Self Portrait with Loose Hair - Frida Kahlo
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A 1947 self-portrait by Frida Kahlo, featuring the artist with loose hair and a descriptive scroll, rendered in her signature precise style.
Painted in 1947, this work captures Frida Kahlo at the age of forty. The composition features the artist in a frontal pose, her dark hair falling loose around her shoulders. She wears a traditional garment with a yellow embroidered panel, a recurring element in her wardrobe that reflects her connection to Mexican heritage. Behind her, a textured, stone-like wall provides a stark contrast to the softness of her features, while a hanging plant adds a touch of organic form to the background.
At the base of the painting, a scroll contains a handwritten inscription in Spanish. It identifies the artist, her age, the date of creation, and her birthplace in Coyoacán. This inclusion of text is a characteristic device in Kahlo's work, often used to anchor the image in a specific time and place. The painting demonstrates her precise brushwork and her ability to blend personal narrative with symbolic representation.
Kahlo's self-portraits often function as a form of visual diary. In this instance, the direct gaze and the inclusion of the scroll suggest a deliberate act of self-documentation. The palette is warm, dominated by ochre, deep red, and the dark tones of her hair. The work avoids the complex, dream-like imagery found in some of her other pieces, opting instead for a grounded, almost documentary quality. It remains a clear example of her technical approach to portraiture, where the subject is presented with both vulnerability and authority. The painting is currently held in a private collection, representing a specific moment in the artist's later career when she was reflecting on her identity and her physical presence in the world.
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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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- 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
Self Portrait with Loose Hair - 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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