Still Life with Parrot and Watermelon - Frida Kahlo
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A 1951 still life by Frida Kahlo featuring a vibrant arrangement of Mexican fruits and a green parrot against a deep blue backdrop.
Frida Kahlo painted this still life in 1951, during a period when her health was in decline and her mobility was increasingly restricted. The composition features a collection of Mexican fruits, including oranges, a prickly pear, and a prominent slice of watermelon, arranged against a deep blue background. A small green parrot sits perched near the watermelon, adding a touch of life to the arrangement.
Kahlo often used the genre of still life to explore themes of identity and national pride. By choosing native fruits, she grounded her work in the culture of her homeland. The application of paint is deliberate, with a focus on the textures of the fruit skins and the pulp of the watermelon. The blue background provides a stark contrast to the warm tones of the fruit, creating a sense of depth despite the relatively flat arrangement of the objects.
This work is characteristic of Kahlo's later output, where she turned her attention toward subjects that allowed for a more controlled environment. While her earlier works often featured complex narratives or self-portraits, this piece focuses on the observation of form and colour. The parrot, a recurring motif in her work, acts as a companion within the frame. The painting is signed and dated in the lower left corner, a common practice for the artist during this decade. The work remains a clear example of her ability to imbue everyday objects with a sense of personal meaning and cultural context.
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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
Still Life with Parrot and Watermelon - 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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