Self-Portrait (1941) - Frida Kahlo
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Beschreibung
A striking 1941 self-portrait by Frida Kahlo, capturing the artist's direct gaze and traditional Mexican styling.
This 1941 self-portrait by Frida Kahlo captures the artist in a moment of direct, unflinching gaze. Kahlo, a central figure in twentieth-century Mexican art, frequently utilised the self-portrait format to explore themes of identity, physical pain, and cultural heritage. In this work, her hair is styled in an elaborate updo, a recurring motif in her visual vocabulary that references traditional Mexican aesthetics. The composition is tight, focusing on the facial features, with her signature unibrow and steady eyes meeting the viewer directly.
The background is a muted, earthy tone, which allows the subject to emerge with clarity. The artist includes her name and the location, Mexico, in the upper portion of the frame, a common practice in her work that anchors her identity within her national context. The brushwork is precise, reflecting her training and her ability to render form with a controlled, deliberate hand. Unlike the more surreal or symbolic elements found in her larger compositions, this piece remains grounded in the observation of her own likeness.
Kahlo's work often draws from the retablo tradition, a form of Mexican folk art that influences the scale and directness of her portraits. By placing herself against a neutral ground, she removes external distractions, forcing an engagement with the subject's psychological state. The subtle application of colour in her dress, visible at the lower edge of the frame, provides a contrast to the sombre tones of the background. This print offers a clear reproduction of the original oil on masonite, maintaining the tonal balance and the specific character of Kahlo's brushwork. It is a study in self-presentation, documenting the artist's appearance during a specific period of her life in Coyoacán.
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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
Self-Portrait (1941) - 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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