Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Självporträtt: Ramen - Frida Kahlo
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
Säker utcheckning
Tillverkad på beställning
Beskrivning
Frida Kahlos "Självporträtt: Ramen", målad 1938, visar konstnärens distinkta stil och personliga symbolik. Verket har en dekorativ ram med blommiga motiv och fåglar, som omger Kahlos direkta och fängslande självbild.
Målad 1938 är Frida Kahlos "Självporträtt: Ramen" ett slående exempel på hennes unika förhållningssätt till självrepresentation. Kahlo, en mexikansk konstnär känd för sina intensivt personliga och ofta självbiografiska verk, skapade detta under en period av betydande konstnärlig utveckling. Målningen presenterades för André Breton, en ledande figur inom surrealismen, som imponerades av Kahlos verk. Den ingår nu i samlingen på Centre Pompidou i Paris. Självporträttet avbildar Kahlo omgiven av en dekorativ ram, som i sig är en integrerad del av kompositionen. Ramen har levande blommiga motiv och stiliserade fåglar, som speglar mexikanska folkkonsttraditioner. Kahlos ansikte är återgivet med en direkt blick, hennes karaktäristiska enögda och subtila uttryck förmedlar både styrka och sårbarhet. Bakgrunden är en blandning av blommiga mönster och abstrakta former, som skapar en drömlik atmosfär. Användningen av olja på glas ger målningen en lysande kvalitet och förstärker den surrealistiska effekten.
Returpolicy
Eftersom varje tryck görs på beställning erbjuder vi inte returer, återbetalningar eller byten på grund av ändrade åsikter. Om din beställning kommer fram felaktig, skadad eller fel, ersätter vi den kostnadsfritt – kontakta oss bara inom 48 timmar efter leverans. Se vår återbetalningssida för fullständig information.
Frakt
Vi skickar till hela världen och trycker vid den produktionsanläggning som är närmast din leveransadress. Leveranstider och kostnader varierar beroende på destination – du ser tillgängliga alternativ i kassan.
Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
Komplettera looken
Självporträtt: Ramen - Frida Kahlo
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Frida Kahlo
Kahlo started painting after a bus crash. She was eighteen, on her way home from school in Mexico City, when the bus was hit by a streetcar. A metal handrail pierced her pelvis. Her spinal column was broken in three places. Her collarbone, two ribs, and her right leg were fractured. She spent months in a full body cast, and her mother had a special easel built so she could paint lying down.
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.'
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.'
Våra funktioner
Utformad för varaktig inverkan
Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Varför välja oss?
Leveransgaranti utan skador
Snabb leverans
Material av museikvalitet
Artistbiografi
Frida Kahlo
Kahlo started painting after a bus crash. She was eighteen, on her way home from school in Mexico City, when the bus was hit by a streetcar. A metal handrail pierced her pelvis. Her spinal column was broken in three places. Her collarbone, two ribs, and her right leg were fractured. She spent months in a full body cast, and her mother had a special easel built so she could paint lying down.
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.'
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.'
Du kanske också gillar