A Few Small Nips - Frida Kahlo
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Beschreibung
A visceral 1935 work by Frida Kahlo, inspired by Mexican retablos, depicting a scene of domestic violence with stark, symbolic imagery.
Frida Kahlo painted A Few Small Nips in 1935, a period marked by personal turmoil following the discovery of her husband Diego Rivera's affair with her sister, Cristina. The work draws inspiration from the Mexican tradition of retablos, or votive paintings, which often depict miraculous events or tragic accidents. Kahlo subverts this format by presenting a scene of domestic violence.
The composition features a man standing over a wounded, nude woman lying on a bed. Both figures are splattered with blood, which extends beyond the canvas onto the wooden frame itself. This physical extension of the paint blurs the boundary between the depicted event and the viewer's space. Above the figures, a banner bears the title, Unos cuantos piquetitos, a phrase taken from a newspaper report about a man who murdered his partner and claimed he had only given her a few small nips. A white dove and a black bird flank the banner, adding a layer of dark irony to the grim subject matter.
Kahlo employs a flattened perspective and simplified forms, characteristic of her engagement with folk art aesthetics. The stark contrast between the yellow floor, the blue walls, and the red blood creates a jarring visual experience. The painting functions as a direct response to her own emotional suffering, translating private agony into a public, albeit cryptic, narrative. By adopting the visual language of popular religious art to document a secular crime, Kahlo critiques the trivialisation of violence against women. The work remains a stark example of her ability to merge personal autobiography with broader social commentary, using the medium of oil on metal to achieve a clinical, yet visceral, finish.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
A Few Small Nips - Frida Kahlo
Artist Biography
Frida Kahlo
She had already been ill. Polio at six left her right leg thinner than her left, a disproportion she hid with long skirts. The bus accident compounded everything. She would have thirty-five operations over her lifetime. Pain was the background condition of her work, though reducing her paintings to autobiography misses what she actually did with the medium.
She married Diego Rivera in 1929. He was twenty years older, already Mexico's most famous muralist, and physically twice her size. Her parents called the marriage a union between an elephant and a dove. They divorced in 1939, remarried in 1940, and continued a relationship that was mutually unfaithful, politically intense, and artistically competitive. Rivera said she was the better painter. He may have been right.
Her paintings are small. Most are self-portraits. They use the visual language of Mexican folk art, ex-votos, and Aztec mythology, combined with a physical directness that makes Surrealism look polite. Andre Breton called her a Surrealist. She disagreed: 'I paint my own reality.' She was right about that too.
She died in 1954 at forty-seven. Her diary entry for the last day reads 'I hope the leaving is joyful and I hope never to return.'
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