ORIGINAL FRIDA KAHLO ORIGINAL PENCIL ON PAPER SIGNED 10" X 5 3/4" FRIDA KAHLO PENCIL ON PAPER SIGNED 10" X 5 3/4" Magdalena Carmen Frida Kahlo y Calderón (Spanish pronunciation: [ˈfɾiða ˈkalo]; 6 July 1907 – 13 July 1954 was a Mexican painter known for her many portraits, self-portraits, and works inspired by the nature and artifacts of Mexico. Inspired by the country's popular culture, she employed a naïve folk art style to explore questions of identity, postcolonialism, gender, class, and race in Mexican society. Her paintings often had strong autobiographical elements and mixed realism with fantasy. In addition to belonging to the post-revolutionary Mexicayotl movement, which sought to define a Mexican identity, Kahlo has been described as a surrealist or magical realist. She is known for painting about her experience of chronic pain. Born to a German father and a mestiza mother, Kahlo spent most of her childhood and adult life at La Casa Azul, her family home in Coyoacán – now publicly accessible as the Frida Kahlo Museum. Although she was disabled by polio as a child, Kahlo had been a promising student headed for medical school until she suffered a bus accident at the age of 18, which caused her lifelong pain and medical problems. During her recovery, she returned to her childhood interest in art with the idea of becoming an artist. Kahlo's interests in politics and art led her to join the Mexican Communist Party in 1927, through which she met fellow Mexican artist Diego Rivera. The couple married in 1929, and spent the late 1920s and early 1930s travelling in Mexico and the United States together. During this time, she developed her artistic style, drawing her main inspiration from Mexican folk culture, and painted mostly small self-portraits which mixed elements from pre-Columbian and Catholic beliefs. Her paintings raised the interest of Surrealist artist André Breton, who arranged for Kahlo's first solo exhibition at the Julien Levy Gallery in New York in 1938; the exhibition was a success, and was followed by another in Paris in 1939. While the French exhibition was less successful, the Louvre purchased a painting from Kahlo, The Frame, making her the first Mexican artist to be featured in their collection. Throughout the 1940s, Kahlo participated in exhibitions in Mexico and the United States and worked as an art teacher. She taught at the Escuela Nacional de Pintura, Escultura y Grabado ("La Esmeralda") and was a founding member of the Seminario de Cultura Mexicana. Kahlo's always-fragile health began to decline in the same decade. She had her first solo exhibition in Mexico in 1953, shortly before her death in 1954 at the age of 47. Her earliest paintings, which she made in the mid-1920s, show influence from Renaissance masters and European avant-garde artists such as Amedeo Modigliani.Towards the end of the decade, Kahlo derived more inspiration from Mexican folk art,drawn to its elements of "fantasy, naivety, and fascination with violence and death". The style she developed mixed reality with surrealistic elements and often depicted pain and death. One of Kahlo's earliest champions was Surrealist artist André Breton, who claimed her as part of the movement as an artist who had supposedly developed her style "in total ignorance of the ideas that motivated the activities of my friends and myself". This was echoed by Bertram D. Wolfe, who wrote that Kahlo's was a "sort of 'naïve' Surrealism, which she invented for herself". Although Breton regarded her as mostly a feminine force within the Surrealist movement, Kahlo brought postcolonial questions and themes to the forefront of her brand of Surrealism. Breton also described Kahlo's work as "wonderfully situated at the point of intersection between the political (philosophical) line and the artistic line. While she subsequently participated in Surrealist exhibitions, she stated that she "detest[ed] Surrealism", which to her was "bourgeois art" and not "true art that the people hope from the artist". Some art historians have disagreed whether her work should be classified as belonging to the movement at all. According to Andrea Kettenmann, Kahlo was a symbolist concerned more in portraying her inner experiences.[93] Emma Dexter has argued that, as Kahlo derived her mix of fantasy and reality mainly from Aztec mythology and Mexican culture instead of Surrealism, it is more appropriate to consider her paintings as having more in common with magical realism, also known as New Objectivity. It combined reality and fantasy and employed similar style to Kahlo's, such as flattened perspective, clearly outlined characters and bright colours. Mexicanidad Similarly to many other contemporary Mexican artists, Kahlo was heavily influenced by Mexicanidad, a romantic nationalism that had developed in the aftermath of the revolution. The Mexicanidad movement claimed to resist the "mindset of cultural inferiority" created by colonialism, and placed special importance on indigenous cultures. Before the revolution, Mexican folk culture – a mixture of indigenous and European elements – was disparaged by the elite, who claimed to have purely European ancestry and regarded Europe as the definition of civilization which Mexico should imitate.Kahlo's artistic ambition was to paint for the Mexican people, and she stated that she wished "to be worthy, with my paintings, of the people to whom I belong and to the ideas which strengthen me". To enforce this image, she preferred to conceal the education she had received in art from her father and Ferdinand Fernandez and at the preparatory school. Instead, she cultivated an image of herself as a "self-taught and naive artist". When Kahlo began her career as an artist in the 1920s, muralists dominated the Mexican art scene. They created large public pieces in the vein of Renaissance masters and Russian socialist realists: they usually depicted masses of people, and their political messages were easy to decipher.[99] Although she was close to muralists such as Rivera, José Clemente Orozco and David Alfaro Siquieros and shared their commitment to socialism and Mexican nationalism, the majority of Kahlo's paintings were self-portraits of relatively small size. Particularly in the 1930s, her style was especially indebted to votive paintings or retablos, which were postcard-sized religious images made by amateur artists. Their purpose was to thank saints for their protection during a calamity, and they normally depicted an event, such as an illness or an accident, from which its commissioner had been saved. The focus was on the figures depicted, and they seldom featured a realistic perspective or detailed background, thus distilling the event to its essentials. Kahlo had an extensive collection of approximately 2,000 retablos, which she displayed on the walls of La Casa Azul. According to Laura Mulvey and Peter Wollen, the retablo format enabled Kahlo to "develop the limits of the purely iconic and allowed her to use narrative and allegory. Many of Kahlo's self-portraits mimic the classic bust-length portraits that were fashionable during the colonial era, but they subverted the format by depicting their subject as less attractive than in reality.She concentrated more frequently on this format towards the end of the 1930s, thus reflecting changes in Mexican society. Increasingly disillusioned by the legacy of the revolution and struggling to cope with the effects of the Great Depression, Mexicans were abandoning the ethos of socialism for individualism. This was reflected by the "personality cults", which developed around Mexican film stars such as Dolores del Río. According to Schaefer, Kahlo's "mask-like self-portraits echo the contemporaneous fascination with the cinematic close-up of feminine beauty, as well as the mystique of female otherness expressed in film noir. By always repeating the same facial features, Kahlo drew from the depiction of goddesses and saints in indigenous and Catholic cultures. Out of specific Mexican folk artists, Kahlo was especially influenced by Hermenegildo Bustos, whose works portrayed Mexican culture and peasant life, and José Guadalupe Posada, who depicted accidents and crime in satiric manner. She also derived inspiration from the works of Hieronymus Bosch, whom she called a "man of genius", and Pieter Bruegel the Elder, whose focus on peasant life was similar to her own interest in the Mexican people. Another influence was the poet Rosario Castellanos, whose poems often chronicle a woman's lot in the patriarchal Mexican society, a concern with the female body, and tell stories of immense physical and emotional pain.[ Symbolism and iconography Kahlo's paintings often feature root imagery, with roots growing out of her body to tie her to the ground. This reflects in a positive sense the theme of personal growth; in a negative sense of being trapped in a particular place, time and situation; and in an ambiguous sense of how memories of the past influence the present for either good and/or ill. In My Grandparents and I, Kahlo painted herself as a ten-year old, holding a ribbon that grows from an ancient tree that bears the portraits of her grandparents and other ancestors while her left foot is a tree trunk growing out of the ground, reflecting Kahlo's view of humanity's unity with the earth and her own sense of unity with Mexico. In Kahlo's paintings, trees serve as symbols of hope, of strength and of a continuity that transcends generations. Additionally, hair features as a symbol of growth and of the feminine in Kahlo's paintings and in Self Portrait with Cropped Hair, Kahlo painted herself wearing a man's suit and shorn of her long hair, which she had just cut off. Kahlo holds the scissors with one hand menacingly close to her genitals, which can be interpreted as a threat to Rivera – whose frequent unfaithfulness infuriated her – and/or a threat to harm her own body like she has attacked her own hair, a sign of the way that women often project their fury against others onto themselves. Moreover, the picture reflects Kahlo's frustration not only with Rivera, but also her unease with the patriarchal values of Mexico as the scissors symbolize a malevolent sense of masculinity that threatens to "cut up" women, both metaphorically and literally. In Mexico, the traditional Spanish values of machismo were widely embraced, but Kahlo was always uncomfortable with machismo. As she suffered for the rest of her life from the bus accident in her youth, Kahlo spent much of her life in hospitals and undergoing surgery, much of it performed by quacks who Kahlo believed could restore her back to where she had been before the accident.Many of Kahlo's paintings are concerned with medical imagery, which is presented in terms of pain and hurt, featuring Kahlo bleeding and displaying her open wounds. Many of Kahlo's medical paintings, especially dealing with childbirth and miscarriage, have a strong sense of guilt, of a sense of living one's life at the expense of another who has died so one might live. Although Kahlo featured herself and events from her life in her paintings, they were often ambiguous in meaning. She did not use them only to show her subjective experience but to raise questions about Mexican society and the construction of identity within it, particularly gender, race, and social class. Historian Liza Bakewell has stated that Kahlo "recognized the conflicts brought on by revolutionary ideology": What was it to be a Mexican? – modern, yet pre-Columbian; young, yet old; anti-Catholic yet Catholic; Western, yet New World; developing, yet underdeveloped; independent, yet colonized; mestizo, yet not Spanish nor Indian. To explore these questions through her art, Kahlo developed a complex iconography, extensively employing pre-Columbian and Christian symbols and mythology in her paintings. In most of her self-portraits, she depicts her face as mask-like, but surrounded by visual cues which allow the viewer to decipher deeper meanings for it. Aztec mythology features heavily in Kahlo's paintings in symbols including monkeys, skeletons, skulls, blood, and hearts; often, these symbols referred to the myths of Coatlicue, Quetzalcoatl, and Xolotl.[ Other central elements that Kahlo derived from Aztec mythology were hybridity and dualism. Many of her paintings depict opposites: life and death, pre-modernity and modernity, Mexican and European, male and female. In addition to Aztec legends, Kahlo frequently depicted two central female figures from Mexican folklore in her paintings: La Llorona and La Malinche as interlinked to the hard situations, the suffering, misfortune or judgement, as being calamitous, wretched or being "de la chingada". For example, when she painted herself following her miscarriage in Detroit in Henry Ford Hospital (1932), she shows herself as weeping, with dishevelled hair and an exposed heart, which are all considered part of the appearance of La Llorona, a woman who murdered her children. The painting was traditionally interpreted as simply a depiction of Kahlo's grief and pain over her failed pregnancies. But with the interpretation of the symbols in the painting and the information of Kahlo's actual views towards motherhood from her correspondence, the painting has been seen as depicting the unconventional and taboo choice of a woman remaining childless in Mexican society. Kahlo often featured her own body in her paintings, presenting it in varying states and disguises: as wounded, broken, as a child, or clothed in different outfits, such as the Tehuana costume, a man's suit, or a European dress. She used her body as a metaphor to explore questions on societal roles. Her paintings often depicted the female body in an unconventional manner, such as during miscarriages, and childbirth or cross-dressing. In depicting the female body in graphic manner, Kahlo positioned the viewer in the role of the voyeur, "making it virtually impossible for a viewer not to assume a consciously held position in response". 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". 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. 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. According to art historian Joan Borsa, the critical reception of her exploration of subjectivity and personal history has all too frequently denied or de-emphasized the politics involved in examining one's own location, inheritances and social conditions ... Critical responses continue to gloss over Kahlo's reworking of the personal, ignoring or minimizing her interrogation of sexuality, sexual difference, marginality, cultural identity, female subjectivity, politics and power. Personal life Kahlo's work as an artist remained relatively unknown until the late 1970s, when her work was rediscovered by art historians and political activists. By the early 1990s, she had become not only a recognized figure in art history, but also regarded as an icon for Chicanos, the feminism movement and the LGBTQ+ movement. Kahlo's work has been celebrated internationally as emblematic of Mexican national and indigenous traditions and by feminists for what is seen as its uncompromising depiction of the female experience and form All items Located in in Hollywood Florida Warehouse For Shipping Call today for quote they have item numbers and Pak Mail is available for all your custom packaging and shipping needs. We can package, palletize, crate, insure and ship to any Domestic or International location. All packaging and shipping fees must be paid in full before shipment is released. On international shipments, consignee is responsible for all Duties, Taxes, Customs Clearance or any destination fees that apply. Please visit our website @ www.pakmail.com/us770 for contact information or to get a quote. (Let us know you are a winning bidder from the Puckett auction so we can correctly arrange pick up for your item) All items Located in in Hollywood Florida Warehouse For Shipping Call today for quote they have item numbers and Pak Mail is available for all your custom packaging and shipping needs. We can package, palletize, crate, insure and ship to any Domestic or International location. All packaging and shipping fees must be paid in full before shipment is released. On international shipments, consignee is responsible for all Duties, Taxes, Customs Clearance or any destination fees that apply. Please visit our website @ www.pakmail.com/us770 for contact information or to get a quote. (Let us know you are a winning bidder from the Puckett auction so we can correctly arrange pick up for your item)