Nature morte Frida Kahlo (1907-1954)

The composition presents a still life arrangement centered around a dark bear wearing a yellow construction helmet. The background is a flat, deep blue-green hue that provides stark contrast to the objects in the foreground. A variety of fruits are arranged around the animal: lemons, oranges, a grapefruit cut open to reveal its interior, and what appears to be a melon. These items are rendered with a certain degree of realism, though their colors are intensified and somewhat flattened, contributing to an overall sense of heightened reality rather than strict naturalism.
The bear’s presence is immediately striking due to its unusual anthropomorphism; the helmet suggests a purposeful activity or role, disrupting the conventional expectations of a still life. The animals gaze is direct, engaging the viewer with a peculiar intensity. A small flag affixed to the bear bears handwritten text in Spanish: Soy de Samuel Fastlicht. Me pinto con todo cariño, Frida Kahlo, en 1951, Coyoacán. This inscription reveals that the bear belonged to Samuel Fastlicht and was painted with affection by the artist in 1951 in Coyoacán.
The arrangement of fruit evokes a sense of abundance and perhaps even indulgence. The cut grapefruit, in particular, draws attention to the interiority of things, suggesting vulnerability or exposure. The presence of ripe fruits can be interpreted as symbols of fertility, life cycles, and the passage of time – common themes explored within still life traditions.
The combination of these elements – the anthropomorphic bear, the vibrant fruit, and the personal inscription – creates a complex interplay of meaning. It is likely that the work explores themes of companionship, affection, and perhaps even a playful commentary on identity or ownership. The inclusion of the handwritten note transforms the still life from a purely aesthetic object into something deeply personal and narrative-driven, blurring the lines between artist, subject, and audience. The bear’s unusual attire and direct gaze suggest a deliberate disruption of traditional genre conventions, inviting viewers to consider the relationship between representation, identity, and emotional connection.