Self Portrait with a Portrait of Diego on the Breast and Maria Between the Eyebrows - Frida Kahlo
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Beschreibung
A late-career self-portrait by Frida Kahlo, featuring symbolic imagery of Diego Rivera and Maria Felix.
This work, completed in 1954, represents one of the final paintings by the Mexican artist Frida Kahlo. It displays her characteristic approach to self-portraiture, where personal identity merges with symbolic imagery. The composition features the artist in a frontal pose, accompanied by a black cat, while a small, circular portrait of her husband, Diego Rivera, appears on her chest. A faint, ghostly image of Maria Felix is visible between her eyebrows, reflecting the complex personal relationships that defined her later years.
The painting exhibits a departure from her earlier, more precise technical style. The brushwork is looser, and the application of paint appears more hurried, which corresponds to the physical decline Kahlo experienced towards the end of her life. The colour palette is dominated by earthy tones, punctuated by the stark red of the circular emblem above her head. The background is simplified, suggesting a barren, mountainous horizon that provides little context, forcing the viewer to focus entirely on the psychological state of the subject.
Kahlo often used her own image to document her physical pain and emotional turmoil. In this piece, the inclusion of Diego Rivera serves as a reminder of his constant presence in her thoughts, despite their volatile marriage. The work is not a traditional likeness but a visual record of her internal world. It remains a significant example of her late-career output, demonstrating how she continued to use the medium of oil on masonite to externalise her experiences until the final months of her life.
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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 with a Portrait of Diego on the Breast and Maria Between the Eyebrows - 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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