Self Portrait as a Tehuana - Frida Kahlo
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Beskrivning
A 1943 self-portrait by Frida Kahlo, depicting the artist in traditional Tehuana dress with an image of Diego Rivera on her forehead.
Frida Kahlo painted this self-portrait in 1943, during a period of significant emotional turmoil in her marriage to Diego Rivera. The work depicts the artist wearing the traditional costume of the Tehuana women from the Isthmus of Tehuantepec, a matriarchal society she admired. The attire, specifically the white lace headdress known as a resplandor, frames her face like a halo or a spiderweb.
Central to the composition is the small image of Diego Rivera positioned directly on Kahlo's forehead, between her signature eyebrows. This placement suggests his constant presence in her thoughts. The fine, dark lines radiating from the lace headdress across the background create a sense of entrapment or connection, reinforcing the psychological weight of the relationship.
Kahlo employs a flat, frontal perspective typical of her portraiture, which draws inspiration from Mexican retablo paintings and folk art traditions. The colour palette is restrained, focusing on the stark white of the lace against a warm, earthy background. Her expression remains stoic, a common feature in her self-portraits that masks internal suffering with a composed exterior. The floral crown atop her head adds a decorative element that contrasts with the sombre nature of the subject matter. This piece provides a clear view into the artist's internal state, where personal identity and romantic obsession intersect. The meticulous detail in the lace and the symbolic placement of the portrait within a portrait demonstrate her technical precision and her ability to externalise complex emotional states through visual metaphor.
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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
Self Portrait as a Tehuana - 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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