Portrait of My Father (Wilhelm Kahlo) - Frida Kahlo
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A poignant 1951 portrait of Wilhelm Kahlo by his daughter, Frida Kahlo, capturing her father's professional identity and personal history.
This portrait depicts Wilhelm Kahlo, the artist's father, a German-Hungarian photographer who emigrated to Mexico. Painted in 1951, the work demonstrates Kahlo's technical precision and her personal connection to her subject. The composition is structured around a frontal view of her father, who is dressed in a formal suit, reflecting his professional demeanour. To his side, a camera is positioned, acknowledging his trade as a photographer, which was a significant influence on Kahlo's own visual development.
The background features a textured, golden-brown surface that creates a sense of warmth and age, reminiscent of old photographic prints. Kahlo's application of paint is controlled, focusing on the clarity of her father's features, particularly his eyes, which convey a sense of introspection. The painting includes a handwritten inscription at the bottom, a common feature in Kahlo's work, which provides biographical details about her father, noting his profession, his struggle with epilepsy, and his resistance against the political climate of his time.
Unlike many of her more surrealist compositions, this piece remains grounded in a realistic tradition, though it retains the emotional weight characteristic of her oeuvre. The choice of masonite as a support allows for a smooth surface, enabling the fine detail seen in the rendering of the suit and the camera equipment. The work functions as a tribute, capturing the likeness of a man who played a formative role in the artist's life. It avoids excessive ornamentation, keeping the focus entirely on the subject's presence and the narrative provided by the artist's own hand in the lower section of the frame.
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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
Portrait of My Father (Wilhelm Kahlo) - 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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