Frida Kahlo is a world-renowned Mexican painter known for her shocking self-portaits filled with painful imagery. Her artwork was seen by many as surrealist and socialist, but she refused the labels put on herself. Until today, her works have been able to exude the same playful and wild feel as before (Fisher n.p). Her legacy as a painter has attracted prominent people like Madonna who has confessed her admiration for the painter. Not only that but fashion designers are frequently inspired by her iconic Tijuana dresses while her paintings have been priced at more than three million dollars (Bauer 115).
Besides that, one notable quality of Frida Kahlo that attracts women would be her feminism. In a country where the percentage of women in the work force was only 18% at 1910 and 38% at 2008 (Monk n.p), she stood out as both an independent and empowered woman of her time. After the divorce from her husband Diego Rivera, she had decided for herself that she would be financially independent from her husband by selling her paintings and refusing any financial support from Diego Rivera. She proudly announced that she would never accept any money from a man in her whole life (Kettenmann 52). The female youth of Mexico should continue Frida Kahlo's legacy by empowering themselves and other women.
First of all, at 15, Frida Kahlo was one of the thirty-five girls who attended the National Prepatory School or Escuela Nacional Prepatoria. She quickly joined one of the cliques in school called Cachuchas who were a group of intellectuals who believed in the enlightenment of Mexico (Souter 12). The group had influenced some of Frida's early paintings and some members have been captured in her artwork. For example, the Portrait of Miguel N....
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...roudly show her nationalism.
BIBLIOGRAPHY
Bauer, Claudia. Frida Kahlo. Trans. Stephen Telfer. Munich: Prestel, 2007.
Binlot, Ann. “Frida Kahlo Makes the Cover of Vogue for the First Time.” ARTINFO. Louis Blouin Media, n.d. Web. 5 Nov. 2013.
Fisher, Lucy. “ON SHOW DRAWN FROM LIFE” TIME 15 August 2005: n.p.
Kettenmann, Andrea. FRIDA KAHLO 1907-1954 Pain and Passion. Trans. Karen Williams. Koln: TASCHEN GmbH, 2003.
Monk, Heather. “Mexican Women – Then and Now.” A SOCIALIST, FEMINIST, ANTI RACIST ORGANIZATION: SOLIDARITY. n.d. Web. 5 Nov. 2013.
Schaefer, Claudia. TEXTURED LIVES Women, Art, and Representation in Modern Mexico. Tucson: The University of Arizona Press, 1992.
Souter, Gerry. Frida Kahlo Beneath the Mirror. USA: Confidential Concepts, 2005.
Van Zoonen, Liesbet. FEMINIST MEDIA STUDIES. London: Sage Publications Ltd, 1994.
Ester Hernandez is a Chicana artist, best known for her works of Chicana women. Ester’s goal is to recreate women’s lives to produce positive images of women’s lifestyle and to create icons. Her piece, Frida y Yo, contains the iconic painter Frida Kahlo. Frida, after being in multiple accidents causing long-term pain and suffering, began painting, mostly self-portraits, to portray her reality and glorify the pain. Similar to how Hernandez's goals are a juxtaposition to Frida’s artwork, the art piece Frida y Yo creates a juxtaposition between life and suffering and death and fortune.
The author of Mexican Lives, Judith Adler Hellman, grapples with the United States’ economic relationship with their neighbors to the south, Mexico. It also considers, through many interviews, the affairs of one nation. It is a work held to high esteem by many critics, who view this work as an essential part in truly understanding and capturing Mexico’s history. In Mexican Lives, Hellman presents us with a cast from all walks of life. This enables a reader to get more than one perspective, which tends to be bias. It also gives a more inclusive view of the nation of Mexico as a whole. Dealing with rebel activity, free trade, assassinations and their transition into the modern age, it justly captures a Mexico in its true light.
Frida Kahlo nació el 6 de Julio 1907 en la ciudad de México. Ella les dijo a muchas personas que nació el 7 de Julio 1910 porque quiso parecer más joven a los otros. Aunque sus padres fueron judíos, Frida nació en México. Frida fue una artista surrealista y sus obras vió de sus emociones de la tristexa y la cólera de su vida. Ella le encantó decir los chistes, reír, y sonreír. Frida Kahlo llevó las ropas de la cultura tradicional de México porque pensó que las ropas fueran una forma del arte. Todo el mundo admiró mucho a Frida, a causa de sus obras y su actitud.
Aztec women embarked on several defining moments of labor, gender, class, symbolism, and political power in the Aztec Mexico history and culture. The roles of the Aztec women were unjustly marginalized. Their contributions to the work activities, economy, government and the influence of growth and development were grossly deceptive in the Ethnohistoric documents. Moreover, the variations of Aztec women cooking and weaving revolutionized gender. They say a picture is worth a thousand words.
Moraga, Cherrie. “Queer Aztlan: the Reformation of Chicano Tribe,” in The Color of Privilege 1996, ed Aida Hurtado. Ann Arbor: University Michigan Press, 1996.
The role of strong female roles in literature is both frightening to some and enlightening to others. Although times have changed, Sandra Cisneros’ stories about Mexican-American women provide a cultural division within itself that reflects in a recent time. The cultural themes in Cisneros’s stories highlight the struggle of women who identify with Mexican-American heritage and the struggle in terms of living up to Mexican culture – as a separate ethnic body. The women in Sandra Cisneros’ stories are struggling with living up to identities assigned to them, while trying to create their own as women without an ethnic landscape. In Sandra Cisneros’ stories “Woman Hollering Creek: and “Never Marry a Mexican” the role of female identities that are conflicted are highlighted, in that they have to straddle two worlds at once as Mexican-American women.
Using both English and Spanish or Spanglish the author Gloria Anzaldua explores the physical, cultural, spiritual, sexual and psychological meaning of borderlands in her book Borderlands/La Frontera: A New Mestiza. As a Chicana lesbian feminist, Anzaldua grew up in an atmosphere of oppression and confusion. Anzaldua illustrates the meaning of being a “mestiza”. In order to define this, she examines herself, her homeland and language. Anzaldúa discusses the complexity of several themes having to do with borderlands, mestizaje, cultural identity, women in the traditional Mexican family, sexual orientation, la facultad and the Coatlicue state. Through these themes, she is able to give her readers a new way of discovering themselves. Anzaldua alerts us to a new understanding of the self and the world around us by using her personal experiences.
In Frida Kahlo’s movie Frida was able to break the cultural determinations that were place for women to follow during her period. Frida was able to break from the chains by challenging Mexican society norms. Her behavior defied every role given to women by society. From the start she was rebel and determined. Throughout the film actions like sneaking a boy into her house and being sexually active before getting married was not very acceptable in society and not well seen.
Martinez, Demetria. 2002. “Solidarity”. Border Women: Writing from la Frontera.. Castillo, Debra A & María Socorro Tabuenca Córdoba. Minneapolis: University of Minnesota Press, 168- 188.
Frida Kahlo is known for the most influential Latin American female artist. She is also known as a rebellious feminist. Kahlo was inspired to paint after her near-death bus incident when she was 17. After this horrendous incident that scarred her for life, she went under 35 different operations. These operations caused her extreme pain and she was no longer able to have kids. Kahlo’s art includes self portraits of her emotions, pain, and representations of her life. Frida Kahlo was an original individual, not only in her artwork but also in her
Fuentes, C. (1995). The Diary of Frida Kahlo An Intimate Self-Portrait. New York: A Times Mirror Company.
Born in 1910, Frida was a woman that was not about preserving young beauty. She loved to acquaint herself with Mexico, where she was born. Being a great painter, she loved to paint pictures of herself. A quote by her is as follows “I paint myself because I am so often alone and because I am the subject I know best”. In other words, she can paint and feel free, because she knows herself well and can paint the
Art is a very important part of humanity’s history, and it can be found anywhere from the walls of caves to the halls of museums. The artists that created these works of art were influenced by a multitude of factors including personal issues, politics, and other art movements. Frida Kahlo and Vincent van Gogh, two wildly popular artists, have left behind artwork, that to this day, influences and fascinates people around the world. Their painting styles and personal lives are vastly different, but both artists managed to capture the emotions that they were feeling and used them to create artwork.
The contrast between the Mexican world versus the Anglo world has led Anzaldua to a new form of self and consciousness in which she calls the “New Mestiza” (one that recognizes and understands her duality of race). Anzaldua lives in a constant place of duality where she is on the opposite end of a border that is home to those that are considered “the queer, the troublesome, the mongrel and the mulato” (25). It is the inevitable and grueling clash of two very distinct cultures that produces the fear of the “unknown”; ultimately resulting in alienation and social hierarchy. Anzaldua, as an undocumented woman, is at the bottom of the hierarchy. Not only is she a woman that is openly queer, she is also carrying the burden of being “undocumented”. Women of the borderlands are forced to carry two degrading labels: their gender that makes them seem nothing more than a body and their “legal” status in this world. Many of these women only have two options due to their lack of English speaking abilities: either leave their homeland – or submit themselves to the constant objectification and oppression. According to Anzaldua, Mestizo culture was created by men because many of its traditions encourage women to become “subservient to males” (39). Although Coatlicue is a powerful Aztec figure, in a male-dominated society, she was still seen
Suaréz, Lucia M. “Julia Alvarez And The Anxiety Of Latina Representation.” Meridians: Feminism, Race, Transnationalism 5.1 (2004): 117-145. SocINDEX with Full Text. Web. 25 Mar.2014.