity January 2026

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Fallece Guillermo Monroy, adiós al discípulo de Frida Kahlo Muere a los 102 Guillermo Monroy, discípulo de Frida Kahlo: legado muralista, Medalla de Oro Bellas Artes y despedida oficial desde Morelos. Guillermo Monroy Becerril, pintor, muralista, dibujante y g...

Fallece Guillermo Monroy, adiós al discípulo de Frida Kahlo #GuillermoMonroy #FridaKahlo #DiegoRivera #Muralismo #ArteMexicano #BellasArtes #INBAL #Cuernavaca #Morelos #LosFridos #Cultura #HistoriaDelArte #12defebrero #felizjueves donporque.com/fallece-guil...

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Lupe Marín sits on a woven, rustic bench in a spare studio interior. She has medium-brown skin, short dark hair swept up, and small earrings. Her white dress falls in broad, heavy folds across her lap with a pale belt at the waist. Both hands are clasped firmly over one knee, the knuckles and tendons modeled with weight and warmth. Thick silver bangles circle each wrist, and a strand of turquoise beads with a carved pendant rests at her chest, paired with a closer, shell collar. Her posture is upright with shoulders set, chin slightly lifted, and mouth parted as if mid-breath. She gazes upward and away from us. Behind her, a mirror leans against a wall reflecting a red-brown window frame and her own presence in a quieter register. The floorboards almost glow honey-yellow, grounding the scene in everyday material life. Rivera’s palette keeps the whites luminous without erasing texture so the portrait feels both intimate and monumental.

Painted in 1938, this portrait treats Marín not as just an accessory to Mexican artist Diego Rivera. She was one of his recurring models and an incisive cultural presence in her own right. The studio setting in San Ángel and the emphasis on “Mexican” space and adornment situate her within postrevolutionary modernity as a woman framed by national symbols yet refusing to be reduced to them. The doubled image created by the mirror turns the work into a meditation on identity and how a public figure is seen, and how she might see herself when no one is asking her to pose. That same year, Rivera produced portraits connected to Marín’s novel “La única” (published in 1938), a sharp, scandal-stirring literary portrait of her circle. Beside that context, her upward glance can feel like casual independence while her clasped hands insist on self-possession. The painting becomes less a “muse” image than a declaration that Lupe Marín as author of her own narrative, can be depicted with paint, but not contained by it.

Lupe Marín sits on a woven, rustic bench in a spare studio interior. She has medium-brown skin, short dark hair swept up, and small earrings. Her white dress falls in broad, heavy folds across her lap with a pale belt at the waist. Both hands are clasped firmly over one knee, the knuckles and tendons modeled with weight and warmth. Thick silver bangles circle each wrist, and a strand of turquoise beads with a carved pendant rests at her chest, paired with a closer, shell collar. Her posture is upright with shoulders set, chin slightly lifted, and mouth parted as if mid-breath. She gazes upward and away from us. Behind her, a mirror leans against a wall reflecting a red-brown window frame and her own presence in a quieter register. The floorboards almost glow honey-yellow, grounding the scene in everyday material life. Rivera’s palette keeps the whites luminous without erasing texture so the portrait feels both intimate and monumental. Painted in 1938, this portrait treats Marín not as just an accessory to Mexican artist Diego Rivera. She was one of his recurring models and an incisive cultural presence in her own right. The studio setting in San Ángel and the emphasis on “Mexican” space and adornment situate her within postrevolutionary modernity as a woman framed by national symbols yet refusing to be reduced to them. The doubled image created by the mirror turns the work into a meditation on identity and how a public figure is seen, and how she might see herself when no one is asking her to pose. That same year, Rivera produced portraits connected to Marín’s novel “La única” (published in 1938), a sharp, scandal-stirring literary portrait of her circle. Beside that context, her upward glance can feel like casual independence while her clasped hands insist on self-possession. The painting becomes less a “muse” image than a declaration that Lupe Marín as author of her own narrative, can be depicted with paint, but not contained by it.

“Retrato de Lupe Marín” by Diego Rivera (Mexican) - Oil on canvas / 1938 - Museo de Arte Moderno (Mexico City, Mexico) #WomenInArt #MuseoDeArteModerno #MAM #MexicanArt #DiegoRivera #Rivera #ModernArt #WomenPortraits #LupeMarín #LupeMarin #arte #pintura #artText #MexicanArtist #art #PortraitofaWoman

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A large black-and-white image of Diego Rivera mounted on a museum wall looks directly toward the entrance of the men’s restroom, creating a humorous contrast between monumental art and an everyday space.
Una gran imagen en blanco y negro de Diego Rivera montada en la pared de un museo mira directamente hacia la entrada del baño de hombres, creando un contraste humorístico entre el arte monumental y un espacio cotidiano.

A large black-and-white image of Diego Rivera mounted on a museum wall looks directly toward the entrance of the men’s restroom, creating a humorous contrast between monumental art and an everyday space. Una gran imagen en blanco y negro de Diego Rivera montada en la pared de un museo mira directamente hacia la entrada del baño de hombres, creando un contraste humorístico entre el arte monumental y un espacio cotidiano.

Diego just wants to make sure you put the seat back down.

Diego solo quiere asegurarse de que bajes la tapa del asiento.

#DiegoRivera #CDMX #MexicoCity #bathroom

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🇺🇸 La presidenta presentará estos actos como iniciativas del gobierno mexicano, 🇲🇽 aunque la realidad es diferente. A pesar de meses de denuncias, extorsiones y abusos, no se logró frenar al arrogante y criminal #DiegoRivera.

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#Mexican authorities arrested the #mayor of the city of #Tequila who has been accused of collaborating with a drug #cartel to extort #liquor manufacturers.

#DiegoRivera was arrested along with the city's security chief and several other officials.
TV2
📸AP

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#DiegoRivera
Portrait of Guadalupe (1926)

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Frida Kahlo: vida, obra y legado cultural de la artista mexicana Frida Kahlo: vida, arte y legado cultural. Descubre cómo transformó el dolor en identidad, feminismo y símbolo del arte mexicano universal

La apasionada historia de amor y arte entre Frida Kahlo y Diego Rivera sigue fascinando al mundo ❤️‍🔥 Descubre cómo su matrimonio influyó en su obra y su rol en el muralismo mexicano.

Artículo imperdible:
www.cincofrentes.com/2026/01/pers...

#FridaKahlo #DiegoRivera #ArteMexicano #MuralismoMexicano

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Diego Rivera, "Two Women and a Child," oil on canvas, 1926; Fine Arts Museums of San Francisco. #diegorivera #mexico #mexicanart #women #modernart #painting #oiloncanvas #arte #art #peinture #museum #artgallery

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Happy pub day to #JohnSayles & his glorious epic novel CRUCIBLE!

I spoke with him about it & much more. @melvillehouse.bsky.social
#HistoricalFiction #HenryFord #LabourMvt #DiegoRivera #FridaKahlo #Detroit #Fordlandia

thestar.com/entertainmen...

Treat yourself or ask for it at your #library.

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