Diego Rivera
La ofrenda (The Offering)
Amid a backdrop of verdant botanical life, three figures gather at an altar to honor the dead. Rivera’s scene depicts el Día de los Muertos (the Day of the Dead), a Mexican celebration in which the deceased are invited to commune with the living through an altar set with welcoming offerings.
The composition of La ofrenda creates an implied ring that connects the figures to the altar, suggesting the circle of life that unites the living with the dead. After the Mexican Revolution (1910-1920), Rivera was invested in Mexico’s cultural revitalization.
The artist’s passionate respect for the splendor and resilience of Indigenous Mexican culture is evident here. A garland of marigolds, omnipresent in Día de los Muertos celebrations, and symbolic of life’s exquisite fragility, is draped across a nopal cactus, which represents survival and appears on Mexico’s coat of arms.
La ofrenda reflects the beauty and cultural endurance of post-revolution Mexico, demonstrating Rivera’s belief that “the artist is a direct product of life ... and a reflector of the aspirations, the desires, and the hopes of his age.”
Diego Rivera
48 3/4 × 60 1/2 in. (123.8 × 153.7 cm) Framed: 59 13/16 × 71 7/8 in.
Art Bridges
1931
Oil on canvas
AB.2017.19
l.l.: Diego Rivera 1931
Frances Flynn Paine, New York, NY; Abigail Greene Aldrich Rockefeller [1874-1948], New York, NY, 1931; given to Museum of Modern Art, New York, NY, 1936; Lanyon Gallery, Palo Alto, CA, 1963; Private Collection, United States; (Sotheby’s, New York, NY), November 27, 1984, lot 18; to Private Collection, Dallas, TX; to (Sotheby’s, New York, NY), May 24, 2005, lot 7; to Private Collection, New York, NY; Mexico City, Mexico; La Jolla, CA; to (Christie’s Private Sales, London, England); purchased by Art Bridges, TX, 2017
The Jordan Schnitzer Museum of Art (JSMA) at the University of Oregon created three innovative programs for their Art Bridges-funded project, which focused on two loans from the Art Bridges collection, Diego Rivera’s La ofrenda (1931) and Rufino Tamayo’s Perro allando al la luna (1942). These Mexican masterworks were on display from September 2018 through September 2019.
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