Was Frida Kahlo Successful With Art When She Started?

"Feet - what practice I need them for if I take wings to wing?"

ane of 11

"I pigment self-portraits considering I am so often lone... because I am the subject I know best."

two of 11

"I've done my paintings well... and they take a message of pain in them, but I recollect they'll interest a few people. They're not revolutionary, so why practise I go along on assertive they're combative?"

3 of eleven

"They thought I was a Surrealist but I wasn't. I never painted dreams. I painted my own reality."

iv of 11

"I actually don't know whether my paintings are Surrealist or non, only I do know that they are the most honest expression of myself, taking no account of the opinions and prejudices of others."

5 of eleven

"There is cypher more precious than laughter and scorn. Strength lies in laughing and letting oneself go. In being cruel and superficial. Tragedy is the most ridiculous feature of 'Man', yet I am certain that animals, though they 'endure', practise not parade their grief in 'theatres' either open or 'airtight'."

vi of 11

"My caput is total of microscopic spiders, and innumerable tiny vermin... I can't get annihilation direct inside the big realité without moving direct onto a standoff course; either I have to hang my clothes from thin air, or I have to bring distant things perilously, fatally close. You lot'll sort it out with your ruler and compass."

vii of 11

"Respond to my beloved with a mighty epistle, that will cheer the saddened heart that beats for you from here, louder than y'all could ever imagine. Just listen to it: TIC-TAC TIC-TAC TIC-TAC TIC-TAC! Literature is hopeless at portraying things, at carrying the full volume of inner noises, and then information technology's not my fault if instead of my heart you lot hear just a cleaved clock."

eight of 11

"I am not ill... I am broken... merely I am happy to be live equally long as I tin paint."

9 of eleven

"I have suffered two grave accidents in my life, one in which a streetcar knocked me down.. The other accident is Diego."

ten of eleven

"I promise the leaving is blithesome - and I hope never to render"

11 of 11

Summary of Frida Kahlo

Small pins pierce Kahlo's skin to reveal that she still 'hurts' following affliction and accident, whilst a signature tear signifies her ongoing battle with the related psychological overflow. Frida Kahlo typically uses the visual symbolism of physical pain in a long-continuing effort to better sympathize emotional suffering. Prior to Kahlo's efforts, the language of loss, expiry, and selfhood, had been relatively well investigated by some male person artists (including Albrecht Dürer, Francisco Goya, and Edvard Munch), merely had not yet been significantly dissected by a woman. Indeed not simply did Kahlo enter into an existing linguistic communication, just she too expanded it and made it her own. Past literally exposing interior organs, and depicting her own body in a bleeding and broken state, Kahlo opened up our insides to help explicate human behaviors on the outside. She gathered together motifs that would repeat throughout her career, including ribbons, hair, and personal animals, and in turn created a new and articulate means to discuss the most complex aspects of female identity. Equally not only a 'great creative person' but likewise a figure worthy of our devotion, Kahlo's iconic face provides everlasting trauma support and she has influence that cannot be underestimated.

Accomplishments

• Kahlo made it legitimate for women to outwardly display their pains and frustrations and to thus brand steps towards understanding them. Information technology became crucial for women artists to take a female role model and this is the gift of Frida Kahlo.
• As an important question for many Surrealists, Kahlo too considers: What is Adult female? Following repeated miscarriages, she asks: to what extent does maternity or its absence impact on female identity? She irreversibly alters the pregnant of maternal subjectivity. It becomes articulate through umbilical symbolism (often shown past ribbons) that Kahlo is connected to all that surrounds her, and that she is a 'mother' without children.
• Finding herself frequently alone, she worked obsessively with self-portraiture. Her reflection fueled an unflinching involvement in identity. She was particularly interested in her mixed German-Mexican ancestry, likewise as in her divided roles every bit artist, lover, and wife.
• Kahlo uses religious symbolism throughout her oeuvre. She appears as the Madonna holding her 'beast babies', and becomes the Virgin Mary equally she cradles her husband and famous national painter Diego Rivera. She identifies with Saint Sebastian, and fifty-fifty fittingly appears as the martyred Christ. She positions herself as a prophet when she takes to the head of the tabular array in her Terminal Supper-style painting, and her depiction of the blow which left her impaled on a metal bar (and covered in gold grit when lying injured) recalls the crucifixion and suggests her ain holiness.
• Women prior to Kahlo who had attempted to communicate the wildest and deepest of emotions were ofttimes labeled hysterical or condemned insane - while men were aligned with the 'melancholy' character type. By remaining artistically agile under the weight of sadness, Kahlo revealed that women as well can be melancholy rather than depressed, and that these terms should not be idea of as gendered.

Biography of Frida Kahlo

"I paint self-portraits considering I am so frequently alone... because I am the subject I know best." From battles with her heed and her body, Kahlo lived through her art.

Important Art by Frida Kahlo

Progression of Fine art

1931

Frieda and Diego Rivera

It is equally if in this painting Kahlo tries on the function of wife to see how it fits. She does not focus on her identity equally a painter, but instead adopts a passive and supportive role, property the mitt of her talented and acclaimed married man. It was indeed the example that during the majority of her painting career, Kahlo was viewed only in Rivera'south shadow and it was not until after in life that she gained international recognition.

This early double-portrait was painted primarily to marker the celebration of Kahlo'due south spousal relationship to Rivera. Whilst Rivera holds a palette and paint brushes, symbolic of his artistic mastery, Kahlo limits her role to his married woman by presenting herself slight in frame and without her creative accoutrements. Kahlo furthermore dresses in costume typical of the Mexican woman, or "La Mexicana," wearing a traditional red shawl known as the rebozo and jade Aztec beads. The positioning of the figures echoes that of traditional marital portraiture where the married woman is placed on her married man'due south left to indicate her lesser moral status every bit a adult female. In a drawing fabricated the post-obit year called Frida and the Miscarriage, the artist does concord her own palette, as though the experience of losing a fetus and not being able to create a baby shifts her determination wholly to the cosmos of art.

Oil on canvas - San Francisco Museum of Modern Art

1932

Henry Ford Hospital

Many of Kahlo's paintings from the early 1930s, especially in size, format, architectural setting and spatial arrangement, relate to religious ex-voto paintings of which she and Rivera possessed a large collection ranging in appointment over several centuries. Ex-votos are made as a gesture of gratitude for salvation, a granted prayer or disaster averted and left in churches or at shrines. Ex-votos are generally painted on modest-scale metallic panels and depict the incident along with the Virgin or saint to whom they are offered. Henry Ford Hospital, is a skillful case where the artist uses the ex-voto format but subverts information technology past placing herself centre stage, rather than recording the miraculous deeds of saints. Kahlo instead paints her own story, as though she becomes saintly and the work is made not as thank you to the lord simply in defiance, questioning why he brings her pain.

In this painting, Kahlo lies on a bed, bleeding after a miscarriage. From the exposed naked body six vein-like ribbons menses outwards, fastened to symbols. 1 of these six objects is a fetus, suggesting that the ribbons could exist a metaphor for umbilical cords. The other five objects that surround Frida are things that she remembers, or things that she had seen in the hospital. For example, the snail makes reference to the time it took for the miscarriage to be over, whilst the flower was an actual physical object given to her past Diego. The artist demonstrates her demand to exist attached to all that surrounds her: to the mundane and metaphorical every bit much as the concrete and actual. Maybe it is through this reaching out of connectivity that the creative person tries to be 'maternal', even though she is non able to have her ain child.

Oil on canvas - Dolores Olmedo Collection, Mexico Metropolis, Mexico

1932

My Birth

This is a haunting painting in which both the nascence giver and the birthed child seem dead. The head of the woman giving birth is shrouded in white textile while the baby emerging from the womb appears lifeless. At the fourth dimension that Kahlo painted this work, her mother had just died so it seems reasonable to assume that the shrouded funerary figure is her female parent while the infant is Kahlo herself (the title supports this reading). Nevertheless, Kahlo had also just lost her own child and has said that she is the covered mother figure. The Virgin of Sorrows, who hangs to a higher place the bed suggests that this is an image that overflows with maternal pain and suffering. Also though, and revealingly, Kahlo wrote in her diary, next to several small drawings of herself, 'the ane who gave birth to herself ... who wrote the most wonderful poem of her life.' Like to the drawing, Frida and the Miscarriage, My Birth represents Kahlo mourning for the loss of a child, but too finding the forcefulness to make powerful fine art because of such trauma.

The painting is fabricated in a retablo (or votive) way (a pocket-size traditional Mexican painting derived from Catholic Church art) in which thanks would typically exist given to the Madonna beneath the image. Kahlo instead leaves this section blank, as though she finds herself unable to give thanks either for her ain birth, or for the fact that she is now unable to requite nativity. The painting seems to bring the message that it is important to acknowledge that nascence and decease live very closely together. Many believe that My Birth was heavily inspired by an Aztec sculpture that Kahlo had at abode representing Tiazolteotl, the Goddess of fertility and midwives.

Oil and tempera on zinc - Private Collection

1936

My Grandparents, My Parents, and I (Family unit Tree)

This dream-similar family unit tree was painted on zinc rather than canvas, a option that further highlights the artist'southward fascination with and collection of 18^thursday-century and 19^th-century Mexican retablos. Kahlo completed this work to accentuate both her European Jewish heritage and her Mexican background. Her paternal side, German Jewish, occupies the correct side of the limerick symbolized by the sea (acknowledging her father's voyage to get to Mexico), while her maternal side of Mexican descent is represented on the left by a map faintly outlining the topography of Mexico.

While Kahlo's paintings are assertively autobiographical, she frequently used them to communicate transgressive or political messages: this painting was completed shortly afterwards Adolf Hitler passed the Nuremberg laws banning interracial union. Here, Kahlo simultaneously affirms her mixed heritage to face Nazi ideology, using a format - the genealogical chart - employed by the Nazi party to determine racial purity. Beyond politics, the red ribbon used to link the family members echoes the umbilical cord that connects baby Kahlo to her mother - a motif that recurs throughout Kahlo's oeuvre.

Oil and tempera on zinc - The Museum of Modern Art, New York

1937

Fulang-Chang and I

This painting debuted at Kahlo'south exhibition in Julien Levy's New York gallery in 1938, and was i of the works that about fascinated André Breton, the founder of Surrealism. The sail in the New York show is a self-portrait of the artist and her spider monkey, Fulang-Chang, a symbol employed every bit a surrogate for the children that she and Rivera could not have. The arrangement of figures in the portrait signals the artist's interest in Renaissance paintings of the Madonna and kid. Subsequently the New York exhibition, a 2d frame containing a mirror was added. The later inclusion of the mirror is a gesture inviting the viewer into the work: it was through looking at herself intensely in a mirror in her months spent at home after her bus accident that Kahlo first began painting portraits and delving deeper into her psyche. The inclusion of the mirror, considered from this perspective, is a remarkably intimate vision into both the creative person's aesthetic procedure and into her personal introspection.

In many of Kahlo's self-portraits, she is accompanied by monkeys, dogs, and parrots, all of which she kept as pets. Since the Middle Ages, small spider monkeys, like those kept by Kahlo, take been said to symbolize the devil, heresy, and paganism, finally coming to correspond the fall of man, vice, and the apotheosis of animalism. These monkeys were depicted in the by as a cautionary symbol confronting the dangers of excessive honey and the base instincts of human being. Kahlo again depicts herself with her monkey in both 1939 and 1940. In a later version in 1945, Kahlo paints her monkey and also her domestic dog, Xolotl. This little dog that oftentimes accompanies the artist, is named after a mythological Aztec god, known to represent lightning and death, and as well to be the twin of Quetzalcoatl, both of who had visited the underworld. All of these pictures, including Fulang-Chang and I include 'umbilical' ribbons that wrap between Kahlo'south and the animal's necks. Kahlo is the Madonna and her pets become the holy (even so darkly symbolic) infant for which she longs.

In two parts, oil on composition board (1937) with painted mirror frame (added after 1939) - The Museum of Modern Art, New York

1938

What the Water Gave Me

In this painting most of Kahlo's body is obscured from view. We are unusually confronted with the foot and plug cease of the bath, and with focus placed on the artist's feet. Furthermore, Kahlo adopts a birds-center view and looks down on the water from above. Inside the water, Kahlo paints an alternative self-portrait, one in which the more traditional facial portrait has been replaced by an array of symbols and recurring motifs. The creative person includes portraits of her parents, a traditional Tehuana dress, a perforated shell, a dead humming bird, two female lovers, a skeleton, a crumbling skyscraper, a transport prepare canvas, and a woman drowning. This painting was featured in Breton's 1938 book on Surrealism and Painting and Hayden Herrera, in her biography of Kahlo, mentions that the artist herself considered this piece of work to accept a special importance. Recalling the tapestry style painting of Northern Renaissance masters, Hieronymus Bosch and Pieter Bruegel the Elderberry, the figures and objects floating in the water of Kahlo'due south painting create an at one time fantastic and real landscape of memory.

Kahlo discussed What the H2o Gave Me with the Manhattan gallery owner Julien Levy, and suggested that it was a sad piece that mourned the loss of her babyhood. Possibly the strangled figure at the centre is representative of the inner emotional torments experienced past Kahlo herself. It is clear from the chat that the artist had with Levy, that Kahlo was aware of the philosophical implications of her work. In an interview with Herrera, Levy recalls, in 'a long philosophical discourse, Kahlo talked nearly the perspective of herself that is shown in this painting'. He further relays that 'her thought was almost the paradigm of yourself that you accept because you do not see your head. The caput is something that is looking, simply is not seen. It is what one carries effectually to look at life with.' The creative person's head in What the H2o Gave Me is thus appropriately replaced by the interior thoughts that occupy her mind. Equally well equally an inclusion of expiry by strangulation in the center of the water, there is also a labia-like flower and a cluster of pubic pilus painted between Kahlo's legs. The work is quite sexual while also showing preoccupation with destruction and death. The motif of the bathtub in fine art is one that has been popular since Jacques-Louis David's The Death of Marat (1793), and was after taken up many dissimilar personalities such every bit Francesca Woodman and Tracey Emin.

Oil on canvas - Private Collection

1939

The Two Fridas

This double self-portrait is i of Kahlo's virtually recognized compositions, and is symbolic of the artist'due south emotional hurting experienced during her divorce from Rivera. On the left, the creative person is shown in modern European attire, wearing the costume from her matrimony to Rivera. Throughout their wedlock, given Rivera'south strong nationalism, Kahlo became increasingly interested in indigenism and began to explore traditional Mexican costume, which she wears in the portrait on the right. It is the Mexican Kahlo that holds a locket with an image of Rivera. The stormy sky in the background, and the artist'due south bleeding heart - a fundamental symbol of Catholicism and besides symbolic of Aztec ritual sacrifice - accentuate Kahlo's personal tribulation and physical pain.

Symbolic elements oft possess multiple layers of significant in Kahlo's pictures; the recurrent theme of blood represents both metaphysical and physical suffering, gesturing too to the artist'southward clashing attitude toward accepted notions of womanhood and fertility. Although both women have their hearts exposed, the woman in the white European outfit as well seems to have had her heart dissected and the avenue that runs from this heart is cut and bleeding. The artery that runs from the center of her Tehuana-costumed self remains intact because it is connected to the miniature photograph of Diego every bit a kid. Whereas Kahlo's centre in the Mexican wearing apparel remains sustained, the European Kahlo, disconnected from her beloved Diego, bleeds profusely onto her dress. Every bit well every bit being one of the artist'south nigh famous works, this is also her largest canvas.

Oil on canvas - Museum of Modern Art, Mexico Urban center, United mexican states

1940

Cocky-Portrait with Cropped Pilus

This self-portrait shows Kahlo as an androgynous figure. Scholars accept seen this gesture as a confrontational response to Rivera'south demand for a divorce, revealing the creative person's injured sense of female person pride and her self-penalisation for the failures of her marriage. Her masculine attire also reminds the viewer of early on family photographs in which Kahlo chose to wear a conform. The cropped hair also presents a nuanced expression of the artist's identity. She holds i cut braid in her left hand while many strands of hair lie scattered on the flooring. The human action of cutting a complect symbolizes a rejection of girlhood and innocence, but as tin be seen as the severance of a connective cord (maybe umbilical) that binds two people or 2 ways of life. Either way, braids were a key element in Kahlo's identity equally the traditional La Mexicana, and in the human activity of cutting off her braids, she rejects some aspect of her one-time identity.

The pilus strewn nearly the flooring echoes an earlier self-portrait painted as the Mexican folkloric effigy La Llorona, hither ridding herself of these female attributes. Kahlo clutches a pair of pair of scissors, as the discarded strands of hair go animated around her anxiety; the tresses announced to have a life of their ain as they curl across the floor and effectually the legs of her chair. To a higher place her sorrowful scene, Kahlo inscribed the lyrics and music of a vocal that declares cruelly, "Look, if I loved you it was for your pilus, at present that yous are hairless, I don't dearest you lot anymore," confirming Kahlo'due south ain denunciation and rejection of her female person roles.

In likely homage to Kahlo's painting, Finnish lensman Elina Brotherus photographed Wedding Portraits in 1997. On the occasion of her marriage, Brotherus cuts her hair, the remains of which her new hubby holds in his easily. The deed of cutting one's hair symbolic of a moment of modify happens in the piece of work of other female artists too, including that of Francesca Woodman and Rebecca Horn.

Oil on canvass - The Museum of Modern Art, New York

1940

Self-portrait with Thorn Necklace and Hummingbird

The frontal position and outward stare of Kahlo in this self-portrait direct confronts and engages the viewer. The artist wears Christ's unraveled crown of thorns as a necklace that digs into her neck, signifying her self-representation every bit a Christian martyr and the enduring pain experienced following her failed wedlock. A dead hummingbird, a symbol in Mexican folkloric tradition of luck charms for falling in love, hangs in the center of her necklace. A black cat - symbolic of bad luck and death - crouches behind her left shoulder, and a spider monkey gifted from Rivera, symbolic of evil, is included to her right. Kahlo frequently employed flora and beast in the background of her bust-length portraits to create a tight, claustrophobic space, using the symbolic element of nature to simultaneously compare and dissimilarity the link between female fertility with the barren and deathly imagery of the foreground.

Typically a symbol of good fortune, the meaning of a 'dead' hummingbird is to exist reversed. Kahlo, who craves flight, is perturbed and disturbed by the fact that the butterflies in her hair are too delicate to travel far and that the dead bird around her cervix, has become an anchor, preyed upon by the nearby cat. In failing to directly translate circuitous inner feelings it as though the painting illustrates the artist's frustrations.

Oil on canvas on masonite - Nikolas Muray Drove, Harry Ransom Centre, The University of Texas at Austin

1944

The Broken Column

The Cleaved Column is a particularly pertinent example of the combination of Kahlo's emotional and physical pain. The artist's biographer, Hayden Herrera, writes of this painting, 'A gap resembling an earthquake scissure splits her in two. The opened body suggests surgery and Frida's feeling that without the steel corset she would literally fall autonomously'. A broken ionic column replaces the artist's crumbling spine and sharp metal nails pierce her body. The hard coldness of this inserted column recalls the steel rod that pierced the artist'south abdomen and uterus during her streetcar accident. More than by and large, the architectural feature at present in ruins, has associations of the simultaneous power and fragility of the female body. Across its physical dimensions, the cloth wrapped around Kahlo's pelvis, recalls Christ's loincloth. Indeed, Kahlo again displays her wounds like a Christian martyr; through identification with Saint Sebastian, she uses physical pain, nakedness, and sexuality to bring dwelling house the bulletin of spiritual suffering.

Tears dot the creative person'due south face as they do many depictions of the Madonna in Mexico; her eyes stare out beyond the painting equally though renouncing the mankind and summoning the spirit. It is every bit a result of depictions like this one that Kahlo is now considered a Magic Realist. Her optics are never-changing, realistic, while the rest of the painting is highly fantastical. The painting is not overly concerned with the workings of the hidden or with irrational juxtapositions that feature more typically in Surrealist works. The Magic Realism movement was extremely popular in Latin America (especially with writers such as Gabriel García Márquez), and Kahlo has been retrospectively included in it by art historians.

The notion of being wounded in the way that we meet illustrated in The Broken Column, is referred to in Spanish as chingada. This give-and-take embodies numerous interrelated meanings and concepts, which include to exist wounded, cleaved, torn open or deceived. The word derives from the verb for penetration and implies domination of the female by the male. It refers to the status of victimhood.

The painting also likely inspired a performance and sculptural piece made by Rebecca Horn in 1970 chosen Unicorn. In the piece Horn walks naked through an arable field with her body strapped in a fabric corset that appears almost identical to that worn by Kahlo in The Cleaved Column. In the piece by the German functioning artist, yet, the erect, sky-reaching pillar is stock-still to her head rather than inserted into her breast. The operation has an air of mythology and religiosity like to that of Kahlo'south painting, but the column is whole and potent again, peradventure paying homage to Kahlo's fortitude and creative triumph.

Oil on masonite - Dolores Olmedo Drove, Mexico City, Mexico

1946

The Wounded Deer

The 1946 painting, The Wounded Deer, further extends both the notion of chingada and the Saint Sebastian motif already explored in The Broken Cavalcade. As a hybrid between a deer and a adult female, the innocent Kahlo is wounded and bleeding, preyed upon and hunted down in a immigration in the wood. Staring straight at the viewer, the artist confirms that she is alive, and all the same the arrows will slowly kill her. The artist wears a pearl earring, equally though highlighting the tension that she feels between her social existence and the desire to exist more than freely alongside nature. Kahlo does non portray herself as a delicate and gentle fawn; she is instead a full-bodied stag with large antlers and drooping testicles. Not simply does this propose, similar her suited advent in early family photographs, that Kahlo is interested in combining the sexes to create an androgyne, only as well shows that she attempted to align herself with the other great artists of the by, virtually of whom had been men. The branch beneath the stag's anxiety is reminiscent of the palm branches that onlookers laid under the feet of Jesus equally he arrived in Jerusalem.

Kahlo continued to place with the religious figure of Saint Sebastian from this point until her death. In 1953, she completed a cartoon of herself in which xi arrows pierce her skin. Similarly, the artist Louise Bourgeois, likewise interested in the visualization of hurting, used Saint Sebastian as a recurring symbol in her art. She kickoff depicted the motif in 1947 as an abstracted series of forms, barely distinguishable equally a human figure; fatigued using watercolor and pencil on pink newspaper, but and so later made obvious pinkish fabric sculptures of the saint, stuck with arrows, she similar Kahlo feeling nether assail and afraid.

Oil on masonite - Private Collection

1951

Weeping Coconuts (Cocos gimientes)

This still life is exemplary of Kahlo's late work. More than frequently associated with her psychological portraiture, Kahlo in fact painted still lifes throughout her career. She depicted fresh fruit and vegetable produce and objects native to United mexican states, painting many minor still lifes, especially every bit she grew progressively ill. The anthropomorphism of the fruit in this limerick is symbolic of Kahlo's projection of pain into all things equally her health deteriorated at the end of her life. In contrast with the tradition of the cornucopia signifying plentiful and fruitful life, hither the coconuts are literally weeping, alluding to the dualism of life and decease. A small Mexican flag bearing the affectionate and personal inscription "Painted with all the dear. Frida Kahlo" is stuck into a prickly pear, signaling Kahlo'south utilise of the fruit equally an keepsake of personal expression, and communicating her deep respect for all of nature's gifts. During this period, the artist was heavily reliant on drugs and alcohol to alleviate her hurting, so albeit beautiful, her even so lifes became progressively less detailed betwixt 1951 and 1953.

Oil on board - Los Angeles County Museum of Art

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Useful Resource on Frida Kahlo

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Books

The books and articles below constitute a bibliography of the sources used in the writing of this folio. These also suggest some accessible resource for further research, peculiarly ones that can exist found and purchased via the internet.

biography

• Frida: A Biography of Frida Kahlo Our Pick

  By Hayden Herrera

• Frida Kahlo: Her Photos

  By Pablo Ortiz Monasterio

• Frida Kahlo: Making Her Self Up Our Pick

  By Claire Wilcox and Circe Henestrosa

• Frida Kahlo at Home Our Selection

  By Suzanne Barbezat

• Frida Kahlo: The Last Interview: and Other Conversations (The Last Interview Series)

  By Hayden Herrera

• Frida Kahlo I Paint My Reality

  By Christina Burrus

• Frida & Diego: Fine art, Beloved, Life

  By Cateherine Reef

written by creative person

• The Diary of Frida Kahlo: An Intimate Cocky-Portrait Our Pick

  Past Carlos Fuentes

• Frida by Frida

  By Frida Kahlo and Raquel Tibol

artworks

• Frida Kahlo: The Paintings Our Pick

  By Hayden Herrera

• Frida Kahlo

  By Emma Dexter, Tanya Barson

• Frida Kahlo Retrospective

  Past Peter von Becker, Ingried Brugger, Salamon Grimberg, Cristina Kahlo, Arnaldo Kraus, Helga Prignitz-Poda, Francisco Reyes Palma, Florian Steininger, Jeanette Zqingenberger

• Frida Kahlo Masterpieces of Art

  By Julian Beecroft

• Kahlo (Basic Art Series ii.0) Our Selection

  By Andrea Kettenmann

• Frida Kahlo's Gadren Our Option

  By Adriana Zavala

Content compiled and written by Katlyn Beaver

Edited and revised, with Summary and Accomplishments added by Rebecca Baillie

"Frida Kahlo Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Katlyn Beaver
Edited and revised, with Summary and Accomplishments added by Rebecca Baillie
Bachelor from:
First published on 25 Nov 2017. Updated and modified regularly
[Accessed ]

ellisabbecit.blogspot.com

Source: https://www.theartstory.org/artist/kahlo-frida/

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