Portrait of My Father (Wilhelm Kahlo) - Frida Kahlo
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Beschreibung
A poignant 1951 portrait of Wilhelm Kahlo by his daughter, Frida Kahlo, capturing her father's professional identity and personal history.
This portrait depicts Wilhelm Kahlo, the artist's father, a German-Hungarian photographer who emigrated to Mexico. Painted in 1951, the work demonstrates Kahlo's technical precision and her personal connection to her subject. The composition is structured around a frontal view of her father, who is dressed in a formal suit, reflecting his professional demeanour. To his side, a camera is positioned, acknowledging his trade as a photographer, which was a significant influence on Kahlo's own visual development.
The background features a textured, golden-brown surface that creates a sense of warmth and age, reminiscent of old photographic prints. Kahlo's application of paint is controlled, focusing on the clarity of her father's features, particularly his eyes, which convey a sense of introspection. The painting includes a handwritten inscription at the bottom, a common feature in Kahlo's work, which provides biographical details about her father, noting his profession, his struggle with epilepsy, and his resistance against the political climate of his time.
Unlike many of her more surrealist compositions, this piece remains grounded in a realistic tradition, though it retains the emotional weight characteristic of her oeuvre. The choice of masonite as a support allows for a smooth surface, enabling the fine detail seen in the rendering of the suit and the camera equipment. The work functions as a tribute, capturing the likeness of a man who played a formative role in the artist's life. It avoids excessive ornamentation, keeping the focus entirely on the subject's presence and the narrative provided by the artist's own hand in the lower section of the frame.
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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
Portrait of My Father (Wilhelm Kahlo) - 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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