Portrait of Lupe Marín - Frida Kahlo
Archival giclée
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Description
A 1929 portrait by Frida Kahlo featuring Lupe Marín, characterised by a direct gaze and a background of stylised botanical elements.
This portrait depicts Lupe Marín, a model and the former wife of Diego Rivera. Painted in 1929, the work reflects the early development of Frida Kahlo's personal style, which draws upon both European portraiture traditions and the aesthetic of Mexican folk art. The subject is positioned centrally, her gaze meeting the viewer with a direct, composed expression. Her arms are crossed, a posture that suggests a sense of reserve or self-containment. The background consists of large, stylised leaves that create a dense, flattened space behind the figure. Smaller, delicate flowers are scattered across the lower portions of the composition, providing a contrast to the broader forms of the foliage. This arrangement of botanical elements is a recurring feature in Kahlo's early work, often used to frame her subjects and introduce a sense of natural order. The lighting is even, avoiding dramatic shadows to maintain a clear, legible form. Kahlo's approach to the figure is precise, with a focus on the structural features of the face and the texture of the clothing. The painting avoids excessive ornamentation, allowing the personality of the sitter to remain the primary focus. By placing Marín within this curated, semi-natural environment, Kahlo creates a portrait that feels both intimate and detached. The work offers a glimpse into the social circles of the Mexican art scene during the late 1920s, capturing a contemporary figure through the lens of Kahlo's developing artistic vision.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Portrait of Lupe Marín - Frida Kahlo
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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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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