From the Mexican realism artist, Diego Rivera, comes this bold print from his original painting 'Peasants, 1947' which depicts life in Mexico as these to peasants work in the blistering heat. His art work was best known for it's controversial and political themes and his portfolio contains mostly large wall murals and other large paintings. He was an atheist and was not afraid to make his views known both through his paintings and public speaking. This colourful print will make an excellent addition to any home with it's bold colours and strong outlines, which really represent the artist and his outgoing, carefree personality.

He had done something that few artists have ever done: he’d given a nation an identity. Rivera put his stamp on Mexico the way Bernini placed his on Rome. It is impossible to think of Mexico today without also seeing the images of Diego Rivera.

The enigmatic Nocturnal Landscape, from 1947, is one of the most seductively beautiful in the show. A group of peasants lounges in a tree whose trunks weave a serpentine pattern through the darkness. A donkey stares out of deep night shadows. And an eerie artificial light illuminates the group. Expressions are hidden, effaced, as individual figures blend into the landscape. Rivera's brilliant palette creates a quiet, melancholy tone for the scene of modest spectators at what was likely the filming of John Huston's The Treasure of the Sierra Madre. He loved films himself and, in this picture, reveals his sense of irony. That night's audience of peasants who worked the Sierra Madre would probably never be able to see its portrayal on film.

This might now seem to be a platitude: it was not a platitude when Rivera was painting his first great public works in the 1920s. His ideas and desires were made powerful by his art, and I've come to think that Rivera was one of the great artists of the century. He brought to his walls immense gifts as a draftsman and colorist; he added a genius for spatial organization, which in his finest works led to paintings in which every part is welded to the whole. He also suffused those works with a passion for the intimate. His beloved peasants, for example, are almost always both specific and universal. So are his conquistadores and his urban workers, his corrupt politicians and his heroic revolutionaries. He looked at individuals and made archetypes.