A proper Kahlo primer demands the reading of Hayden Herrera's biography, Frida: A Biography of Frida Kahlo, or at the very least the viewing of Salma Hayek's movie, Frida. The film was the most recent of a curious worldwide Kahlomania that shows little sign of slowing down. It is especially curious in the sense that the artist who now represents "Mexicanity" to its most profound depth was essentially ignored in her own country for many years, both during and after her lifetime (Kahlo died in 1954), and only had one exhibition of her works in Mexico (in 1953), just before she died.
Kahlo was born in 1907. In 1929 she married Diego Rivera. At the time, Rivera was perhaps Mexico's best-known artist and womanizer, and their relationship was turbulent, to say the least. It also provided the subject matter for some of Kahlo's best-known works.
Frieda and Diego by Frida Kahlo
Almost upon entry we see "Frieda [sic] and Diego Rivera," painted in 1931. Painted while Kahlo and Rivera were living in San Francisco, this work was first exhibited at the 6th Annual Exhibition of the San Francisco Society of Women Artists. It's a rather sad double portrait, where Kahlo paints Rivera's profession as an artist, and depicts herself as a traditional Mexican wife, even taking Rivera's last name when she signs the work "Frieda [sic] Rivera." Their hands barely touch each other.
Kahlo was a woman of multiple identities, but this one is far from the Frida Kahlo who has become an unexpected icon to the world's feminist movement. This early work provides a seminal entry point to Kahlo's deep debt to Mexican folk art — what Herrera calls "Mexicanidad" (or Mexicanity) — a post-revolutionary idea formulated by Mexico's intelligentsia to carve out a Mexican identity based upon its own rich indigenous history and its mestizo culture.
Over the years a distinct and very Mexican icon would emerge: an artist who has also become a separate icon not only to the same Mexicans who mostly ignored her while she was alive, but also to the new culture of Mexican-Americans once known as Chicanos who have since adopted her as an iconic cultural leader of their re-discovered Mexicanity.
My Grandparents, My Parents, and I (Family Tree) by Frida Kahlo
A genetic and iconic paradox emerges in this latter deification of Kahlo. In the 1936 painting, "My Grandparents, My Parents, and I (Family Tree)," Kahlo has depicted her own family tree, proudly reflecting her own mestizo heritage, exhibited by her maternal grandfather's indigenous blood. She also showcases her three Caucasian grandparents, and even depicts herself being sustained inside her mother. We also see the moment of creation as a European sperm enters her mother's mestizo egg. Kahlo shows herself as a small child in her Blue House, perhaps sadly stating the end of the line, as Kahlo was unable to bear children.
Article comments
1 - Jim Whalen
lennie---what month in '75 did you hitch a ride on SARA ?? What division ?? jim
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2 - Juliann Mitchell
Mr. Campello, a wonderful,informative, well- written piece on Kahlo. Sharing your own personal experiences made for a great read. I planned to see the exhibit next month but after reading your article I will be going this weekend. I recently purchased her diary and have found it fascinating, especially her artwork. Thank you.
3 - Terence Clarke
Hello Lennie:
Thank you for your piece on Frida Kahlo. I too am a Frida and Diego fan, and I especially appreciate your mention of Hayden Herrera's biography of Frida. I've seldom read a serious biography that was so much of a page-turner. Excellent research, fine writing and a real look into the soul of a very fine artist.
I too am a BC writer, by the way, and I hope you'll look at some of my pieces on the graphic arts.
Warm regards,
Terence Clarke
4 - Richard Marcus
Mr Campello
Thank you for the tour through the Frida exhibt in Philly - it looks stunning. I'm amazed at the number of paintings that I was completly unfamiliar with; the still life's and the minatures look like they are worth poring over for ages.
Do you happen to know if the gallery has produced a catalogue of the show that and if it's for sale? For those of us unable to see the show - and I doubt if it will be coming to Canada at any time in the near future - it would be a valuable addition to a collection.
My wife and I recently purchased a new edition of her journals that has just been published, and I was struck again by the emotional honesty of her work. She's able to comment on her personal pain without appearing self-indulgent. Making it a universal statement on what's it's like to suffer so that others can identify, and feel like somebody understands what they are going through.
I speak from personal experience as I too suffer from acute chronic pain - I know in attempting to write about it, how thin the line between self-pity and explanation is, and I've always looked to Frida's work for guidance.
Thank you again for this piece - it's the next best thing to being there.
cheers
Richard Marcus