Frida Kahlo Paintings Frida Kahlo Paintings Am I Art

"Anxiety - what do I need them for if I have wings to fly?"

1 of xi

"I paint self-portraits considering I am and then often solitary... considering I am the subject I know best."

2 of 11

"I've done my paintings well... and they have a message of hurting in them, but I recall they'll interest a few people. They're not revolutionary, so why do I keep on believing they're combative?"

3 of 11

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

4 of eleven

"I really don't know whether my paintings are Surrealist or not, simply I exercise know that they are the nigh honest expression of myself, taking no account of the opinions and prejudices of others."

5 of 11

"There is nothing more precious than laughter and scorn. Forcefulness lies in laughing and letting oneself go. In existence cruel and superficial. Tragedy is the most ridiculous characteristic of 'Man', even so I am sure that animals, though they 'suffer', practise not parade their grief in 'theatres' either open or 'closed'."

half-dozen of 11

"My head is full of microscopic spiders, and innumerable tiny vermin... I can't get anything straight inside the big realité without moving straight onto a collision course; either I have to hang my clothes from thin air, or I take to bring distant things perilously, fatally close. You lot'll sort information technology out with your ruler and compass."

vii of xi

"Answer to my beloved with a mighty epistle, that will cheer the saddened heart that beats for you from here, louder than you could always imagine. Only mind to it: TIC-TAC TIC-TAC TIC-TAC TIC-TAC! Literature is hopeless at portraying things, at conveying the full volume of inner noises, and then it's not my mistake if instead of my eye you lot hear simply a broken clock."

8 of xi

"I am non sick... I am broken... but I am happy to be alive every bit long as I can pigment."

9 of 11

"I accept suffered 2 grave accidents in my life, one in which a streetcar knocked me downward.. The other accident is Diego."

10 of 11

"I hope the leaving is joyful - and I hope never to return"

eleven of 11

Summary of Frida Kahlo

Small pins pierce Kahlo'southward peel to reveal that she still 'hurts' following illness and accident, whilst a signature tear signifies her ongoing boxing with the related psychological overflow. Frida Kahlo typically uses the visual symbolism of physical pain in a long-standing attempt to better understand emotional suffering. Prior to Kahlo's efforts, the linguistic communication of loss, decease, and selfhood, had been relatively well investigated past some male artists (including Albrecht Dürer, Francisco Goya, and Edvard Munch), simply had not yet been significantly dissected by a woman. Indeed not only did Kahlo enter into an existing language, but she as well expanded it and fabricated it her own. By literally exposing interior organs, and depicting her own body in a haemorrhage and broken country, Kahlo opened up our insides to aid explicate human behaviors on the outside. She gathered together motifs that would echo throughout her career, including ribbons, hair, and personal animals, and in turn created a new and articulate ways to discuss the most complex aspects of female identity. As not only a 'slap-up creative person' but besides a figure worthy of our devotion, Kahlo's iconic face up provides everlasting trauma support and she has influence that cannot exist underestimated.

Accomplishments

• Kahlo made information technology legitimate for women to outwardly display their pains and frustrations and to thus make steps towards understanding them. It became crucial for women artists to have a female role model and this is the gift of Frida Kahlo.
• As an important question for many Surrealists, Kahlo likewise considers: What is Woman? 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 clear through umbilical symbolism (often shown by ribbons) that Kahlo is connected to all that surrounds her, and that she is a 'mother' without children.
• Finding herself often lone, she worked obsessively with cocky-portraiture. Her reflection fueled an unflinching involvement in identity. She was specially interested in her mixed German-Mexican ancestry, too as in her divided roles equally artist, lover, and wife.
• Kahlo uses religious symbolism throughout her oeuvre. She appears every bit the Madonna holding her 'animal babies', and becomes the Virgin Mary every bit she cradles her husband and famous national painter Diego Rivera. She identifies with Saint Sebastian, and even fittingly appears equally the martyred Christ. She positions herself every bit a prophet when she takes to the head of the table in her Final Supper-style painting, and her delineation of the accident which left her impaled on a metal bar (and covered in aureate dust when lying injured) recalls the crucifixion and suggests her own holiness.
• Women prior to Kahlo who had attempted to communicate the wildest and deepest of emotions were often labeled hysterical or condemned insane - while men were aligned with the 'melancholy' character type. By remaining artistically agile nether the weight of sadness, Kahlo revealed that women as well tin can be melancholy rather than depressed, and that these terms should non be thought of as gendered.

Biography of Frida Kahlo

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

Important Art by Frida Kahlo

Progression of Art

1931

Frieda and Diego Rivera

Information technology is every bit if in this painting Kahlo tries on the part of wife to see how it fits. She does not focus on her identity every bit a painter, simply instead adopts a passive and supportive role, holding the mitt of her talented and acclaimed husband. It was indeed the case that during the majority of her painting career, Kahlo was viewed only in Rivera'due south shadow and it was not until later in life that she gained international recognition.

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

Oil on canvas - San Francisco Museum of Modernistic Art

1932

Henry Ford Infirmary

Many of Kahlo's paintings from the early on 1930s, especially in size, format, architectural setting and spatial organisation, relate to religious ex-voto paintings of which she and Rivera possessed a large collection ranging in date over several centuries. Ex-votos are made as a gesture of gratitude for conservancy, a granted prayer or disaster averted and left in churches or at shrines. Ex-votos are more often than not painted on small-scale-scale metal panels and depict the incident along with the Virgin or saint to whom they are offered. Henry Ford Infirmary, is a good example where the creative person uses the ex-voto format simply subverts information technology by placing herself centre stage, rather than recording the miraculous deeds of saints. Kahlo instead paints her ain story, as though she becomes saintly and the piece of work is made not as thanks to the lord simply in disobedience, questioning why he brings her pain.

In this painting, Kahlo lies on a bed, bleeding afterward a miscarriage. From the exposed naked trunk six vein-like ribbons period outwards, fastened to symbols. One of these six objects is a fetus, suggesting that the ribbons could be 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 bodily physical object given to her by Diego. The creative person demonstrates her need to be attached to all that surrounds her: to the mundane and metaphorical equally much equally the physical and actual. Maybe it is through this reaching out of connectivity that the artist tries to be 'maternal', fifty-fifty though she is not able to have her own child.

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

1932

My Nascence

This is a haunting painting in which both the birth giver and the birthed child seem expressionless. The head of the woman giving nativity is shrouded in white cloth while the infant emerging from the womb appears lifeless. At the fourth dimension that Kahlo painted this work, her female parent had simply died so it seems reasonable to presume that the shrouded funerary figure is her female parent while the babe is Kahlo herself (the title supports this reading). However, Kahlo had likewise just lost her ain kid and has said that she is the covered mother figure. The Virgin of Sorrows, who hangs above the bed suggests that this is an paradigm that overflows with maternal pain and suffering. Also though, and revealingly, Kahlo wrote in her diary, adjacent to several small drawings of herself, 'the one who gave nascency 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 also finding the strength to brand powerful art because of such trauma.

The painting is fabricated in a retablo (or votive) style (a pocket-sized traditional Mexican painting derived from Cosmic Church building art) in which thanks would typically be given to the Madonna beneath the image. Kahlo instead leaves this section blank, every bit though she finds herself unable to requite cheers either for her own nascency, or for the fact that she is now unable to give birth. The painting seems to bring the message that it is important to admit that birth and expiry alive very closely together. Many believe that My Birth was heavily inspired by an Aztec sculpture that Kahlo had at home representing Tiazolteotl, the Goddess of fertility and midwives.

Oil and tempera on zinc - Private Collection

1936

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

This dream-similar family unit tree was painted on zinc rather than canvass, a pick that farther highlights the artist's fascination with and drove of 18^th-century and xix^thursday-century Mexican retablos. Kahlo completed this work to accentuate both her European Jewish heritage and her Mexican groundwork. Her paternal side, German language Jewish, occupies the right side of the composition symbolized by the body of water (acknowledging her father's voyage to become 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 often used them to communicate transgressive or political messages: this painting was completed presently after Adolf Hitler passed the Nuremberg laws banning interracial marriage. Here, Kahlo simultaneously affirms her mixed heritage to confront Nazi credo, using a format - the genealogical nautical chart - employed by the Nazi party to determine racial purity. Beyond politics, the red ribbon used to link the family members echoes the umbilical string 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's exhibition in Julien Levy's New York gallery in 1938, and was ane of the works that most fascinated André Breton, the founder of Surrealism. The canvas in the New York testify is a cocky-portrait of the creative person and her spider monkey, Fulang-Chang, a symbol employed as a surrogate for the children that she and Rivera could not have. The arrangement of figures in the portrait signals the artist's involvement in Renaissance paintings of the Madonna and child. After the New York exhibition, a second frame containing a mirror was added. The later inclusion of the mirror is a gesture inviting the viewer into the piece of 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 artful procedure and into her personal introspection.

In many of Kahlo'south self-portraits, she is accompanied by monkeys, dogs, and parrots, all of which she kept as pets. Since the Centre Ages, small spider monkeys, like those kept past Kahlo, have been said to symbolize the devil, heresy, and paganism, finally coming to correspond the fall of man, vice, and the embodiment of animalism. These monkeys were depicted in the by as a cautionary symbol against the dangers of excessive love and the base of operations instincts of human. 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 dog, Xolotl. This little dog that often accompanies the artist, is named afterward a mythological Aztec god, known to represent lightning and death, and also 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 betwixt Kahlo'southward and the fauna's necks. Kahlo is the Madonna and her pets go the holy (yet 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 H2o Gave Me

In this painting most of Kahlo's body is obscured from view. We are unusually confronted with the foot and plug end of the bath, and with focus placed on the artist'southward feet. Furthermore, Kahlo adopts a birds-eye view and looks down on the water from above. Within the water, Kahlo paints an culling self-portrait, 1 in which the more traditional facial portrait has been replaced by an array of symbols and recurring motifs. The artist includes portraits of her parents, a traditional Tehuana clothes, a perforated shell, a dead humming bird, 2 female lovers, a skeleton, a aging skyscraper, a ship gear up sail, and a woman drowning. This painting was featured in Breton'south 1938 book on Surrealism and Painting and Hayden Herrera, in her biography of Kahlo, mentions that the artist herself considered this work to take a special importance. Recalling the tapestry fashion painting of Northern Renaissance masters, Hieronymus Bosch and Pieter Bruegel the Elderberry, the figures and objects floating in the water of Kahlo's painting create an at one time fantastic and real mural of retention.

Kahlo discussed What the Water Gave Me with the Manhattan gallery owner Julien Levy, and suggested that information technology was a sad slice that mourned the loss of her childhood. Perhaps the strangled figure at the centre is representative of the inner emotional torments experienced by Kahlo herself. Information technology is clear from the conversation that the artist had with Levy, that Kahlo was enlightened of the philosophical implications of her piece of work. In an interview with Herrera, Levy recalls, in 'a long philosophical soapbox, Kahlo talked about the perspective of herself that is shown in this painting'. He further relays that 'her idea was about the image of yourself that you have because you practise not see your head. The head is something that is looking, but is non seen. It is what one carries around to look at life with.' The artist's head in What the Water Gave Me is thus appropriately replaced past the interior thoughts that occupy her heed. Too equally an inclusion of death by strangulation in the center of the water, there is also a labia-like bloom and a cluster of pubic hair painted betwixt Kahlo'due south legs. The work is quite sexual while too showing preoccupation with destruction and death. The motif of the bathtub in art is one that has been popular since Jacques-Louis David's The Death of Marat (1793), and was later taken upward many unlike personalities such as Francesca Woodman and Tracey Emin.

Oil on canvas - Private Collection

1939

The 2 Fridas

This double self-portrait is one of Kahlo's most recognized compositions, and is symbolic of the artist's emotional pain experienced during her divorce from Rivera. On the left, the creative person is shown in modernistic European attire, wearing the costume from her marriage to Rivera. Throughout their marriage, given Rivera's strong nationalism, Kahlo became increasingly interested in indigenism and began to explore traditional Mexican costume, which she wears in the portrait on the correct. It is the Mexican Kahlo that holds a locket with an paradigm of Rivera. The stormy sky in the groundwork, and the artist's bleeding heart - a fundamental symbol of Catholicism and also symbolic of Aztec ritual sacrifice - accentuate Kahlo's personal tribulation and physical pain.

Symbolic elements frequently possess multiple layers of pregnant in Kahlo's pictures; the recurrent theme of claret represents both metaphysical and physical suffering, gesturing also to the creative person's clashing mental attitude toward accepted notions of womanhood and fertility. Although both women take their hearts exposed, the adult female in the white European outfit likewise seems to have had her heart dissected and the avenue that runs from this eye is cutting and bleeding. The avenue that runs from the middle of her Tehuana-costumed self remains intact considering it is continued to the miniature photo of Diego as a kid. Whereas Kahlo's centre in the Mexican dress remains sustained, the European Kahlo, disconnected from her dear Diego, bleeds profusely onto her wearing apparel. As well every bit being ane of the artist's almost famous works, this is likewise her largest canvas.

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

1940

Self-Portrait with Cropped Hair

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

The hair strewn about the floor echoes an earlier self-portrait painted as the Mexican folkloric effigy La Llorona, here ridding herself of these female attributes. Kahlo clutches a pair of pair of scissors, as the discarded strands of pilus go blithe around her feet; the tresses appear to accept a life of their own every bit they curl across the flooring and around the legs of her chair. Above her sorrowful scene, Kahlo inscribed the lyrics and music of a vocal that declares cruelly, "Look, if I loved you information technology was for your hair, now that you are hairless, I don't dearest you lot anymore," confirming Kahlo's ain denunciation and rejection of her female person roles.

In probable homage to Kahlo's painting, Finnish lensman Elina Brotherus photographed Hymeneals Portraits in 1997. On the occasion of her union, Brotherus cuts her hair, the remains of which her new husband holds in his hands. The human activity of cut one'south hair symbolic of a moment of change happens in the piece of work of other female artists too, including that of Francesca Woodman and Rebecca Horn.

Oil on sheet - 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 directly confronts and engages the viewer. The creative person wears Christ'south unraveled crown of thorns as a necklace that digs into her cervix, signifying her self-representation every bit a Christian martyr and the enduring pain experienced following her failed marriage. A expressionless hummingbird, a symbol in Mexican folkloric tradition of luck charms for falling in love, hangs in the center of her necklace. A blackness cat - symbolic of bad luck and decease - crouches backside her left shoulder, and a spider monkey gifted from Rivera, symbolic of evil, is included to her correct. Kahlo oft employed flora and brute in the background of her bust-length portraits to create a tight, claustrophobic space, using the symbolic chemical element of nature to simultaneously compare and dissimilarity the link between female person fertility with the barren and deathly imagery of the foreground.

Typically a symbol of skillful fortune, the meaning of a 'dead' hummingbird is to exist reversed. Kahlo, who craves flight, is perturbed and disturbed past the fact that the butterflies in her hair are too fragile to travel far and that the dead bird effectually her neck, has become an anchor, preyed upon by the nearby cat. In failing to direct translate complex inner feelings it as though the painting illustrates the creative person's frustrations.

Oil on canvass on masonite - Nikolas Muray Collection, Harry Ransom Heart, The University of Texas at Austin

1944

The Cleaved Column

The Broken Column is a particularly pertinent example of the combination of Kahlo'due south emotional and physical hurting. The artist's biographer, Hayden Herrera, writes of this painting, 'A gap resembling an convulsion fissure splits her in 2. The opened body suggests surgery and Frida's feeling that without the steel corset she would literally autumn apart'. A broken ionic column replaces the artist's aging spine and sharp metal nails pierce her body. The hard coldness of this inserted cavalcade recalls the steel rod that pierced the artist'due south abdomen and uterus during her streetcar accident. More than generally, the architectural feature now in ruins, has associations of the simultaneous ability and fragility of the female person body. Beyond its concrete dimensions, the cloth wrapped around Kahlo'southward pelvis, recalls Christ's loincloth. Indeed, Kahlo again displays her wounds similar a Christian martyr; through identification with Saint Sebastian, she uses physical pain, nakedness, and sexuality to bring habitation the bulletin of spiritual suffering.

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

The notion of being wounded in the way that we see illustrated in The Cleaved Cavalcade, is referred to in Castilian as chingada. This give-and-take embodies numerous interrelated meanings and concepts, which include to be wounded, broken, torn open or deceived. The discussion derives from the verb for penetration and implies domination of the female by the male. It refers to the status of victimhood.

The painting besides likely inspired a performance and sculptural piece made by Rebecca Horn in 1970 called Unicorn. In the piece Horn walks naked through an arable field with her body strapped in a fabric corset that appears near identical to that worn by Kahlo in The Broken Cavalcade. In the piece by the German language performance artist, however, the erect, heaven-reaching pillar is fixed to her head rather than inserted into her chest. The performance has an air of mythology and religiosity like to that of Kahlo's painting, but the column is whole and strong once more, perhaps paying homage to Kahlo's fortitude and artistic 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 Column. Every bit a hybrid between a deer and a woman, the innocent Kahlo is wounded and bleeding, preyed upon and hunted downwardly in a clearing in the forest. Staring directly at the viewer, the artist confirms that she is alive, and yet the arrows will slowly kill her. The creative person wears a pearl earring, as though highlighting the tension that she feels between her social existence and the desire to be more freely alongside nature. Kahlo does not portray herself as a delicate and gentle fawn; she is instead a full-bodied stag with large antlers and drooping testicles. Not only does this suggest, like her suited appearance in early family photographs, that Kahlo is interested in combining the sexes to create an androgyne, but also shows that she attempted to align herself with the other great artists of the past, most of whom had been men. The branch below the stag'southward feet is reminiscent of the palm branches that onlookers laid under the feet of Jesus as 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 drawing of herself in which eleven arrows pierce her skin. Similarly, the artist Louise Bourgeois, too interested in the visualization of pain, used Saint Sebastian as a recurring symbol in her art. She first depicted the motif in 1947 equally an abstracted series of forms, barely distinguishable every bit a human being effigy; drawn using watercolor and pencil on pinkish newspaper, but so later made obvious pink fabric sculptures of the saint, stuck with arrows, she like Kahlo feeling under attack and afraid.

Oil on masonite - Private Collection

1951

Weeping Coconuts (Cocos gimientes)

This still life is exemplary of Kahlo'south late piece of work. More than often associated with her psychological portraiture, Kahlo in fact painted nevertheless lifes throughout her career. She depicted fresh fruit and vegetable produce and objects native to Mexico, painting many small-scale-scale still lifes, peculiarly as she grew progressively ill. The anthropomorphism of the fruit in this composition is symbolic of Kahlo's projection of hurting into all things as 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 death. A small Mexican flag bearing the affectionate and personal inscription "Painted with all the love. Frida Kahlo" is stuck into a prickly pear, signaling Kahlo's employ of the fruit as an emblem of personal expression, and communicating her deep respect for all of nature's gifts. During this period, the creative person was heavily reliant on drugs and alcohol to alleviate her hurting, so albeit beautiful, her nonetheless lifes became progressively less detailed betwixt 1951 and 1953.

Oil on board - Los Angeles County Museum of Art

Similar Art

Influences and Connections

Influences on Artist

Influenced by Creative person

Useful Resources on Frida Kahlo

Books

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Books

The books and manufactures below constitute a bibliography of the sources used in the writing of this page. These likewise suggest some attainable resources for further research, especially ones that can exist found and purchased via the cyberspace.

biography

• Frida: A Biography of Frida Kahlo Our Option

  Past Hayden Herrera

• Frida Kahlo: Her Photos

  By Pablo Ortiz Monasterio

• Frida Kahlo: Making Her Cocky Up Our Option

  By Claire Wilcox and Circe Henestrosa

• Frida Kahlo at Home Our Choice

  By Suzanne Barbezat

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

  By Hayden Herrera

• Frida Kahlo I Pigment My Reality

  By Christina Burrus

• Frida & Diego: Art, Dearest, Life

  By Cateherine Reef

written by artist

• The Diary of Frida Kahlo: An Intimate Self-Portrait Our Option

  By Carlos Fuentes

• Frida past 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

  Past Julian Beecroft

• Kahlo (Basic Fine art Series ii.0) Our Selection

  By Andrea Kettenmann

• Frida Kahlo's Gadren Our Pick

  By Adriana Zavala

Content compiled and written by Katlyn Beaver

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

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

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

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