Haotian Luo reflects on Frida Kahlo´s interpretation of pain and suffering in her paintings after visiting La Casa Azul
Frida Kahlo, one of the most notable Mexican artists of all time, painted some of the most iconic paintings and self-portraits that became quintessential in representing the general struggles in life as well as her own personal battles. Born in 1907, Kahlo experienced a severe bus accident at age 18 that plagued her for the rest of her life. Her continuous struggle with her own injuries provided her with a unique understanding of others´ pain, which she portrayed in her paintings. Additionally, Kahlo´s difficult relationship with her husband, Diego Rivera, as well as the inner conflict between her Mexican and European identities are also showcased in her work. In her former residence in Coyoacán, Mexico City, hangs a collection of miniature paintings portraying human suffering and salvation by divine intervention. Kahlo's inspiration for these works largely stems from her grave spine injury from the bus accident and her miraculous survival. While Kahlo never admitted to the practice of any religion, she employs numerous elements of Christianity in these works to convey the idea of deliverance from danger. Through these religious components, Kahlo tries to instill a sense of hope in both the viewers and herself. . In one of the unnamed paintings in the collection, Kahlo paints a person paying respect to the Virgen del Rosario de Talpa (the Virgin of Talpa) for saving the life of the character on the right side of the work. The Virgin appears, floating in the air, to receive the gratitude of her venerator. Kahlo also openly showcases her vulnerability in her work, possibly as a means of encouragement to her audience and herself. In Unos cuantos piquetitos (a few small nips), Kahlo paints herself right after the bus accident. Covered in scars and blood, Kahlo lies on a hospital bed, vulnerable, naked, and unconscious. As she calls her scars “nips”, Kahlo expresses her unfaltering attitude towards battling her injuries and an infinite sense of positivity. Kahlo’s inherent sense of optimism gave her not only the courage to relive the experience through painting it, but also actively reducing the level of damage by downplaying the psychological impact. She considers her traumatic injuries as if they were merely small, sharp bites from insects, from which she could recover in no time. The doctor looking over her was not directly interfering, as if all the healing was already within Kahlo’s own capacities. Albeit gruesome and gloomy, the painting showcases Kahlo´s steadfast disposition of leading her life in an optimistic manner in face of adversities, through a thoughtful contrast between the content and the title. Kahlo led a strenuous life as she experienced both physical and emotional distress throughout her years, due to her injuries, illnesses, and her difficult relationship with her husband, Diego Rivera. Nonetheless, Kahlo remained an empowering and independent artist until her final moments as she kept on painting even when her health prevented her from getting out of bed.
Unnamed Painting in the Collection
Unos cuantos piquetitos
Frida Kahlo's famous double auto-portrait, Las Dos Fridas (the two Fridas), underscores her internal altercation relating to Diego Rivera. Painted one year after their divorce due to Rivera´s infidelity, the Frida in the Mexican costume holds a small portrait of Rivera while exposing her broken heart, demonstrating the obvious emotional trauma. She holds hands with the other Frida in the European-style white dress, who holds a pair of surgical scissors with blood dripping down from the cut-open vein. Their hearts are connected, yet they appear in two figures rather than one, signifying Kahlo´s internal struggle between her European and Mexican cultural identities. The pair of scissors symbolizes her determination for independence by cutting ties with Rivera, yet the scissors´ counterpart is a direct representation of Rivera. Kahlo´s two dilemmas are intricately combined in this piece: one is between catering to her deep sense of loneliness and separating herself from the unfaithful husband ,and the other is between the two conflicting cultural identities. This painting is the prime expression of Kahlo's psychological pain and anxiety. In reality, Kahlo was able to reconcile her two cultural identities, becoming a cultural icon of Mexico as she integrated her identities into her work using her hybrid painting style—a melange of indigenous, Cubist, and Surrealist elements. Kahlo remarried Rivera one year after the painting´s creation in 1940. Nonetheless, Kahlo's relationship with Rivera remained haunted by frequent separations, reconciliations, infidelity, and jealousy until the end of her life in 1954.
Los Dos Fridas (The Two Fridas)
Frida Kahlo's paintings are deeply intertwined with emotions. From themes of love and passion to topics of grief and salvation, it is hard to fully interpret her iconic works without diving into her vast world of emotional elements. Her personal experiences shaped her identity both as a person and as an artist.
Brown’s Percent-for-Art program has thoughtfully integrated site-specific public art onto campus since 2004. In honor of the 20th anniversary of this program, I sat down with the former director and artists involved to reflect on some of the program’s diverse projects and to gain insight into their perspectives on public art at Brown and beyond.
By examining various historical and cultural practices in regards to fashion, textiles, and fabric-making, Chloe discusses the different ways fiber arts express community and identity in material or design choices.
Responding to the tense familial relations in Tina Barney’s "Jill and Polly in the Bathroom" and Larry Sultan’s "My Mother Posing for Me."