A remarkable portrait of Aurea Procel, painted by Diego Rivera in 1929, is set to change locations, likely moving to Houston in December before its exhibition in January 2026 at the Museum of Fine Arts.
The painting, often referred to as “the Mexican Mona Lisa,” is currently held by a trustee who prefers to remain anonymous and wishes to emphasize the significance of the artwork rather than her own role.
Procel, who was an influential figure in her time as the first female Mexican doctor and a dedicated feminist, was just 18 years old when Rivera immortalized her on canvas.
The portrait, inscribed with the words “Para Aurea Procel” (For Aurea Procel) in elegant cursive, captures her dressed in the traditional Tehuana costume, symbolizing femininity and cultural heritage.
Expert Will Maynez, who has long been associated with Rivera’s works, reflects on the unique context in which Rivera produced this masterpiece. At the time, Rivera had just married the famous artist Frida Kahlo and had been expelled from the Mexican Communist Party, suggesting that his art was deeply influenced by his personal life.
In 1929, Rivera painted a second, larger portrait of Procel titled “Tehuana (Aurea Procel).” Initially intended for Alfred Honigbaum, who bought the smaller piece for $500, Procel’s portrait was ultimately chosen due to its refined style, anticipating the refined tastes of the American audience at that time.
An article from the San Francisco Examiner in 1930 described the portrait as “the most striking of all” works in Honigbaum’s extensive collection, praising its simple yet masterful composition and mesmerizing light.
Indirect family ties to Honigbaum have led to the portrait now hanging in a home in Cow Hollow, where its anonymous trustee is navigating the complexities of its future.
As the trustee prepares for the painting’s journey to Houston and then London, an appropriate permanent home for such a significant work becomes crucial.
Alfred Honigbaum, the portrait’s first owner, made his fortune in the dried fruit industry during a time when global demand surged. His success allowed him to pursue art collecting, leading him to Mexico, where he would eventually purchase Rivera’s portrait.
Honigbaum’s diverse and valuable collection also included works by Frida Kahlo, photographs by Tina Modotti and Dorothea Lange, and pieces from Roberto Montenegro, underscoring the various connections he had in the art world.
Despite being a successful entrepreneur, Honigbaum lived as a childless bachelor, leaving a complex inheritance situation after his death.
The portrait of Aurea Procel was vital not just as a piece of art but also as a pivotal work marking Rivera’s impact on the American art scene. It is hoped the painting will remain in the Bay Area, capturing the essence of Rivera’s enduring connection to San Francisco.
Rivera’s strong ties to the city are notable, as it is the only American city he visited twice, enriching the local art community and establishing many friendships.
In contrast to the destruction of his mural at Rockefeller Center in New York City, Rivera’s works in San Francisco, including the famous mural “Pan-American Unity” at City College and others in prominent locations, have been celebrated.
Rivera’s influence on San Francisco’s art scene can not be underestimated; when his work was vandalized in New York, muralists at Coit Tower halted their own projects in protest, recognizing Rivera as a revered figure in their community.
The upcoming exhibitions promise to shine a spotlight on Rivera’s legacy, showcasing the intricate beauty of the painting and its historical significance in the context of 20th-century Mexican art and its impact on American culture.
image source from：missionlocal
