Portrait of Miguel N. Lira - Frida Kahlo
Giclée de archivo
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Pago seguro
Hecho bajo pedido
Descripción
An early portrait by Frida Kahlo from 1927, featuring the writer Miguel N. Lira surrounded by symbolic folk and religious motifs.
Painted in 1927, this portrait depicts the Mexican writer and poet Miguel N. Lira. It is one of the early works by Frida Kahlo, created during a period when she was developing her distinct visual language. The composition is dense with symbolic elements that reflect the cultural atmosphere of post-revolutionary Mexico, incorporating motifs from folk art and religious iconography.
Miguel N. Lira is shown in profile, dressed in a formal dark suit. He is surrounded by a collection of objects that suggest his intellectual and personal interests. To his left, a winged figure with a halo appears, reminiscent of colonial religious paintings. Other elements include a toy horse, a lyre, a small doll, and a skull, which introduce a sense of the macabre often found in Mexican traditions. The inclusion of these objects, alongside the text integrated into the background, creates a narrative quality that moves beyond a standard likeness.
Kahlo uses a flat, deliberate application of paint, drawing upon the aesthetic of retablos, or small devotional paintings. This style allows her to arrange disparate objects in a way that feels both personal and staged. The dark background contrasts with the lighter tones of the face and the symbolic items, drawing the viewer to the subject while inviting them to interpret the surrounding imagery. The work provides insight into the social circle of the artist during her youth, capturing a specific moment in her development before her later, more widely recognised self-portraits. It remains a clear example of her ability to blend personal history with the broader visual culture of her country.
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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
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- Manténgala en un lugar seco y a temperatura ambiente
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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
Portrait of Miguel N. Lira - 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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