Still Life with Flag - Frida Kahlo
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Beschreibung
A late-career still life by Frida Kahlo, featuring a collection of fruit and a Mexican flag rendered with expressive, textured brushwork.
Still Life with Flag, completed in 1954, represents one of the final works by the Mexican artist Frida Kahlo. This painting depicts a collection of fruits, including watermelons and citrus, arranged upon a surface. The composition is notable for its heavy application of paint and the inclusion of a small Mexican flag, which provides a specific national context to the domestic subject matter.
Kahlo often utilised the still life genre to explore themes of identity and mortality. In this particular work, the fruit is rendered with a tactile quality, showing the artist's interest in the physical presence of objects. The watermelon, a recurring motif in her later output, is presented in segments, revealing the interior texture of the fruit. The dark, moody background contrasts with the bright, saturated tones of the oranges and the red of the watermelon, creating a sense of weight and gravity within the frame.
Unlike her earlier, more precise portraits, this work displays a looser, more expressive brushwork. The paint is applied with visible texture, suggesting a sense of urgency or perhaps a reflection of the artist's declining health during her final year. The flag, positioned towards the back of the arrangement, acts as a quiet assertion of her Mexican heritage. This piece offers an insight into the artist's late-career focus on the material world, moving away from the complex symbolic narratives of her earlier self-portraits towards a more direct engagement with the objects of her immediate environment. The work remains a significant example of her ability to imbue everyday items with a sense of personal history and national pride, maintaining her distinct visual language until the end 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
Still Life with Flag - 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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