Frida Kahlo

Resumen: En el presente estudio analizamos la vestimenta de la pintora mexicana Frida Kahlo (1907-1954), enfatizando en la ornamentación de sus vestidos y blusas bordadas, centradas en los rasgos propios de la mujer mexicana. A través de este trabajo reflexionamos sobre las relaciones de la artista y las influencias en la moda. Así, revisamos esta nueva idea de la mujer indígena como modelo de distinción y originalidad en Europa y América, tanto de principios del siglo XX hasta la actualidad. De este modo, Frida es una de las primeras precursoras de una moda propiamente mesoamericana.

, nació en Coyoacán el seis de julio del cero siete (1907) y fue una pintora y poetisa mexicana. Frida creció en la famosa Casa Azul en Coyoacán, junto a su papá Guillermo Kahlo. Alemán, nacionalizado mexicano y su mamá Matilde Calderón. Frida tuvo tres hermanas, Matilde Adriana y Cristina; menor que ella once meses y un hermano Guillermo que murió a los pocos días de nacer. Además, Frida tenía tres hermanas mayores por parte de padre, Luisa, Margarita y María muerta al poco de nacer también. La infancia de Frida está marcada por las diversas enfermedades que padeció, dejándole secuelas permanentes; una pierna más delgada y nueve meses en la cama. Su padre como forma de animarla y para que le sirviera de rehabilitación, la animó a practicar diversos deportes, como el fútbol o el boxeo. A diferencia de la buena relación que mantenía con su padre, la relación de Frida con su madre está marcada por altibajos, no siendo ésta una constante en su vida. En mil novecientos veintidós (1922), ingresó en la Escuela Nacional Preparatoria de ciudad de México, donde quería estudiar medicina. Será aquí donde conocerá a futuros intelectuales y artistas mexicanos, como Salvador Novo y el que sería su novio; Alejandro Gómez Arias, entre otros. Frida ingresaría en el grupo de Los Cachuchas, llamados así por las gorras que usaban. Se autodefinían como un grupo político crítico de la autoridad y de las injusticias. Frida comenzó a trabajar como aprendiz en el taller de grabado e imprenta de Fernando Fernández Domínguez, un amigo de su padre que le enseñaba a dibujar copiando a Anders Zorn y el diecisiete de septiembre de mil novecientos veinticinco (1925), Frida sufrió un grave accidente de tráfico. El autobús en el que viajaba fue arrollado por un tranvía. Padeció severas lesiones, entre ellas la múltiple fractura de la columna vertebral y la pelvis. Según ella fue una de las formas más violentas de perder la virginidad. Se tuvo que someter a diferentes métodos de recuperación que la marcarían para siempre, como corsés de yeso o mecanismos de estiramiento. Durante su larga convalecencia comenzó a pintar de manera constante y así es como la pintura cobra un lugar central en su vida. manuelverdugo.com

Esse livro faz uma análise do pensamento ocidental a partir das relações ambivalentes entre a religião e a liturgia cristã com o mundo da arte. Essas relações têm um histórico complexo, de amplas possibilidades, mas também de medos, preconceitos e falta de confiança que acabam por eliminar as possiblidades e criar um arcabouço de mútua negação, como se um mundo pudesse acabar com o outro. Algo real no mundo em que vivemos. Tentando desfazer essas relações de negação, o autor estabelece pontos de contato a partir de movimentos de transgressão e correlação e assim criar pontes entre esses mundos de modo que tanto a arte quanto a religião e sua liturgia se ampliem para além de suas fronteiras. Por fim, esse livro fala de uma estética de
vida mais plena, mais conectada, e por fim, mais livre.

The article sheds light on attempts of Mexican left-wing artists to deepen relations with the Soviet Union cultural circles by developing personal and institutional ties as well as sending works to Soviet museums. Study of several cases shows the influence and role of individual personalities in the process and mechanisms of cenzorchip involved in international art exchange in USSR.

This blockbuster exhibition is the first to examine Frida Kahlo’s keen appreciation for the beauty and variety of the natural world, as evidenced by her home and garden as well as the complex use of plant imagery in her artwork. Featuring a rare display of more than a dozen original Kahlo paintings and works on paper, this limited six-month engagement also reimagines the iconic artist’s famed garden and studio at the Casa Azul, her lifelong home in Mexico City.

This is a draft of my editor's foreword for Maurice Kenny's memoir _Angry Rain_, which was published by SUNY Press in 2018.The manuscript was complete upon Kenny's death in April 2016 and I performed the editorial work needed to get it into production thereafter. It was a labor of love in many different senses of the word and I am immensely pleased that the book found its way into print after a long journey.

Applying an intermedial and intercultural approach, this article analyses two essays about Mexico written by André Breton in 1938: “Frida Kahlo de Rivera” and “Memory of Mexico”. Both texts highlight a pictographic-scriptural surrealist practice that is explicitly designed to alter Breton’s own vision in order to perceive the world poetically, through inspiration and imagination.

Desde un enfoque tanto intermedial como intercultural, este artículo analiza dos ensayos que André Breton escribió en 1938 sobre México: “Recuerdo de México” y “Frida Kahlo de Rivera”. Ambos textos hacen hincapié en una práctica pictográfica-escritural surrealista que explícitamente quiere alterar la propia mirada para percibir el mundo a través de la inspiración y la imaginación.

This is a quick and short class unit to practice an analysis of Frida Kahlo's fashion in her paintings. The description of the art class is followed by further informations for the teacher. Just try and I am happy to help you out with an idea how to approach Kahlo's art.

This thesis is about the Mexican artist Frida Kahlo (1907–1954) and her works, with emphasis on her painted self-portraits. The objective is to place Frida Kahlo’s pictorial production in relation to a place and time specific context and test the theory of Frida Kahlo’s self-portraits as a project connected to a general striving towards a new formulation of national identity. The majority of Frida Kahlo’s pictorial production coincides with a historically delimited era in which there was a break from earlier role models and ideals, politically, culturally and ideologically. This phase was an artistically dynamic period with a redefining view of art and the history of the nation, a visualisation of the mythology and symbolism of the Indian cultures of origin, and an emphasis on the Indian ethnicity of the nation. Two chapters describe the ideological context in which Frida Kahlo’s works were created. The visual markers around which the post-revolutionary national discourse came to revolve are identified and certain concepts related to race are examined. The subsequent chapters are devoted to Frida Kahlo’s pictures. One chapter examines how her pictorial production in the 1920’s emerged in a dialogue with contemporary art theory. One chapter deals with body thematics based on the naked female body, and elements of sex education are put in relation to an ongoing debate on sex education in Mexican schools. Thereafter new features are explored that are introduced in her self-portraits during the late 1930’s and that came to be consistent features in her continued production of self-portraits. In the concluding section of the thesis, the self-portraits are discussed from a more general perspective. Some of the myths upon which earlier biographical interpretations were based on are questioned. Instead, the thematics of suffering found in the self-portraits are related to the reconstruction of the nation’s ethnic identity and problematic issues based on the 16th century Spanish Conquest of the indigenous Indian population. In her complex imagery, Frida Kahlo refers to a broad spectrum of disparate pictorial traditions, stylistic epochs, categories of motifs and symbolic imagery, and to historical, religious and mythical female personages such as Malintzín, la Chingada, Sor Juana, and the Virgin of Guadalupe. These references from different epochs represent the two fundamental components of Mexico’s cultural heritage —the 'Spanish' and the 'Indian' —and these are merged in Frida Kahlo’s self-portraits so that they thereby communicate a construction of identity based on a national heritage. The time perspective of the discussion reaches backwards to before the Spanish Conquest in the 16th century and forwards to the contemporary Chicana/Chicano movement north of the border to the United States.

The dead woman’s passivity -and the inherent passivity of death- seems to increase her eroticism: Ophelia is immobile, “incapable of her own distress”, completely at the visual mercy of the viewer.  Drowning, Ruth J. Owen observes, is the antithesis of the pronouncement that affirms life: the drowned woman is silenced by water, her voice killed even before her authentic death.  Stripped of all powers but her beauty’s, she becomes an object to be consumed by the viewer;  as Sontag argues, “violence turns anybody subjected to it into a thing”.  There is no invitation to identify with the silent muse, only to admire her:  her death is instrumental to the viewer’s pleasure.

Resumen:
El bodegón es un género artístico en el que se representan elementos generalmente inertes, destacando alimentos, flores y objetos. También conocido como «naturaleza muerta»,
renació a finales del siglo XVI, dentro de las áreas gobernadas por el monarca Felipe II de
España, particularmente en el norte de Italia, España, Países Bajos y Portugal. El presente artículo estudia la evolución de la naturaleza muerta en la historia del arte atendiendo a su estilo e iconografía e iconología.

Abstract:
The still life is an artistic genre in which generally inert elements are represented, highlighting food, flowers and objects. Also known as «still life», It was reborn at the end of the sixteenth century, within the areas governed by King Felipe II of Spain. Spain, particularly in the north of Italy, Spain, the Netherlands and Portugal. This article studies the evolution of still life in the history of art according to its style and iconography and iconology.

Este artículo se detiene en el cuerpo de Pedro Lemebel y en su compleja relación con la enfermedad. Propone las múltiples maneras en que esta última funciona como potencia emancipadora que escinde con violencia los imperativos ligados a la salud y el sexo. A propósito de un encuentro personal con Lemebel en Santiago, el artículo insiste en la intersección entre archivo y cuerpo enfermo, en especial en el propio cuerpo enfermo del escritor chileno. Tras serle extirpado una porción de la laringe a causa de un cáncer, Lemebel hace público, simbólica y materialmente, el agujero que ahora ocupa su cuerpo. Hace de él, un novel órgano de inteligibilidad comunitario y de habla: un archivo anal-fabeto.

This is an introduction to a Forum I edited on Queer Disability/Debility. The authors are academics and community-based activists/scholars, and each approaches the concepts of queerness and disability and/or debility differently. My introduction centers on Frida Kahlo as a figure in queer disability/debility.

This thesis is about the Mexican artist Frida Kahlo (1907–1954) and her works, with emphasis on her painted self-portraits. The objective is to place Frida Kahlo’s pictorial production in relation to a place and time specific context and test the theory of Frida Kahlo’s self-portraits as a project connected to a general striving towards a new formulation of national identity. The majority of Frida Kahlo’s pictorial production coincides with a historically delimited era in which there was a break from earlier role models and ideals, politically, culturally and ideologically. This phase was an artistically dynamic period with a redefining view of art and the history of the nation, a visualisation of the mythology and symbolism of the Indian cultures of origin, and an emphasis on the Indian ethnicity of the nation. Two chapters describe the ideological context in which Frida Kahlo’s works were created. The visual markers around which the post-revolutionary national discourse came to revolve are identified and certain concepts related to race are examined. The subsequent chapters are devoted to Frida Kahlo’s pictures. One chapter examines how her pictorial production in the 1920’s emerged in a dialogue with contemporary art theory. One chapter deals with body thematics based on the naked female body, and elements of sex education are put in relation to an ongoing debate on sex education in Mexican schools. Thereafter new features are explored that are introduced in her self-portraits during the late 1930’s and that came to be consistent features in her continued production of self-portraits. In the concluding section of the thesis, the self-portraits are discussed from a more general perspective. Some of the myths upon which earlier biographical interpretations were based on are questioned. Instead, the thematics of suffering found in the self-portraits are related to the reconstruction of the nation’s ethnic identity and problematic issues based on the 16th century Spanish Conquest of the indigenous Indian population. In her complex imagery, Frida Kahlo refers to a broad spectrum of disparate pictorial traditions, stylistic epochs, categories of motifs and symbolic imagery, and to historical, religious and mythical female personages such as Malintzín, la Chingada, Sor Juana, and the Virgin of Guadalupe. These references from different epochs represent the two fundamental components of Mexico’s cultural heritage —the 'Spanish' and the 'Indian' —and these are merged in Frida Kahlo’s self-portraits so that they thereby communicate a construction of identity based on a national heritage. The time perspective of the discussion reaches backwards to before the Spanish Conquest in the 16th century and forwards to the contemporary Chicana/Chicano movement north of the border to the United States.