The Deceased Dimas - Frida Kahlo
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Beschreibung
A 1937 oil painting by Frida Kahlo depicting a deceased child, Dimas Rosas, adorned with flowers in the Mexican 'angelito' tradition.
Painted in 1937, The Deceased Dimas is an early example of Frida Kahlo's engagement with the Mexican tradition of the 'angelito'. This custom involves the depiction of a deceased child, often dressed in ceremonial clothing and adorned with flowers, as a way to celebrate their perceived transition into a state of innocence. The subject, a young boy named Dimas Rosas, is shown lying on a woven petate mat. He wears a crown and a yellow robe, with a green cloak draped over his shoulders. A pink ribbon is tied around his waist, providing a contrast to the muted tones of the mat and the dark green fabric.
Kahlo surrounds the figure with an array of flowers, including marigolds and sunflowers, which are common in Mexican funerary rites. A small religious image is tucked behind his head, resting against a white pillow. The composition is flat, reflecting the influence of Mexican retablo painting, a form of folk art that Kahlo collected and admired throughout her life. The child's expression is calm, and his hands are folded across his chest. At the bottom of the frame, a small scroll contains an inscription identifying the subject and the date of his death. This work demonstrates Kahlo's interest in the intersection of life and death, as well as her connection to the cultural practices of her home country. The painting is a direct observation of a specific event, rendered with the precision and symbolic clarity that defined much of her early output. By focusing on the material details of the scene, such as the texture of the mat and the specific types of flora, Kahlo creates a quiet, observational record of a mourning ritual.
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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
The Deceased Dimas - 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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