My Nurse and I - Frida Kahlo
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Beschreibung
A poignant 1937 oil painting by Frida Kahlo, depicting the artist as a child held by her indigenous wet nurse, blending personal history with symbolic imagery.
Painted in 1937, My Nurse and I is a significant work within the oeuvre of Frida Kahlo. The composition depicts the artist as a small child with an adult head, cradled in the arms of her indigenous wet nurse. The nurse wears a pre-Columbian mask, which obscures her features and creates a sense of detachment. Kahlo explores themes of identity, nourishment, and the complex relationship between her European and Mexican heritage through this symbolic imagery.
The nurse provides milk to the child, yet the milk is replaced by a stream of liquid flowing from a plant held against her breast. This botanical element connects the human figure to the natural world, a recurring motif in Kahlo's practice. The background features rain falling against a dark, stormy sky, while large, lush leaves frame the figures on either side. The contrast between the rigid, mask-like face of the nurse and the vulnerable, realistic expression of the child creates a tension that defines the work.
Kahlo often utilised her own life experiences as the subject of her paintings. In this instance, she reflects upon her early childhood, during which she was cared for by an indigenous woman due to her mother's inability to nurse her. The painting is executed on a small metal sheet, a choice that aligns with the tradition of Mexican retablos or ex-votos. These small devotional paintings were typically created to give thanks for a miracle or recovery from illness. By adopting this format, Kahlo elevates her personal narrative to a level of ritualistic importance. The work remains a clear example of her ability to blend autobiography with cultural symbolism, resulting in a visual language that is both personal and universal in its exploration of human connection and origin.
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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
My Nurse and I - 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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