Real client case
Real client case reviewed by ConfirmArt for El amigo de Frida, attributed or related to Diego Rivera. The public page presents selected visual evidence and a rendered report viewer without exposing the private commissioned PDF.
Selected evidence
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The head is compact and almost block–hewn, with a broad forehead tapering to a short chin. Shoulders slope gently; the upper arms are shortened by the emphatic fold of the forearms, which cross in a tight X over the knees. The hands are indicated schematically: knuckles as blunt ridges, digits rendered by brief, parallel strokes.
The painting is housed in a solid-wood, walnut-toned frame with stepped, beveled profiles and an inner dark band functioning as a fillet. The finish is hand-stained with a satin sheen. The frame is of robust construction and presents the work with a close, window-like opening that reinforces the frontal, monumental character of the composition.
Diego Rivera, El amigo de Frida , 1931. Oil on canvas, 91.3 55.1,cm. Signed and dated lower left
Two period documents preserved on the reverse substantiate authorship, date, and early provenance: Mexican customs tag (marbete). Preprinted card EL MODELO, MEX.-REF. 17525" completed in ink: destination office Veracruz" ; passenger Diego Rivera" ; date 11–6–31" ; with officer's signature.
A side–by–side comparison of the recto inscription with published autograph samples of Diego Rivera's signature (Castagno, American Artists: Signatures and Monograms, 1800--1989 ) reveals multiple inconsistencies in ductus, letter formation, rhythm, and date numerals: .48 Authenticated samples, c.,1928--1937 (Castagno). .48 Authenticated variants and numerals (Castagno). .48 Submitted work: recto inscription ...
44 The 1931 original, oil on canvas, 91.3 \times 55.1 cm. .55 Submitted work (copy after Rivera); note shorter vertical format and enlarged floor band. Front comparison: proportions and spatial balance.
Rivera's original employs granular, impasted transitions---warm terra-rosa half tones set against cool modifiers---that "turn" forms (calves, knees, toes) convincingly. The copy substitutes planar, leathery shadows; toes are rendered by short, blocky dabs with little nail-bed differentiation (fig. In the original, the white cotton is constructed with chiseled highlights and palpable body; the copy shows broad, pasty bends without structural logic to the folds.
Visual assessment based on the provided high–resolution photographs of recto and verso (fig. ); raking illumination is inferred from specular highlights. Observations refer to current, as–seen state; no solvent, UV or X-ray tests were available at time of writing. .48 Recto (overall). .48 Verso (overall). General views used for condition assessment
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