The Diary of Frida Kahlo: An Intimate Self-Portrait

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Stamp Release No. 01-048– Postal Service Continues Its Celebration of Fine Arts With Frida Kahlo Stamp". USPS. Archived from the original on 17 July 2011 . Retrieved 29 October 2010. Bakewell, Elizabeth (1993). "Frida Kahlo: A Contemporary Feminist Reading" (PDF). Frontiers: A Journal of Women Studies. XIII (3): 165–189, illustrations, 139–151. doi: 10.2307/3346753. JSTOR 3346753. Archived from the original (PDF) on 9 August 2017.

Se cumplen 100 años del nacimiento de Frida Kahlo"[100 years since the birth of Frida Kahlo]. elconfidencial.com (in Spanish). 6 July 2007 . Retrieved 25 November 2021.A severe bus accident at the age of 18 left Kahlo in lifelong pain. Confined to bed for three months following the accident, Kahlo began to paint. [12] She started to consider a career as a medical illustrator, as well, which would combine her interests in science and art. Her mother provided her with a specially-made easel, which enabled her to paint in bed, and her father lent her some of his oil paints. She had a mirror placed above the easel, so that she could see herself. [13] [12] Painting became a way for Kahlo to explore questions of identity and existence. [14] She explained, "I paint myself because I am often alone and I am the subject I know best." [12] She later stated that the accident and the isolating recovery period made her desire "to begin again, painting things just as [she] saw them with [her] own eyes and nothing more." [15]

Galicia, Fernando (22 November 2018). "Frida Kahlo Pinturas, autorretratos y sus significados". La Hoja de Arena . Retrieved 13 May 2019.Castro-Sethness 2004–2005, p.21; Barson 2005, p.65; Bakewell 1993, pp.173–174; Cooey 1994, pp.96–97.

Kahlo's posthumous popularity and the commercialization of her image have drawn criticism from many scholars and cultural commenters, who think that, not only have many facets of her life been mythologized, but the dramatic aspects of her biography have also overshadowed her art, producing a simplistic reading of her works in which they are reduced to literal descriptions of events in her life. [276] According to journalist Stephanie Mencimer, Kahlo "has been embraced as a poster child for every possible politically correct cause" and Rothstein, Edward (16 October 1992). "Venerating Frida Kahlo". New York Times . Retrieved 17 November 2015. Cooey, Paula M. (1994). Religious Imagination and the Body: A Feminist Analysis. Oxford University Press. Small, Zachary (8 November 2022). "Setting a Kahlo Drawing Aflame in Search of an NFT Spark". The New York Times . Retrieved 8 November 2022.

1. Leonardo da Vinci’s Sketchbooks

More than a century after Goethe’s theoretical inquiry into the emotional hues of color, Frida Kahlo (July 6, 1907–July 13, 1954) contemplated the question from a far more intuitive place in a fragment from The Diary of Frida Kahlo: An Intimate Self-Portrait ( public library) — the treasure trove that gave us the visionary Mexican painter’s DIY paint recipe, her ferocious political convictions, and her stunning handwritten love letters to Diego Rivera. ost pertinent to the diaries is an understanding of how the daughter of a lower-middle-class German-Jewish photographer and a hysterically Catholic Spanish-Indian mother became a celebrated painter, Communist, promiscuous temptress, and, later (during the diary years), a narcotic-addicted, dykish, suicidal amputee afflicted with a bizarre pathology known as Munchausen syndrome—the compulsion to be hospitalized and, in extreme cases, mutilated unnecessarily by surgery. Gardner, Lyn (14 October 2002). "She was a big, vulgar woman with missing teeth who drank, had an affair with Trotsky and gobbled up life". The Guardian . Retrieved 16 November 2016.

Alice O'Keeffe (8 November 2009). "The Lacuna by Barbara Kingsolver (book review)". The Guardian. theguardian.com . Retrieved 4 June 2015. Anderson, Corrine (Fall 2009). "Remembrance of an Open Wound: Frida Kahlo and Post-revolutionary Mexican Identity" (PDF). South Atlantic Review. 74 (4): 119–130. JSTOR 41337719. Archived from the original (PDF) on 17 June 2019. like a game of telephone, the more Kahlo's story has been told, the more it has been distorted, omitting uncomfortable details that show her to be a far more complex and flawed figure than the movies and cookbooks suggest. This elevation of the artist over the art diminishes the public understanding of Kahlo's place in history and overshadows the deeper and more disturbing truths in her work. Even more troubling, though, is that by airbrushing her biography, Kahlo's promoters have set her up for the inevitable fall so typical of women artists, that time when the contrarians will band together and take sport in shooting down her inflated image, and with it, her art." [269] In 2018, San Francisco Board of Supervisors unanimously voted to rename Phelan Avenue to Frida Kahlo Way. Frida Kahlo Way is the home of City College of San Francisco and Archbishop Riordan High School. [311]

a b Mencimer, Stephanie (June 2002). "The Trouble with Frida Kahlo" (PDF). Washington Monthly . Retrieved 20 August 2016. Friis, Ronald (March 2004). " "The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi: 10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. Kahlo's right leg was amputated at the knee due to gangrene in August 1953. [80] She became severely depressed and anxious, and her dependence on painkillers escalated. [80] When Rivera began yet another affair, she attempted suicide by overdose. [80] She wrote in her diary in February 1954, "They amputated my leg six months ago, they have given me centuries of torture and at moments I almost lost my reason. I keep on wanting to kill myself. Diego is what keeps me from it, through my vain idea that he would miss me.... But never in my life have I suffered more. I will wait a while..." [245] Kahlo's death mask on her bed in La Casa Azul According to Nancy Cooey, Kahlo made herself through her paintings into "the main character of her own mythology, as a woman, as a Mexican, and as a suffering person... She knew how to convert each into a symbol or sign capable of expressing the enormous spiritual resistance of humanity and its splendid sexuality". [130] Similarly, Nancy Deffebach has stated that Kahlo "created herself as a subject who was female, Mexican, modern, and powerful", and who diverged from the usual dichotomy of roles of mother/whore allowed to women in Mexican society. [131] Due to her gender and divergence from the muralist tradition, Kahlo's paintings were treated as less political and more naïve and subjective than those of her male counterparts up until the late 1980s. [132] According to art historian Joan Borsa,