Frida Kahlo

& Diego Rivera Essay, Research Paper

The work of Frida Kahlo often labeled and defined as feminist art continues to describe and establish what feminist art is. Wife of the well known and highly regarded Diego Rivera, Frida struggled to become an artist in her own right. Her extremely passionate love for and devotion to her husband manifested itself in an unusual manner in their already unconventional and unique marriage. However it is partly this obsession with Diego that helped motivate her own success as a feminist artist. Her passionate political and revolutionary spirit resonates in the subjects of her paintings as she herself states, “I want my work to be a contribution to the struggle of the people for peace and liberty.” (Herrera p.263). She confronts her pain and suffering and openly exposes herself in her work. Essentially Kahlo’s work includes and encompasses all of the theories and themes discussed in Art History 466. Pain and suffering, active political and social awareness are present in her paintings, and most importantly an acute awareness of the power of the feminine and of feminist art is prevalent as well. The passionate, seductive and exotic nature of Frida’s work is used combined with humor, pain and endless emotion emphatically stating her awareness of the power she as a woman and an artist possessed, despite her unquestionable and undeniable insecurities, frustrations and suffering. She utilized these attributes to her advantage in producing some of the most astonishing works unarguably and undisputably renowned for their aesthetic and intellectual superiority.

Despite its initial appearance of a simple image lacking the usual surreal qualities of Frida’s work, her Self Portrait Dedicated to Leon Trotsky is saturated in sensuality and mystery demanding further investigation. With her directed, seductive gaze Frida holds a private conversation with Leon as she presents herself as a gift to him. In her biography on Kahlo, Hayden Herrera notes Frida “was flattered to be loved by the Great Russian, fascinated by his mind and moved by his desire. Frida was delighted to have an affair with Trotsky” (Herrera p.212). Kahlo’s portrait, while presenting a relatively small image, is monumentalized by the saturation of passion and emotion that she shares with Trotsky. The portrait, lacking the usual bloody and shocking imagery often seen in Kahlo’s work, is not disregarding these motivations. Triumphant Frida emerges, having mesmerized Diego, Trotsky, and the world by stealing the heart of this great man and reaping the benefits the affair brought her. She presents herself as proud, dignified, confident and as always, extremely desirable and irresistible.

Reserved, poised and confident, Frida demands immediate attention and respect from her audience as she stands with purpose on a hardwood stage, curtains drawn held back by thick yet elegant rope. Her peach colored skirt with elegant embroidered flowers and the saturated, deep red blouse peaking from under an astonishing golden yellow shawl which drapes over the entire costume all indicate a distinguished, colonial member of the bourgeois high society. The rich red and golden hues of her clothing are complemented and emphasized by the palate of color Frida has chosen for her background which resonates from a deep green to a golden sun-like tone. She has replaced her usual and typical exuberant and bright native dress with a more refined version of the characteristic long skirt and jewelry to decorate herself. The aristocratic Frida reinforces her intended highly distinguished image with the intricately woven red ribbon in her impetuously braided hair which is further complemented by the purple flower carefully tucked into her braid. The hair with the ribbon and flower is indicative of indigenous heritage and culture, neither which ever to be excluded or denied by Kahlo. The brazen carnality of the many self portraits that wold soon follow in a burst of creativity initiated by this Self Portrait Dedicated to Leon Trotsky is not present in the painting itself. Ropes and ribbons often indicate things that bind and the flowers in Frida’s firmly grasped hands can be symbolic of fertility. Partnered with the slip of paper, exclusively dedicating the portrait to Trotsky, also in her hands, a conclusion can be assumed Kahlo was having a private conversation or performance with Leon through her gift to him, the portrait. The bound curtains parted to display her while still referring to the private relationship they shared. Her seductive gaze intended for his recieval and understanding reflect this as well, and the flowers are a reminder of that which had occurred and the fertility to be experienced in the coming productivity and success in Frida’s life. In a sense, a thank you and acknowledgment from the refined Frida are offered while notions of the fiery, passionate Frida teasingly remind “El Viejo” of her (Garza p.87).

“Between the Curtains” ( a name given to the self portrait by gallery owner Levy), stands a confident, self composed Frida in a moment out of place out of time (Herrera p,230). The moment the composed Frida represents is the time spent between herself and the paintings recipient, Leon Trotsky. Assumed to be imaginary, surreal this “moment” has alluded its viewer since its creation. For Frida’s intent, with her eyes penetrating, seductive and focused was to be a private, understood