Art And Art: Frida Kahlo As A Surrealism

1726 Words4 Pages

To many of her biographers and admirers she is simply referred to as Frida, an artist who self-consciously chose the practice of art as a means of survival and self-expression, while always referencing the political and cultural complexities that surrounded her life. Many of Kahlo’s paintings correspond to her passion for nationalism and the search for la ‘mexicanidad’ (Mexicanness; the unchanging philosophical essence of the Mexican). (Devouring Frida-94) As Kahlo’s life and work are studied under various cultural lenses, it is always apparent that her art and specific political views are based on the assertion that she embraced her Hispanic heritage and culture. Frida Kahlo was born on July 6, 1907, in Coyocoán, Mexico City, Mexico. Kahlo …show more content…

(Blue book-17) Due to this incident art became more than a discipline and a career for Kahlo, but a language that allowed her to deeply express her suffering, reality and communicate cultural narratives. Therefore, Kahlo never truly considered herself a Surrealist, although she is often seen as one. On numerous occasions Kahlo voiced her stance on Surrealism and in particular Breton’s celebratory inclusion of her in the movement. Frida stated “ I never knew I was surrealist till Andre Breton came to Mexico and told me I was.” (BLUE BOOK 31) Everything in Kahlo’s work that seems Surrealistic in fact has a profound basis in Mexican thought. The realism of Mexican history is reflected in the subjects of many of her paintings such as My Birth (1932), which contains pre-Columbian iconographic roots and depicts one of the most important motifs in Mexican culture. My Birth illustrates the head of Frida coming out from a mother 's womb. There is a puddle of blood under the mother 's body, which hints to Frida 's own experience with miscarriages and a sheet covers the mother 's face representing the recent death of Frida 's mother. It is …show more content…

Better known as 'laminas ' in Mexico, retablos are small oil paintings on tin, wood and sometimes copper which were used in home altars to venerate the almost infinite number of Catholic saints. The literal translation for 'retablo ' is ‘behind the altar.’(FRIDA KAHLO- 20) Many of Frida’s self-portraits, such as Thinking about Death (1943) usually encompassed this folk art style of retablos. Thinking about Death does not only formally include a Mexican art style, but represents Mexican iconography as well. Upon viewing, the painting shows Frida against green and yellow leaves accompanied by thorny branches that seem to engulf her, while death is symbolized as a skull and crossbones in a tondo upon her forehead. In many of Frida Kahlo’s works, plants are used to symbolize life as the eternal cycle of nature. One part of this life cycle, represented in Aztec mythology by the goddess Coatlicue, is essentially death. (FRIDA KAHLO 72) Therefore, in the ancient Mexican sense, death simultaneously means rebirth and life. In this self-portrait, death is presented against the thorny branches, a symbol taken from pre-Hispanic mythology through which Kahlo alludes to the rebirth that follows death. For death is understood as a path or transition to

Open Document