Still Life (Round) - Frida Kahlo
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Beschreibung
A circular still life by Frida Kahlo, featuring a detailed arrangement of Mexican fruits, vegetables, and flora.
Frida Kahlo produced this circular composition in 1942, demonstrating her engagement with the traditional genre of still life painting. Unlike her more autobiographical self-portraits, this work focuses on the botanical and organic forms native to Mexico. The painting is contained within a circular wooden frame, which dictates the arrangement of the subjects. A central, halved squash serves as the primary element, revealing its fibrous interior and seeds. Surrounding this are various fruits, vegetables, and fungi, including garlic, plums, and citrus, all rendered with precise attention to texture and form.
Kahlo incorporates elements of the natural world that appear frequently in her wider body of work, such as butterflies and moths, which rest upon the produce. The composition is framed by a dense wreath of flowers and leaves, creating a sense of containment and abundance. The dark, moody background provides a contrast to the warm, earthy tones of the vegetation, drawing the eye toward the centre of the piece.
This work reflects Kahlo's interest in Mexican identity and the natural environment. By choosing a circular format, she departs from the conventional rectangular canvas, forcing a different spatial logic upon the viewer. The arrangement is balanced yet dense, avoiding the emptiness often found in minimalist compositions. The lighting is controlled, suggesting a studio setting where the artist could observe the decay and growth of her subjects with clinical precision. While the work lacks the overt psychological trauma present in her other paintings, it remains a clear example of her technical skill and her ability to imbue everyday objects with a sense of gravity and presence. The inclusion of insects and specific botanical specimens suggests a scientific curiosity, linking her artistic practice to the broader tradition of natural history illustration.
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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
Still Life (Round) - 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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