frida kahlo and pat mora essay

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Unraveling the tapestry of frida kahlo's childhood and familial turmoil, unraveling the tapestry of frida kahlo's childhood and familial turmoil, by georgia modi.

Frida Kahlo, "Self-Portrait Wearing a Velvet Dress" (1926), photograph colored by oil, Museo Frida Kahlo, Mexico City, Mexico

"I do not like to influence others. I would not like to become famous. I have done nothing deserving of acknowledgment in my life" – Frida Khalo, 1950

Born on July 6th, 1907, in Coyoacán, Mexico, Frida Kahlo was an acclaimed Mexican artist known for her captivating and vibrant self-portraits. Despite experiencing numerous physical and emotional struggles throughout her life, Kahlo's art became a powerful expression of her pain, resilience, and identity. Her unique style, influenced by Mexican folk culture and surrealism, has made her an iconic figure in the art world.

Beneath the vibrant hues and thought-provoking imagery lies a childhood and a web of familial dynamics that profoundly shaped her artistic genius. To truly comprehend Kahlo's iconic creativity, one must embark on a journey into her formative years, where joy and adversity coalesced to paint the canvas of her life.

Early Life: A Dance with Illness and Inspiration In the kaleidoscope of Coyoacán, Mexico City, on July 6th, 1907, Magdalena Carmen Frida Kahlo y Calderón was born into a world of contrasts. Four weeks after she was born, her grandmother, "… 'la señora Isabel González Viuda de Calderón,' brought her granddaughter to the civil registrar in Coyoacán". It was here that Frida officially got her name. Guillermo Kahlo, her father, and a skilled photographer, recognized the ember of artistic brilliance within his daughter and gently fanned it into a roaring flame. Frida imbibed the intoxicating aroma of photography from an early age, which infused her unique vision.

A significant influence in her work seems to stem from Frida's relationship with her mother. It was complex and multifaceted. While there is limited information available about their specific dynamics, it is known that their bond underwent various challenges and transformations throughout Frida's life.

Author Gannit Ankori describes Kahlo's painting "My Birth" (1932) as a reflection of "… a troubled mother-daughter relationship" and how "…the beginning of life is conflated with death." Ankori goes on to mention how close friends of Frida viewed their relationship from the outside looking in. It was said that the interactions that they saw were often strained, even saying that it was a "very cold and negative relationship."

"My Birth," a profoundly personal painting, challenges conventions and invites viewers to intimately explore life, birth, and identity. This striking piece offers a raw and unflinching depiction of the artist's conception, intertwining vulnerability, pain, and transformation themes.

Kahlo presents a surreal and dynamic representation of the moment of her arrival into the world. The composition is dominated by the figure of Kahlo's mother, Matilde Calderón y González, lying on a bed, her face shrouded in a white sheet. The anguish and intensity of childbirth are palpable, symbolizing the primal forces of creation and the physical and emotional burdens women endure.

Sources indicate that Frida had a close relationship with her mother during childhood. A devout Catholic, Matilde instilled a solid religious background and spiritual values in Frida. Frida's mother encouraged her artistic pursuits and recognized her talent from an early age. Matilde's support and the influence of Frida's father helped lay the foundation for her creative development.

However, Frida's relationship with her mother became strained as she grew older. Some sources suggest that this strain stemmed from Frida's rebellious nature, her pursuit of a non-traditional lifestyle, and her unconventional choices in relationships and art. It is believed that Frida's independent and outspoken nature clashed with her mother's more conservative views, leading to tension and a sense of misunderstanding between them.

Life continued to deal young Frida a harsh blow. At the tender age of six, polio unleashed ravages upon her, etching an indelible mark of physical infirmity. This profound affliction became the crucible in which her artistic identity was forged, as she discovered solace and self-expression through the captivating medium of art.

"At the age of six, I had poliomyelitis. From then on, I remember everything clearly. I spent nine months in bed. It all started with a terrible pain in my right leg, from the thigh downward. They washed my little leg in a small tub with walnut water and hot compresses. The little 'paw' stayed very skinny."

The illness left her right leg significantly weakened and caused her to develop a limp. This physical setback was a defining moment in her life, as it marked a drastic change in her mobility and led to a series of medical interventions and treatments throughout her childhood and adolescence.

As a result of polio, Frida experienced a sense of otherness and physical isolation from her peers. She often endured pain and discomfort, contributing to her enduring spirit and resilience. During her recovery, Frida turned to art as a means of self-expression and escapism, using painting to navigate her pain and explore her inner world.

Frida Kahlo, "The Broken Column" (1944), oil on Masonite, Museo Dolores Olmedo, Xochimilco, Mexico City, Mexico

One of the most well-known works of art stemming from her experience with polio is the painting "The Broken Column" (1944). In this powerful and profoundly introspective self-portrait, Kahlo depicts herself naked, split down the middle, revealing her damaged spine as a shattered column. Nails pierce her flesh, symbolizing the excruciating pain she endured due to polio and a tragic bus accident she suffered in her teenage years. "The Broken Column" is a poignant representation of her physical and emotional suffering, yet it also showcases her unwavering strength and determination to confront her pain head-on.

"Throughout her life, Kahlo's polio-stricken leg remained deformed. Its condition further deteriorated as the limb became infected with tumors, ulcers, and, ultimately, gangrene. This necessitated numerous medical treatments and surgical operations until finally, in July 1953, Kahlo's right leg was amputated below the knee."

Another notable work influenced by her polio is "The Two Fridas" (1939). In this striking double self-portrait, Kahlo portrays two versions of herself, both with exposed hearts, connected by a shared artery. One Frida wears a white European-style dress, while the other dons a traditional Tehuana dress. This painting is believed to explore Frida's identity crisis, brought on by her struggle with polio's physical and emotional aftermath. The image hints at her internal conflict between her Mexican heritage and her European influences, highlighting the duality of her existence and her efforts to reconcile the different facets of her identity.

Frida Kahlo, "The Two Fridas" (1939), oil on canvas, Museo de Arte Moderno, Mexico City, Mexico

Frida's self-portraits, in general, were deeply influenced by her polio and other health issues. Through these portraits, she delved into themes of pain, vulnerability, and resilience, using her art to self-express and self-exploration.

The Accident

Polio was not the only life-threatening experience in Kahlo's life. At eighteen, Frida was in a "…near-fatal car accident that devasted her body." On September 17th, 1925, she boarded a bus in Mexico City with her boyfriend after school. Not long into their journey, an electric tram collided with the bus, resulting in the deaths of several people. Frida endured numerous injuries, including a fractured spinal column, broken collarbone, ribs, pelvis, and multiple fractures in her right leg. She had to undergo numerous surgeries and spent a significant amount of time in recovery, during which she started to explore painting.

The physical impact took a significant toll, causing chronic harm for the rest of her life. She endured more than 30 surgeries to try to correct her injuries. This led to a sense of physical fragmentation. She began to use her art to reclaim her body and express her identity in the face of physical challenges. "Her father, Frida said, reacted so strongly and was so overcome by grief that he became extremely ill and could come to the hospital only after twenty days. Although there is evidence to the contrary, she claimed that her mother did not come to see her at all, reiterating her strong ongoing sense of maternal abandonment."

Frida Kahlo, "The Accident" (1926), pencil on paper, Collection of Juan Cornel, Cuernavaca, Mexico

The accident and its aftermath became a central theme in Kahlo's artwork. She turned to self-portraiture to explore her experiences, physical and emotional pain, and identity. Her self-portraits often depicted her injuries, surgeries, and the physical and emotional anguish she endured. Objects like medical braces, thorns, and shattered bodies appeared in her paintings as metaphors for pain, suffering, and the fragility of life.

"At the time of the accident in 1925 – the major fault line that shattered Kahlo's youthful promise – the eighteen-year-old was engaged in an intensive process of intellectual, emotional, and political growth… It began in 1922 when Kahlo transferred to the prestigious National Preparatory School in Mexico City. Before that, her schooling was, to use her own words. 'mediocre but secular."

"Memory" is yet another striking self-portrait painted by Frida Kahlo in 1937. Kahlo employs bold colors, meticulous detailing, and reflective symbolism in this artwork to convey her inner emotions and personal experiences.

In the painting, Frida Kahlo is seen against a vivid blue background that contrasts her attire's red, earthy tones. She wears a traditional Tehuana dress, a garment often featured in her self-portraits to represent her Mexican identity and heritage. She stands next to an empty school uniform, meant as a symbol of her as a child. "The painting is multivalent and highly symbolic, but on one level, it may be viewed as a visualization of Kahlo's 'metamorphosis' from childhood to adulthood."

Frida Kahlo, "Memory, the Heart" (1937), oil on metal, collection of Michel Petitjean, Paris, France

The most notable feature of the painting is the way Kahlo presents her image. Her body appears to be split vertically, revealing a shattered, barren landscape. This motif of exposing the inner self is a recurring theme in Kahlo's work, and "Memory" is no exception. Alongside are two empty garments, one representing a school uniform, another stand-in of her childhood.

School Years "The National Preparatory School, according to Alejandro Gómez Arias (1906-1990), changed the introverted little girl into a voracious reader, an outspoken personality with a 'touch of genius,' a sophisticated young woman who was deeply immersed and seriously committed to Mexican culture, political activism and issues of social justice." Kahlo's formal education in Mexico was shaped by her family background, political climate, and health challenges. She attended the National Preparatory School, also known as the Escuela Nacional Preparatoria, one of Mexico's most prestigious educational institutions. At the time, it was unusual for a woman to attend such a school, reflecting Kahlo's determination and the support of her father.

Frida's time at the National Preparatory School was marked by her association with the politically active and artistic community. She became involved in various social and political movements, including the Mexican Revolution, greatly influencing her later art.

Over time, Kahlo's interest in Mexico grew. She and her classmates began exploring the "…layered histories, archaeology, customs, languages, literature, folk art, film, and peoples." We learn from Ankori that this insatiable search for knowledge led her into the world of art history books that dived into the cultures of other places around the globe. It did not stop there, though. She plowed through books of prose, poetry, literature, and pop culture. Her diverse repertoire had her consuming works by North American, Russian, Spanish, Mexican, Latin American, French, and German writers, and this eventually led to her meeting and befriending "..many of the literary luminaries of her time.”

Her love for reading led to her amassing an extensive collection of books consisting of 25 biographies, nine of which were dedicated to influential women such as Catherine of Aragon, Catherine the Great, George Sand, and Margaret Sanger – the woman's rights activist, as well as books on communism, socialism, and science.

Frida Kahlo's maturation was intricately tied to the dynamic revolutions of the early twentieth century, encompassing the Mexican Revolution, the Russian Revolution, and the Freudian Revolution. Her profound and enduring exploration of history, politics, science, psychology, literature, and culture commenced during her formative years as a curious and intellectually engaged teenager at her elite school. Kahlo's evolution was not solely social but tightly interwoven with her intellectual development.

Around this time, Kahlo became part of a group known as "Los Cachuchas." They were a political group whose name came from the peaked cloth caps they wore that acted as a sign of subversion against the strict dress code of the time. While membership of this group seemed relatively informal, it is believed that there were nine key members, Frida being one of them.

The group leader, Alejandro Gómez Arias, wrote, "We, 'Los Cachuchas,' were anarchically happy, and we spent our ingenuity writing verses, lighting rockets, and studying in our own way. Did I say studying? It would be a bit pious to say that we were studying in those days. We actually devoured books on a variety of subjects, but especially literature." The group eventually parted ways, but a few members remained close friends.

These friends visited Frida during her recovery from the accident and were fortunate to receive many of her early works of art. Miguel N. Lira (1905-1961) ended up with several pieces, including at least four of her more minor paper works and two crucial paintings. One of the latter pieces, now known as "Pancho Villa y La Adelita" (1927), is an unfinished oil painting depicting Kahlo and her friends leading an active social life in cafes. There is evidence suggesting that Kahlo revisited the central self-portrait a year later. Potentially frustrated by its unconventional composition, she set it aside in an incomplete state rather than opting to finish or discard it. While the central image at the top of the painting features the revolutionary leader Pancho Villa, it is not prominently positioned enough to make him the primary subject. Instead, Frida takes the spotlight. Kahlo does not depict herself as "Adelita," the female soldier who inspired several "Villista" ballads. Her attire, characterized by a fashionable and elegant dress, starkly contrasts with the simple shirts, blouses, bandoliers, and military hats worn by female soldiers in contemporary photographs.

"Contrary to prevailing notions regarding the trajectory of Kahlo's biography, her life had its share of complications and drama long before she met Rivera and even before the fateful accident. In an interview in 1950, Kahlo confided that during their time together, Gómez Arias was simultaneously involved in a homosexual relationship with Jesús Ríos Ibúñez y Valles, one of their classmates nicknamed Chucho Paisajes. 'I fell in love with Gómez Arias, and he with me… Gómez Arias and I were sweethearts. But Alejandro was in love at the same time with Chucho Paisajes, whom he screwed. Chucho Paisajes and I would talk of our mutual infatuation with Gómez Arias, and we would give each other advice. Chucho Paisajes, to this day, continues to be in love with him… I never had anyone who loved only me. I have always shared love with another.'"

Ankori outlines how this idea of "shared love" was not exclusive to her relationship with Gómez Arias, as Kahlo also dealt with a deep-seated rivalry with her sister, Christina. However, this wasn't the only instance as there also "…was the aforementioned crush and apparent sexual liaison with her teacher, Sara Zenil, which she reluctantly 'shared' with two classmates." Unfortunately, this continued into adulthood with her relationship with Diego Rivera (1886-1957). This seemingly continued a trend that was established in her early years, characterized by mutual infidelities and homoerotic undertones.

"Kahlo's voluminous correspondence from this period exposes additional gaps that pervaded her conflict-ridden adolescence and painful transition into womanhood."

Coming of Age It was not long after Frida Kahlo's life-alternating accident that her relationship with Gómez Arias ended. While Frida struggled with that for a time, it eventually led to the beginning of her and Diego Rivera, her lifelong partner.

Her initial encounter with Rivera occurred in 1922 as Diego worked on the mural "La Creación" at the Simón Bolívar Amphitheater in a senior high school in Mexico City. Kahlo was among the pioneering women who pursued studies at the renowned San Ildefonso campus. She was only 15 at the time, while Rivera was 36.

Riviera and Kahlo officially met in 1928 when she joined the Mexican Communist Party. Kahlo was still a student, but Rivera was already a celebrated artist. They married the following year in what was to be the beginning of a tumultuous but intense romantic relationship.

"It was an unusual relationship that spanned almost three decades and has been variously understood and misunderstood. Both Kahlo and Rivera provided a plethora of textual and visual testimonies – factual, fabricated or fictitious – regarding their relationship." Both artists greatly influenced each other's work. Rivera, a prominent muralist, influenced Kahlo's interest in Mexicanidad (Mexican identity), while Kahlo's surrealist and intensely personal style left a lasting impact on Rivera's art.

"Rivera's portrait of Kahlo appears in a panel titled 'Distributing Arms' at the Secretaria de Educacion Publica in Mexico City and speaks volumes about his perception of his future wife…" so much so that when his friends had seen it they "…immediately remarked 'Diego has a new girl.'"

Diego Rivera's mural titled "The Arsenal" (also known as "Distributing Arms") is a significant work that forms around the long-standing themes of Mexican society, the Mexican Revolution, and Rivera's own personal social and political beliefs – all of which were found through much of his art.

The mural symbolizes Rivera's Marxist beliefs and his celebration of the working class. By depicting industrial processes, Rivera emphasized the workers' collective effort and the industry's transformative power. The inclusion of workers participating in the distribution of arms suggests a link between labor and power, and it aligns with Rivera's broader social and political views. Then, there is the way he depicts Frida, taking center stage in the middle of the hectic scene he created. "Kahlo stands at the center of this panel wearing what appears to be a man's red shirt with a red star fastened above the left pocket and a plain black shirt that is partially hidden behind a large wooden crate. Her cropped black hair, boyish facial features, and loose attire hide any trace of femininity."

This portrayal was quite the juxtaposition to the self-portraits that Frida painted of herself, specifically "Self-Portrait (Time Flies)," where she can be looking straight ahead, her neck elongated and adorned "…with a jade bead necklace; a white, lace-trimmed shirt emphasizes her firm round breasts; long and elaborate earrings further accentuate her femininity." This piece illustrates Frida's growing interest in Mexicanidad by representing her attire and native culture. She portrays herself through the lens of Diego's gaze.

"…the Rivera-Kahlo union was not always characterized by 'care' or devotion. Though they seem to have loved each other profoundly, they were sometimes extremely cruel to one another. Rivera's numerous and flagrant affairs with other women were a major source of pain for Kahlo."

Their relationship and feelings towards one another were easily encapsulated in how the two artists depicted each other in their artworks. Consider "Frieda and Diego Rivera" (1931), the renowned double portrait painted two years after their initial marriage, during their California Bay Area residence. While the ribbon gripped in the beak of the hovering pigeon in the top right corner may gleefully proclaim, "Here you see us, me, Frida Kahlo, with my dearest husband, Diego Rivera," this hardly paints a picture of unblemished marital happiness. The canvas, with its intersecting, asynchronous gazes and gradually disentangling hands, resonates with nuanced tensions. The relationship it captures is far from uncomplicated and resists easy captioning.

Their Travels The couple spent a notable period in San Francisco during the early 1930s, leaving an indelible mark on their lives and artistic careers. This vacation occurred as part of Rivera's commission to paint murals in the United States. While there, Kahlo actively participated in the artistic dialogue surrounding Rivera's mural project for the San Francisco Stock Exchange. The collaborative environment allowed for the exchange of ideas, and Frida's distinct artistic vision likely influenced the visual narratives of the murals.

Rivera's "Allegory of California" is a testament to his ability to synthesize complex themes into visually compelling and thought-provoking murals. The artwork captures the essence of California's multifaceted identity, blending its agricultural, industrial, and cultural richness into a harmonious and vibrant whole. At the heart of the mural is a colossal female figure, personifying the state of California. The figure is depicted with robust and dynamic features, emphasizing the strength and vitality of the state. Rivera's murals often have multifaceted narratives, and "Allegory of California" is no exception. Beyond a straightforward representation, the mural weaves diverse elements to create a layered story encompassing history, culture, and socio-economic aspects.

Ankori informs us that while in San Francisco, Frida wrote to her mother detailing her time with Rivera and her experiences within the city. In her letters, she reveals that she "…was becoming aware of the power of distinct ethnic costumes. This may have prompted her to cultivate further her exotic Mexican persona. Abroad, her indigenous Mexican costumes and sartorial flair were a unique and much-admired phenomenon. 'The gringas love me,' she wrote to her family." Embracing the spotlight, she flourished and delighted in the newfound freedom, gracing the lenses of top photographers, forming friendships with captivating individuals from diverse backgrounds, and approaching a fresh chapter of life with exuberance and inquisitiveness.

"Kahlo's extraordinary intellectual, artistic, and personal growth in San Francisco was captured by one of her new friends, the writer John M. Weatherwax (1900-1984) … In 1931, Weatherwax completed a dozen versions of an unpublished play and short story, both titled "The Queen of Montgomery Street." In these Manuscripts, the much adored 'Queen Frieda' comes to life … Kahlo's childlike exuberance, playfulness, and humor were among her most enduring characteristics, noted by her friends, even as her life force waned."

Subsequent descriptions of Kahlo's studio routine indicate that, except for periods of declining health, she maintained a diligent and swift work ethic until the final years of her life. Fanny Rabel, her student, her nurse Judith Ferreto, and her friend Natasha Gelman observed her meticulous approach to painting. Her thoughtfully selected paints and disciplined arrangement of brushes were imperative to her precision while executing her art in an organized fashion.

Frida and Diego continued their travels, returning to Mexico for some time before embarking on a journey to New York, where Rivera was set to have a solo exhibition at the Museum of Modern Art in December 1931. While in the city, Kahlo became part of the vibrant and avant-garde art scene. She befriended influential artists, such as Marcel Duchamp (1887-1968) and Georgia O'Keeffe (1887-1986), and connected with various cultural and political figures. These interactions broadened her artistic perspectives and allowed her to engage with different artistic movements of the time.

Her letters home continued and "…reflect her excitement and an unquenchable desire to see more and more." Art exhibitions, concerts, and movies were mainstays in her life during this period. However, while Frida filled her time with experiences and knowledge, this also led her to discover the underbelly of American life. In one of her letters home, she wrote about Fifth Avenue, where the "filthy rich" reside. "There is so much wealth and so much misery at the same time that it seems incredible that people can endure such class differences and accept such a form of life since thousands and thousands of people are starving of hunger while, on the other hand, the millionaires throw away millions on stupidities."

While Frida was acutely aware of the disparities within the city, its cultural diversity and dynamism still profoundly influenced her artistic style. Her exposure to modernist and avant-garde art scenes left a lasting impression on her work, contributing to the evolution of her unique and surrealist style. Even with this type of artistic growth, Frida began to feel homesick and tired of Rivera's extramarital affairs. However, their travels weren't over yet. They departed New York for Detroit, where he was commissioned to paint murals at the Detroit Institute of Art. At the same time, Frida learned that she was pregnant.

Maternity Not long into their stay in Detroit, Frida was dealt yet another life-altering blow when, at only three-and-a-half months pregnant, she miscarried and nearly bled to death. It was after this that she painted “Henry Ford Hospital.” The painting is a poignant and emotionally charged reflection of Kahlo's physical and emotional pain following such a tragic event.

The delicate red threads stretching from Frida's form to various elements in the painting hold profound symbolism, serving as conduits for emotional and physical connections to different facets of her life and the world. One thread leads to a fetus, starkly representing Kahlo's miscarriage—an intense manifestation of her pain and the emotional toll exacted by the traumatic event. Another thread guides us to a snail, symbolic of the gradual passage of time and the enduring nature of her physical suffering. This slow, deliberate movement of the snail contrasts poignantly with the immediacy of her pain. Positioned at the end of yet another thread, a flower unfolds as a complex symbol in Kahlo's artistic lexicon. It embodies both hope for motherhood and the poignant reality of loss encapsulated in the miscarriage.

Additionally, a mechanical object linked to Frida's body by a thread may signify the industrial and machine-like aspects of Diego Rivera's world, perhaps reflecting the strain in their relationship during the painting's creation. These threads painted red and resembling veins or arteries, symbolize the coursing life force of blood. Beyond their physical connection, they intricately mirror the emotional ties binding Frida to the symbolic elements that collectively narrate the profound complexities of her life.

“A rarely contested pillar of the Kahlo myth posits that since adolescence Frida’s greatest desire was to have Diego’s baby. Rivera himself perpetuated this tale and took care to emphasize it on every occasion.” Rivera even detailed this in his autobiography: "Since the age of 12, as a wild and precocious schoolgirl, she had been obsessed with the idea of having my baby. When asked her greatest ambition, she would announce to her flustered teachers and schoolmates: ‘To have a baby by Diego Rivera as soon as I can convince him to cooperate.” The way that Rivera seems to infantize her in this excerpt (seeing as how she was 15 in 1922) tells a lot about his feelings towards her and the ego surrounding himself. Despite what she may have said a decade later, the information documenting her perspective on motherhood unveils a profound sense of ambivalence and reluctance, suggesting a hesitancy to embrace motherhood rather than a strong desire or firm determination.

Two sources from this time shed immense light on the situation: a letter to Dr. Leo Eloesser, a friend she had made while in San Francisco, and a diary from Rivera’s assistant, who lived with the couple while in Detroit. The letter, in particular, tells us precisely what Kahlo was thinking and feeling, disproving the myth that Diego perpetuated sometime earlier. “…she bluntly reveals that her initial reaction once she found out she was pregnant was to abort the fetus. Having had an abortion under ‘more or less the same conditions’ two years earlier.” Throughout Kahlo’s life, she ended up having several miscarriages and at least three abortions. Knowing this makes the influence of trauma in work during this time straightforward.

Kahlo sought out her doctor in Detroit to terminate the pregnancy and was given medication. “Considering the state of health I’m in, I thought it would be best to abort, and I told him so, and he gave me a dose of ‘quinine’ and a strong purge of castor oil.” However, this attempt was unsuccessful, leading her doctor to try and convince her to keep the baby against her wishes. Frida outlines her concerns throughout the letter, sighting issues with hereditary problems such as her father’s epilepsy, her own weakened body, and Rivera’s lack of time and even desire to have a child. “I don’t think that Diego is very interested in having a child since he is very busy with his work, and he’s absolutely right. Kids would come in the third or fourth place.”

It is likely that Frida also considered how Rivera treated his other children and their mothers, leaving them to fend for themselves. Ankori discusses this in great detail, stating that her choice to abort was motivated by her fear of Rivera abandoning her. She also states how Lucienne Bloch’s eyewitness accounts of these events genuinely reflect Kahlo’s continued uncertainty and conflicting feelings regarding her pregnancy. Ankori cites testimonies and letters from Frida herself, her friend Ella Wolfe, and her sister, Matilde. All of which echoed concern for her health and her ambivalence towards being a mother. “This cluster of complex emotions is reflected most poignantly in the innovative artwork Kahlo produced after the miscarriage.” First, she produced pencil drawings as she did after her accident, and then, eventually, the prolific “Henry Ford Hospital” piece.

Kahlo’s lithograph stems from a particular genre of anatomical cosmologies that use medical illustrations. The intricate architecture of these designs often consisted of the sun and the moon, botanical illustrations, and several other images taken from scientific and mythic realms of human knowledge. “She would paint these structures with great detail — a reflection of the fact that she avidly studied medical books that she had access to.” Said Dr. Fernando Antelo (Department of Pathology Harbour-UCLA Medical Center).

From here, Kahlo likely grasped that the conventional roles of wife and mother wouldn't define her. Empowered by her art, she continually defied gender norms, shaped her identity, and explored fresh avenues of representation.

In tracing the intricate tapestry of Frida Kahlo's life, from the vivid hues of her childhood to the profound shadows cast by the events leading to her miscarriage in the early 1930s, a resilient spirit emerges. Kahlo's journey, marked by triumphs, trials, and the vibrant strokes of her artistic genius, embodies an unwavering commitment to self-expression, challenging societal norms, and transforming personal adversity into poignant art. The canvas of her life is a testament to an artist's indomitable spirit who, even in the face of profound pain, created a legacy that transcends time, leaving an indelible mark on the world of art and the human spirit.

Olga Campos, notes from an interview with Frida Kahlo, 27 October 1950, presented verbatim in Salomon Grimberg, Frida Kahlo: Song of Herself (London and New York, 2008), p. 107.

Ankori, Gannit, Frida Khalo October 15th, 2013 p. 18

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Ankori, Gannit, Frida Khalo October 15th, 2013 p. 68-69

https://scienceillustrated.com.au/blog/science/news/understanding-frida-kahlos-fertility-problems/

Ankori, Gannit, Frida Khalo October 15th, 2013 p. 69

Ankori, Gannit, Frida Khalo October 15th, 2013 p. 72-73

Ankori, Gannit, Frida Khalo October 15th, 2013 p. 76-77

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The Hidden Meanings In Frida Kahlo's Paintings

Explore the wonderful details included in the artist's works with the help of art camera.

By Google Arts & Culture

Words by Rebecca Fulleylove

Self-Portrait Dedicated to Leon Trotsky (1937) by Frida Kahlo National Museum of Women in the Arts

Frida Kahlo’s paintings have always been much more than simply depictions of herself or the world around her. Rather her artworks act as a tool of expression, a way for her to visually translate her memories and the complex ideas that ran through her mind. Her self-portraits in particular are laden with hidden details and rich symbolism that, once unpicked, reveal a deeper insight into the artist. Here, with the help of Art Camera , which has captured these works in incredible detail, we explore eight of Kahlo’s paintings to uncover the hidden meaning within them.

As the title suggests, this painting from 1937 was a gift to Leon Trotsky and commemorates the brief affair Kahlo had with the exiled Russian revolutionary leader shortly after his arrival in Mexico. It’s a flattering self-portrait of the artist, where she presents herself dressed elegantly in a long embroidered skirt, shawl and delicate gold jewelry. Her traditional attire alludes to a movement among Mexican artists working during the Revolutionary decade, which saw them reject European influences and return to their country’s roots and folk traditions. This influence can also be seen in the composition of the painting where Kahlo stands on what looks to be a curtained stage. This is reflective of Mexican vernacular paintings called "retablos" that Kahlo collected, which were devotional images of the Virgin or saints painted on tins.

In the painting, Kahlo stands confidently holding a bouquet of flowers and most interestingly a letter to Trotsky. Zooming in, we can see the letter reads: “To Leon Trotsky, with all my love, I dedicate this painting on 7th November 1937. Frida Kahlo in Saint Angel, Mexico”. This portrait comes at the end of the pair’s secret affair, which fizzled out after the summer months when Kahlo “grew tired” of Trotsky.

Retrato de Miguel N Lira (1927) by Frida Kahlo Instituto Tlaxcalteca de la Cultura

This portrait of the Mexican poet Miguel N. Lira was requested by the subject himself, who was a close friend of Kahlo. The painting is based on a photograph she was given and though the artist supposedly wasn’t happy with the final portrait, Lira was. The artwork is full of small details that capture Lira’s personality and allude to landmarks in his life. The brightly colored pinwheel and the hobbyhorse for instance refers to childhood, and the book placed in his right has an image of a guava on it with the word ‘you’, as these were the titles of Lira’s first two published books.

Other details include the painted R, which many have said could correspond to the name of Lira’s then-girlfriend, Rebeca Torres, with the figure or doll in the top right corner also a potential reference to her. With all these details placed alongside an actual portrait of Lira, Kahlo demonstrates her ability to create a rich tapestry of a person within her works, rather than simply creating a like-for-like depiction of her subjects.

Marxism Will Give Health to the Ill (1954) by Frida Kahlo Museo Frida Kahlo

The presence of more politically-charged imagery within Kahlo’s work was the artist trying to “serve the Party” and “benefit the Revolution”. In this painting, we see Frida embracing the Utopian belief that she, and everyone else in the world, can be freed from pain and suffering and saved by the political convictions of Marxism. Here we see Kahlo in a leather corset standing in front of a divided background, with half of it representing good things and peace, and the other crowded with symbols of evil and destruction. Alongside the two hands of Marxism that cure her, one of the most interesting parts of the painting is the red book she holds, which is the red book of Marxism. Fully supported in her ideology, we see Kahlo get rid of her crutches, alluding to the “giving health to the ill” part of the painting’s title.

This artwork is one of Kahlo’s last portraits and remains unfinished. The artist reworked the piece several times and even changed the title, with the original name as Peace on Earth so the Marxist Science may Save the Sick and Those Oppressed by Criminal Yankee Capitalism . Definitely a more direct interpretation of the artist’s intention for the piece.

Appearances Can Be Deceiving

Museo frida kahlo, pancho villa and adelita, instituto tlaxcalteca de la cultura, balancing act: the paintings of fanny sanín, national museum of women in the arts, frida and "los cachuchas", self-portrait dedicated to leon trotsky, 1937, portrait of miguel n. lira, 5 latinx artists from the national museum of women in the arts, the early work of frida kahlo, lgbtqia+ activism in the arts, artist spotlight: the art and impact of jaune quick-to-see smith.