Fruit of Life - Frida Kahlo
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A late-period still life by Frida Kahlo, featuring tropical fruit, celestial symbols, and a network of red lines representing organic vitality.
Fruit of Life, painted in 1953, is a late work by the Mexican artist Frida Kahlo. The composition presents a collection of tropical fruits, including watermelon, bananas, and oranges, arranged in a manner that departs from traditional still life conventions. Kahlo incorporates symbolic elements, such as a small white dove and celestial bodies, which introduce a narrative quality to the arrangement. The sun and moon appear in the upper corners, casting a warm, atmospheric glow over the produce.
The painting is characterised by a dense, web-like network of red lines that overlay the fruit. These lines suggest veins or roots, connecting the organic matter to the surrounding space. This technique creates a sense of unity between the objects and the environment. The colour palette is dominated by warm tones, with the red of the watermelon and the sun contrasting against the yellow of the bananas and the white of the dove. The brushwork is direct, reflecting the physical challenges Kahlo faced during the final years of her life.
Unlike her earlier, more precise compositions, this work displays a looser application of paint. The word 'Luz' (light) is inscribed in the lower right corner, alongside the artist's signature. This inclusion suggests a preoccupation with themes of vitality and illumination. The work functions as a meditation on the cycle of nature and the presence of life within the domestic sphere. By integrating cosmic symbols with everyday objects, Kahlo invites the viewer to consider the interconnected nature of the physical world. The painting remains a distinct example of her late-period style, where personal symbolism and observation merge into a singular, expressive vision.
Política de devoluciones
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Envío
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Fruit of Life - 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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