About This Artwork

Diego Rivera
Mexican, 1886–1957

The Weaver, 1936

Tempera and oil on canvas
66 x 106.7 cm (26 x 42 in.)
Signed lower right: Diego Rivera. 1936

Gift of Josephine Wallace KixMiller in memory of her mother, Julie F. Miller, who purchased the painting from the artist at his studio in Mexico in 1936, 1998.529

© 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

A leader of the Mexican muralist movement in the 1920s who sought to challenge social and political iniquities, Diego Rivera often turned to indigenous themes to foster pride in Mexican culture. In The Weaver, Rivera focused on the centuries-old tradition of weaving with a back-strap loom. The woman, a well-known weaver and popular artists’ model named Luz Jiménez, appears intently focused on creating the intricate red, blue, white, and black pattern of the fabric that is rolled up in her lap. Placed against the spare background of Rivera’s studio, the weaver’s actions take on greater significance, giving her life and craft a poignant grace and quiet dignity.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Art Institute of Chicago, They Seek a City: Chicago and the Art of Migration, 1910-1950, March 3-June 3, 2013, cat. 49.

Publication History

Museo Nacional de Artes Plasticas, Exposicion de Homenaje Nacional, Diego Rivera: 50 Años de Su Labor Artistica, (México, D.F.: Instituto Nacional de Bellas Artes, 1951) as Hilando, no. 534, n.pag.

Consejo Nacional para la Cultura y Las Artes, Diego Rivera: Caltálogo General de Obra de Caballete (México, D.F.: Instituto Nacional de Bellas Artes, 1989).

Judith A. Barter et al., "American Modernism at the Art Institute of Chicago, From World War I to 1955," (Art Institute of Chicago/Yale University Press, 2009), cat. 111.

Ownership History

Diego Rivera; sold by him to Julie F. Miller, 1936; by descent to daughter, Josephine Wallace KixMiller, Englewood, Fla., 1998; given by her to the Art Institute, 1998.

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