🎨 Frida Kahlo
Frida Kahlo - My Grandparents, My Parents and Me, 1936
Wedding portrait of Matilde Calderón and Guillermo Kahlo, February 21, 1898
On July 6, 1907, Magdalena Carmen Frida Kahlo Calderón, the third daughter of the Kahlo Calderón family, is born in Coyoacán.
(left) Frida Kahlo at the age of four, 1911 (right) Frida at the age of five, 1912
At the age of six, Frida contracts polio. As a result, her right leg will be short and thin. Nevertheless, Frida is a restless, active child. Her father encourages her to do sports to strengthen her right leg.
1922 - Frida wants to study Medicine, so she enrolls in the National Preparatory School. She is one of thirty-five girls in a student body of 2,000 boys. At that time, to help her family, Frida works at a lumberyard, recording entries and exits. In her father’s photographic studio, she also learns how to color photos by hand with a brush.
1924 - The political climate becomes complicated with an uprising against president Álvaro Obregón. Frida’s mother, concerned about the lack of security, prohibits her from going to school.
Frida cannot see her boyfriend, Alejandro Gómez Arias, and cannot attend classes.
Frida Kahlo - Portrait of her boyfriend, Alejandro Gómez Arias, 1928
1925 - On September 17, Frida is seriously injured in a traffic accident. The bus she was riding with Alejandro was unable to slow down and was struck by a streetcar. Frida spends a month in the Red Cross hospital, where her older sister, Matilde, visits her.
Matilde Kahlo Calderón, 1917
Matilde, Frida’s older sister. Matilde will take care of Frida when she is sick and will oversee the correspondence with various physicians.
1926- Frida paints her first self-portrait.
1927 - Frida recovers enough to resume her social life. She continues to paint, now to earn money to help her parents pay her medical bills.
Frida Kahlo - Portrait of Miguel N. Lira, 1927
Frida Kahlo and Diego Rivera on their wedding day, August 21, 1929
Frida weds Diego in the town council of Coyoacán. She is 22 and the muralist is slightly more than twenty years older. Frida’s mother is of the idea that the marriage is the union of “an elephant and a dove.”
The Bus, 1929
Frida alludes to her accident in the painting The Bus, where she also depicts social classes in Mexico in the early twentieth century.
Diego pays off the mortgage that Guillermo Kahlo had taken out on the family home, and he puts the residence in Frida’s name. Her parents continue to live there.
1931 - Frida paints Frieda and Diego Rivera, which represents their wedding.
1932 - In Self-Portrait (on the Border between Mexico and the United States), Frida positions herself on an imaginary borderline, split between two realities: that of her country, where nature and traditions thrive, but that is also critical, and the visión of the neighboring country, dominated by machines and industrialization.
1933 - Frida paints My Dress Hangs Here during her stay in New York, while Diego tries to complete the controversial Rockefeller Center mural. In this canvas, Frida uses paint and newspaper and magazine clippings to form an avant-garde collage critical of reality.
Frida Kahlo and Diego Rivera in the home of Luther Burbank, California, 1931
Portrait of Luther Burbank, 1931
Between 1937 and 1938 Frida does 20 paintings—more than she had ever painted in a single year—many of which she exhibits in New York. Ixcuhintli [sic] Dog with Me is one of those works. Noteworthy is the dark-colored dress in the portrait and the cigarette in her hand, still considered a male privilege at that time.
1939 - In her canvas What the Water Has Given Me, Frida fills a bathtub with symbols to show her life experiences. Roots, a dress, a volcano, birds, insects, a building, her parents, a corpse float in an aquatic world, full of intellectual riddles/puzzles. Her ailment is portrayed in the wound in her right foot.
1942 - President Manuel Ávila Camacho commissions Frida to paint a still life for the dining room of the official residence. However, the first lady, Ana Soledad Orozco, finds the canvas overly suggestive and returns it to the artist.
Frida Kahlo seated at/on the Casa Azul pyramid with her Self-Portrait as Tehuana or Diego on My Mind, 1943
Frida again exhibits her work in the Museum of Modern Art (MoMA) in New York, in the heart of Manhattan, and one of the foremost museums in the United States.
1943 - Roots
1945 - Frida paints the canvas Moses or The Birth of the Hero, after having read the book by the renowned psychoanalyst Sigmund Freud: Moses and Monotheism. Engineer José Domingo Lavín Revilla, Frida’s friend and patron, had lent her the volumen and asked her to paint her own interpretation. In this work, despite its small format, Kahlo imitates the layout of the mural painting. The canvas will be displayed in 1946 at the Palacio de Bellas Artes, in Mexico City, with the title Nuclear Sun.
1946 - Tree of Hope, Remain Strong
1949 - In My Family (unfinished), Frida draws the genealogical tree of her maternal ancestors, of Mexican origin, and her paternal family, of Hungarian-German ancestry. By this time, the painter’s parents had already died and in the canvas they join the grandparents in a cloud in the sky. Kahlo also portrays her sisters and includes the enigmatic presence of a baby, perhaps Frida’s brother who died before she was born.
‘Frida Kahlo’s desk’, Mexico City,
Gisele Freund, 1950
Frida paints Portrait of My Father, Guillermo Kahlo, using a photo of her father in his youth as a reference point.
On July 13, 1954, at the age of 47, Frida dies.
Days before her death, in her canvas with watermelons, she writes the phrase “Viva la Vida” (Long Live Life), thus naming the work and leaving a final testimony to her resilience and hope.
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In ogni pianta vivente, scorgiamo due politiche: una di difesa dai nemici, l’altra d’alleanza con amici utili. I ghiacci, i venti, gli uragani, la siccità, gli animali e gli insetti erbivori sono i principali nemici delle piante selvatiche, mentre le api, gli uccelli, le farfalle, il calore del sole, l'umidità e la fertilità del suolo sono i loro più grandi amici. Ma trapiantando queste piante e sottoponendole alla coltivazione, buttiamo all’aria tutto il loro ambiente vitale. Costruiamo siepi intorno ai rovi, rendendo inutile la produzione delle spine; salviamo i semi del ravanello e i bulbi del giglio, e con le nostre organizzazioni umane li distribuiamo dovunque potranno vivere bene; prendiamo marze dai meli, e le innestiamo dappertutto; selezioniamo e miglioriamo, coltiviamo e custodiamo, innaffiamo e proteggiamo tutte le piante cresciute da seme e diamo loro le condizioni più favorevoli.
Impadronendoci delle loro principali funzioni, risolviamo quelli che per secoli furono i problemi fondamentali della loro esistenza; la protezione e la riproduzione. Subito le piante così favorite incominciano a svilupparsi in modo da farsi sempre più adatte per provvedere ai bisogni dell’uomo, al quale rivelano le proprie capacità, e che sfrutta al massimo le loro numerose attitudini.
Luther Burbank, Come si educano le piante (1941)
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