Self-Portrait with Bonito - Frida Kahlo
Archival giclée
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Description
Frida Kahlo's "Self-Portrait with Bonito", painted in 1941, features the artist with her pet parrot amid dense foliage, reflecting themes of identity and Mexican heritage. The work exemplifies Kahlo's distinctive style and personal symbolism.
Painted in 1941, Frida Kahlo's "Self-Portrait with Bonito" presents the artist in a characteristic frontal pose, surrounded by lush foliage and accompanied by a yellow-headed parrot, known as a Bonito. Kahlo's direct gaze engages the viewer, while the parrot perched on her shoulder adds a touch of the exotic and personal. The leaves behind her create a dense, almost claustrophobic backdrop, typical of her self-portraits that often incorporate elements of nature and Mexican identity. Kahlo's self-portraits are explorations of her identity, pain, and resilience. This work is no exception, blending personal symbolism with broader cultural references. The Bonito parrot, native to Central and South America, may represent companionship or a connection to her heritage. The leaves, possibly depicting tropical plants, further root the painting in a specific geographical and emotional context. Kahlo's unibrow and slight moustache are rendered with unflinching honesty, challenging conventional beauty standards and asserting her unique presence. The painting's composition is relatively simple, with a focus on Kahlo's face and the surrounding elements. The colour palette is restrained, with earthy greens and browns contrasting with the bright yellow of the parrot and the blue background. This creates a sense of balance and harmony, even as the painting hints at deeper emotional complexities.
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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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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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.
Self-Portrait with Bonito - Frida Kahlo
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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
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- Frames in black, natural wood, dark wood or white
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Care & Cleaning
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- 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
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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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