Tree of Hope, Remain Strong - Frida Kahlo
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A powerful 1946 self-portrait by Frida Kahlo, exploring themes of physical pain and resilience through a dualistic composition.
Painted in 1946, Tree of Hope, Remain Strong (Árbol de la esperanza, mantente firme) is a significant work by Mexican artist Frida Kahlo. The composition is divided into two distinct halves, reflecting the duality of the artist's physical state following a series of spinal surgeries. On the left, a figure lies on a hospital trolley, back exposed to reveal surgical scars. On the right, Kahlo sits upright in a chair, wearing a traditional Tehuana dress and holding a back brace.
The background features a barren, cracked earth beneath a sky containing both a sun and a moon. This juxtaposition of celestial bodies reinforces the theme of binary opposition. Kahlo holds a small flag bearing the title of the painting, which serves as a personal mantra. The work employs a precise, almost clinical style of representation, yet the subject matter is deeply personal and symbolic.
Kahlo's use of colour is deliberate, with the deep red of her dress contrasting against the muted, earthy tones of the desert floor. The hospital trolley and the surgical apparatus are rendered with stark clarity, grounding the surreal elements of the composition in the reality of her medical history. This piece provides a clear view into the artist's internal experience of pain and recovery, using visual metaphors to communicate her resilience. The painting remains a primary example of how Kahlo utilised her own body as a subject to explore themes of suffering, identity, and endurance.
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. 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.
Care and materials
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
- 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
Tree of Hope, Remain Strong - 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.'
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like