Frida Kahlo

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The film tells about the artist Frida Kahlo, about the unusually lively and bright biography of the famous Mexican artist. It is a film about the fascinating history of rebellious art, romantic beliefs, eccentric love relationships and the endless physical suffering of an elegant and fragile woman who became a legend and symbol of the steel will, divine beauty, and dashing carelessness. After her death, there were not only canvases, but also burning lines of this biography, in which unbending will, endless pain and, of course, love, which is not given to everyone. Intellectual youth is read out by her diaries. Gays and lesbians raised her statements on their shields. Feminists perceive her very life as a guide to action. Moreover, although more than sixty years have passed since the day of her death in 1954, the admiration for this legendary woman has not faded until now.

On a rainy evening on September 17, 1925 (Frida was only 18), one of the two life tragedies of her life occurred! The car in which Frieda was traveling collided with a tram.

Thirty-two times Frida visited the operating table. Doctors could not vouch for Frida’s life, but she won! She had been bedridden for a year, but her health problems had lasted forever. Subsequently, Frida had to pass rub through several dozens of operations and months without leaving in hospitals. She, despite a burning desire, could not become a mother. It was at this time that she asked her father for a brush and paint, for Frida made a unique easel, which allowed to write lying down. A large mirror was attached under the canopy of the bed so that Frida could see herself. She began with self-portraits, which forever determined the main direction of her work.

“I write myself because I spend much time alone and because I am the one I know best.”

The famous painting “Blue House,” named for the color of the walls – indigo, so beloved by Mexican Indians, became for her a hospital.

The second life tragedy of Frida was the Spanish-Indian Diego Rivera (whose full name is Diego Maria de la Concepcion Juan Nepomuceno Estanislavo de la Riviere and Barrientos de Acosta y Rodriguez). He was the “first guy” among the Mexican painters of the time. He was a sincere communist, a fighter against the bourgeoisie, favorite among ordinary people as an orator.

Diego was huge and fat. Rivera liked to portray himself in the form of a fat-bellied frog with someone’s heart in his hand. Women always adored him, Diego reciprocated, but somehow confessed: “The stronger I love women, the stronger I want to make them suffer.” Their first meeting occurred when Frida, as a teenager, saw Diego Rivera painting the walls of the Higher Preparatory School. He impressed her childish imagination. One day, as if anticipating their common future, Frida told school friends: “I will marry this macho and give birth to a son from him.”

“I had two big troubles in my life, Diego: the bus and you” – explained the artist to her husband.

Frida Kahlo is perhaps no less famous character in surrealism than Salvador Dali.

The paintings of Frida Kahlo are mostly pretty creepy. Hardly a desire to appear to hang a picture of Frida near the crib of own child. In anatomy, she too is not strong. Her work most likely can be called naive rather than technically strong.

Moreover, nevertheless, few of the surrealists (not counting Salvador Dali) achieved such fame. Moreover, among the women of the Surrealists, Frieda Kahlo is, perhaps, the only one.

The secret of Frida’s success is that despite her apparent naivete and frightening images (and most likely thanks to them), the artist’s work produces a powerful impression. The foundation of any creativity is, in fact, the strength of the emotions it causes, whether it is pleasant or not.

When looking at the pictures of Frida Kahlo, seem to feel all the pain that she suffered. The sincerity of her work is fantastic. Moreover, some naivete in this case only strengthens the impression. The strength of Frida Kahlo is that she never did what the crowd liked, but splashed merely out onto the canvas everything that she had accumulated in her heart, without regard to how shocking it would be. It would seem a paradox – to have success with the crowd without following the crowd.

Also, the secret of her success is that Frida Kahlo has lived an exciting, albeit unhappy life. Her life was full of dramas, tragedies, misfortunes, betrayals, and acute emotions. Not surprisingly, such a juicy story interested director Julie Taymor. Then with what steadfastness this fragile woman endured all adversities only adds tragedy. Moreover, fate, as if specifically, to test it for strength, sent her one misfortune after another.

Frida is, in fact, a profound and exciting artist. She impresses with her inner strength and charisma. In contrast to the same Salvador Dali images of Frida are more direct, which does not diminish their depth.

In the works of Frida Kahlo, the influence of the culture of the pre-Columbian civilizations of America is dominant. Her work is full of symbols and fetishes. However, the impact of European painting is also noticeable in it – in the early works, Frida’s enthusiasm, for example, Botticelli, clearly manifested itself.

In the paintings of Frida Kahlo, one can see the influence of Mexican muralism or Mexican monumental painting. Frida’s husband – Diego Rivera – was the brightest and most famous representative of this trend. Mexican muralism is such a bizarre mixture of the socialism flavored with Mexican colors.

In general, in the works of Frida Kahlo, many different things are mixed: there are surrealism, and muralism, and symbolism, and some elements of folk art – all sorts of Mexican blossoms and patterns.

It is generally not surprising, for Frida Kahlo draw from the heart and never really bothered with belonging to any stream of painting. For example, Frida never associated herself with surrealism. Frida can include categories of artists who “what I see/feel, then draw.”

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One Reply to “Frida Kahlo”

  1. Although I’m not too sure about how the life events of a Mexican artist relate to the essay by Judith Butler on gender identity, I love your in-depth analysis of Frieda Kahlo. However, I suppose the quote with feminism might help to connect it with the earlier text. However, I suggest adding in quotes from Judith Baker’s Pretext for a stronger connection to this artist.

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