Portrait of Virginia (Little Girl) - Frida Kahlo
Archival giclée
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Description
A 1929 portrait by Frida Kahlo depicting a young girl in a green dress, rendered with the artist's characteristic focus on directness and folk-art simplicity.
Painted in 1929, this portrait depicts a young girl named Virginia, a subject Kahlo captured with a direct, unadorned gaze. The composition is straightforward, placing the sitter centrally against a divided background of deep violet and warm ochre. The girl wears a green dress adorned with a small, repetitive floral pattern, finished with delicate white lace at the sleeves. Her dark hair is parted in the centre, framing a face that exhibits the characteristic intensity often found in Kahlo's early portraiture.
Kahlo's approach to this work reflects her interest in the aesthetic traditions of Mexican folk art, or arte popular. The flat application of colour and the deliberate lack of complex perspective align with the stylistic choices she made during this period of her career. Unlike her later, more surrealist-leaning self-portraits, this piece focuses on the quiet observation of the sitter. The chair back, visible behind the girl, provides a simple structural anchor for the figure, while the contrast between the cool tones of the dress and the warm background creates a balanced visual tension.
This painting is an example of Kahlo's early technical development, showing her ability to render texture, such as the lace trim, while maintaining a sense of stillness. The work avoids unnecessary ornamentation, allowing the personality of the subject to remain the primary focus. It provides insight into the artist's early practice, where she often painted friends, family, and acquaintances in a manner that prioritised clarity and emotional presence over complex narrative or symbolic layering. The painting remains a clear representation of her early mastery of portraiture and her ability to capture the gravity of childhood.
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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. See our refunds page for full details.
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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.
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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
- Multiple sizes and framing options available
- 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
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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
Portrait of Virginia (Little Girl) - 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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