Age, Biography, and Wiki
Frida Kahlo was born on July 6, 1907, in Coyoacán, Mexico City, Mexico. She passed away on July 13, 1954, at the age of 47. Kahlo's life was marked by a near-fatal bus accident at the age of 18, which influenced much of her artwork. She is celebrated for her self-portraits, which often depicted her physical and emotional pain.
| Occupation | Painters |
|---|---|
| Date of Birth | 6 July 1907 |
| Age | 118 Years |
| Birth Place | Coyoacán, Mexico City, Mexico |
| Horoscope | Cancer |
| Country | Mexico |
| Date of death | 13 July, 1954 |
| Died Place | Coyoacán, Mexico City, Mexico |
Height, Weight & Measurements
Frida Kahlo stood at approximately 5 feet 2 inches (157 cm) in height. Her physical appearance was significantly affected by the bus accident, which left her with lifelong disabilities. However, her exact weight and detailed body measurements are not well-documented.
In October, Kahlo traveled alone to New York, where her colorful Mexican dress "caused a sensation" and made her seen as "the height of exotica". The exhibition opening in November was attended by famous figures such as Georgia O'Keeffe and Clare Boothe Luce and received much positive attention in the press, although many critics adopted a condescending tone in their reviews. For example, Time wrote that "Little Frida's pictures ... had the daintiness of miniatures, the vivid reds, and yellows of Mexican tradition and the playfully bloody fancy of an unsentimental child". Despite the Great Depression, Kahlo sold half of the 25 paintings presented in the exhibition. She also received commissions from A. Conger Goodyear, then the president of the MoMA, and Clare Boothe Luce, for whom she painted a portrait of Luce's friend, socialite Dorothy Hale, who had committed suicide by jumping from her apartment building. During the three months she spent in New York, Kahlo painted very little, instead focusing on enjoying the city to the extent that her fragile health allowed. She also had several affairs, continuing the one with Nickolas Muray and engaging in ones with Levy and Edgar Kaufmann, Jr.
Kahlo suffered many injuries: her pelvic bone had been fractured, her abdomen and uterus had been punctured by the rail, her spine was broken in three places, her right leg was broken in eleven places, her right foot was crushed and dislocated, her collarbone was broken, and her shoulder was dislocated. She spent a month in hospital and two months recovering at home before being able to return to work. As she continued to experience fatigue and back pain, her doctors ordered X-rays, which revealed that the accident had also displaced three vertebrae. As treatment she had to wear a plaster corset which confined her to bed rest for the better part of three months.
In 2018, Mattel unveiled seventeen new Barbie dolls in celebration of International Women's Day, including one of Kahlo. Critics objected to the doll's slim waist and noticeably missing unibrow.
| Height | 5 feet 2 inches |
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Dating & Relationship Status
Kahlo was married to the famous Mexican muralist Diego Rivera. Their relationship was tumultuous, with periods of separation and infidelity. Despite these challenges, they remained deeply connected until her death.
Born to a German father and a mestiza mother (of Purépecha descent), 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 being injured in 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 enjoyed art from an early age, receiving drawing instruction from printmaker Fernando Fernández (who was her father's friend) and filling notebooks with sketches. In 1925, she began to work outside of school to help her family. After briefly working as a stenographer, she became a paid engraving apprentice for Fernández. He was impressed by her talent, although she did not consider art as a career at this time.
A severe bus accident at the age of 18 left Kahlo in lifelong pain. Confined to bed for three months following the accident, Kahlo began to paint. She started to consider a career as a medical illustrator, as well, which would combine her interests in science and art. Her mother provided her with a specially-made easel, which enabled her to paint in bed, and her father lent her some of his oil paints. She had a mirror placed above the easel, so that she could see herself. Painting became a way for Kahlo to explore questions of identity and existence. She explained, "I paint myself because I am often alone and I am the subject I know best." She later stated that the accident and the isolating recovery period made her desire "to begin again, painting things just as [she] saw them with [her] own eyes and nothing more."
Most of the paintings Kahlo made during this time were portraits of herself, her sisters, and her schoolfriends. Her early paintings and correspondence show that she drew inspiration especially from European artists, in particular Renaissance masters such as Sandro Botticelli and Bronzino and from avant-garde movements such as Neue Sachlichkeit and Cubism. On moving to Morelos in 1929 with her husband Diego Rivera, Kahlo was inspired by the city of Cuernavaca where they lived. She changed her artistic style and increasingly drew inspiration from Mexican folk art. Art historian Andrea Kettenmann states that she may have been influenced by Adolfo Best Maugard's treatise on the subject, for she incorporated many of the characteristics that he outlined – for example, the lack of perspective and the combining of elements from pre-Columbian and colonial periods of Mexican art. Her identification with La Raza, the people of Mexico, and her profound interest in its culture remained important facets of her art throughout the rest of her life.
When Kahlo and Rivera moved to San Francisco in 1930, Kahlo was introduced to American artists such as Edward Weston, Ralph Stackpole, Timothy L. Pflueger, and Nickolas Muray. The six months spent in San Francisco were a productive period for Kahlo, who further developed the folk art style she had adopted in Cuernavaca. In addition to painting portraits of several new acquaintances, she made Frieda and Diego Rivera (1931), a double portrait based on their wedding photograph, and The Portrait of Luther Burbank (1931), which depicted the eponymous horticulturist as a hybrid between a human and a plant. Although she still publicly presented herself as simply Rivera's spouse rather than as an artist, she participated for the first time in an exhibition, when Frieda and Diego Rivera was included in the Sixth Annual Exhibition of the San Francisco Society of Women Artists in the Palace of the Legion of Honor.
On moving to Detroit with Rivera, Kahlo experienced numerous health problems related to a failed pregnancy. Despite these health problems, as well as her dislike for the capitalist culture of the United States, Kahlo's time in the city was beneficial for her artistic expression. She experimented with different techniques, such as etching and frescos, and her paintings began to show a stronger narrative style. She also began placing emphasis on the themes of "terror, suffering, wounds, and pain". Despite the popularity of the mural in Mexican art at the time, she adopted a diametrically opposed medium, votive images or retablos, religious paintings made on small metal sheets by amateur artists to thank saints for their blessings during a calamity. Amongst the works she made in the retablo manner in Detroit are Henry Ford Hospital (1932), My Birth (1932), and Self-Portrait on the Border of Mexico and the United States (1932). While none of Kahlo's works were featured in exhibitions in Detroit, she gave an interview to the Detroit News on her art; the article was condescendingly titled "Wife of the Master Mural Painter Gleefully Dabbles in Works of Art".
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".
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."
Kahlo's parents were photographer Guillermo Kahlo (1871–1941) and Matilde Calderón y González (1876–1932), and they were thirty-six and thirty, respectively, when they had her. Originally from Germany, Guillermo had immigrated to Mexico in 1891, after epilepsy caused by an accident ended his university studies. Although Kahlo said her father was Jewish and her paternal grandparents were Jews from the city of Arad, this claim was challenged in 2006 by a pair of German genealogists who found he was instead a Lutheran. In addition to Kahlo, the marriage produced daughters Matilde (c. 1898–1951), Adriana (c. 1902–1968), and Cristina (c. 1908–1964). She had two half-sisters from Guillermo's first marriage, María Luisa and Margarita, but they were raised in a convent.
Kahlo later described the atmosphere in her childhood home as often "very, very sad". Both parents were often sick, and their marriage was devoid of love. Her relationship with her mother, Matilde, was extremely tense. Kahlo described her mother as "kind, active and intelligent, but also calculating, cruel and fanatically religious". Her father Guillermo's photography business suffered greatly during the Mexican Revolution, as the overthrown government had commissioned works from him, and the long civil war limited the number of private clients.
Due to polio, Kahlo began school later than her peers. Along with her younger sister Cristina, she attended the local kindergarten and primary school in Coyoacán and was homeschooled for the fifth and sixth grades. While Cristina followed their sisters into a convent school, Kahlo was enrolled in a German school due to their father's wishes. She was soon expelled for disobedience and was sent to a vocational teachers school. Her stay at the school was brief, as she was sexually abused by a female teacher.
In 1922, Kahlo was accepted to the elite National Preparatory School, where she focused on natural sciences with the aim of becoming a physician. The institution had only recently begun admitting women, with only 35 girls out of 2,000 students. She performed well academically, was a voracious reader, and became "deeply immersed and seriously committed to Mexican culture, political activism and issues of social justice". The school promoted indigenismo, a new sense of Mexican identity that took pride in the country's Indigenous heritage and sought to rid itself of the colonial mindset of Europe as superior to Mexico. Particularly influential to Kahlo at this time were nine of her schoolmates, with whom she formed an informal group called the "Cachuchas" – many of them would become leading figures of the Mexican intellectual elite. They were rebellious and against everything conservative and pulled pranks, staged plays, and debated philosophy and Russian classics. To mask the fact that she was older and to declare herself a "daughter of the revolution", she began saying that she had been born on 7 July 1910, the year the Mexican Revolution began, which she continued throughout her life. She fell in love with Alejandro Gomez Arias, the leader of the group and her first love. Her parents did not approve of the relationship. Arias and Kahlo were often separated from each other, due to the political instability and violence of the period, so they exchanged passionate love letters.
On 17 September 1925, Kahlo and her boyfriend, Arias, were on their way home from school. They boarded one bus, but they got off the bus to look for an umbrella that Kahlo had left behind. They then boarded a second bus, which was crowded, and they sat in the back. The driver attempted to pass an oncoming electric streetcar. The streetcar crashed into the side of the wooden bus, dragging it a few feet. Several passengers were killed in the accident. While Arias only suffered minor injuries, Frida was impaled by an iron handrail that went through her pelvis. She later described the injury as "the way a sword pierces a bull". The handrail was removed by Arias and others, which was incredibly painful for Kahlo.
Kahlo soon began a relationship with Rivera, who was 21 years her senior and had two common-law wives. Kahlo and Rivera were married in a civil ceremony at the town hall of Coyoacán on 21 August 1929. Her mother opposed the marriage, and both parents referred to it as a "marriage between an elephant and a dove", referring to the couple's differences in size; Rivera was tall and overweight while Kahlo was petite and fragile. Regardless, her father approved of Rivera, who was wealthy and therefore able to support Kahlo, who could not work and had to receive expensive medical treatment. The wedding was reported by the Mexican and international press, and the marriage was subject to constant media attention in Mexico in the following years, with articles referring to the couple as simply "Diego and Frida".
The year spent in Detroit was a difficult time for Kahlo. Although she had enjoyed visiting San Francisco and New York City, she disliked aspects of American society, which she regarded as colonialist, as well as most Americans, whom she found "boring". She disliked having to socialize with capitalists such as Henry and Edsel Ford, and was angered that many of the hotels in Detroit refused to accept Jewish guests. In a letter to a friend, she wrote that "although I am very interested in all the industrial and mechanical development of the United States", she felt "a bit of a rage against all the rich guys here, since I have seen thousands of people in the most terrible misery without anything to eat and with no place to sleep, that is what has most impressed me here, it is terrifying to see the rich having parties day and night while thousands and thousands of people are dying of hunger." Kahlo's time in Detroit was also complicated by a pregnancy. Her doctor agreed to perform an abortion, but the medication used was ineffective. Kahlo was deeply ambivalent about having a child and had already undergone an abortion earlier in her marriage to Rivera. Following the failed abortion, she reluctantly agreed to continue with the pregnancy, but miscarried in July, which caused a serious hemorrhage that required her being hospitalized for two weeks. Less than three months later, her mother died from complications of surgery in Mexico.
Kahlo was reconciled with Rivera and Cristina later in 1935 and moved back to San Ángel. She became a loving aunt to Cristina's children, Isolda and Antonio. Despite the reconciliation, both Rivera and Kahlo continued their infidelities. She also resumed her political activities in 1936, joining the Fourth International and becoming a founding member of a solidarity committee to provide aid to the Republicans in the Spanish Civil War. She and Rivera successfully petitioned the Mexican government to grant asylum to former Soviet leader Leon Trotsky and offered La Casa Azul for him and his wife Natalia Sedova as a residence. The couple lived there from January 1937 until April 1939, with Kahlo and Trotsky not only becoming good friends but also having a brief affair. Kahlo painted Self-Portrait Dedicated to Leon Trotsky in 1937 during their time together in Mexico City, including a written inscription to Trotsky in the painting on a letter that Kahlo's figure holds.
Rivera was also in San Francisco after he fled Mexico City following Trotsky's murder and accepted a commission. Although Kahlo had a relationship with art dealer Heinz Berggruen during her visit to San Francisco, she and Rivera were reconciled. They remarried in a simple civil ceremony on 8 December 1940. Kahlo and Rivera returned to Mexico soon after their wedding. The union was less turbulent than before for its first five years. Both were more independent, and while La Casa Azul was their primary residence, Rivera retained the San Ángel house for use as his studio and second apartment. Both continued having extramarital affairs; Kahlo had affairs with both men and women, with evidence suggesting her male lovers were more important to Kahlo than her female lovers. Despite the medical treatment she had received in San Francisco, Kahlo's health problems continued throughout the 1940s. Due to her spinal problems, she wore twenty-eight separate supportive corsets, varying from steel and leather to plaster, between 1940 and 1954. She experienced pain in her legs, the infection on her hand had become chronic, and she was also treated for syphilis. The death of her father in April 1941 plunged her into a depression. Her ill health made her increasingly confined to La Casa Azul, which became the center of her world. She enjoyed taking care of the house and its garden, and was kept company by friends, servants, and various pets, including spider monkeys, Xoloitzcuintlis, and parrots.
The Tate Modern considers Kahlo "one of the most significant artists of the twentieth century". Art historian Elizabeth Bakewell, has stated that Kahlo is "one of Mexico's most important twentieth-century figures". Kahlo's reputation as an artist developed late in her life and grew even further posthumously, as during her lifetime she was primarily known as the wife of Diego Rivera and as an eccentric personality among the international cultural elite. She gradually gained more recognition in the late 1970s when feminist scholars began to question the exclusion of female and non-Western artists from the art historical canon and the Chicano Movement lifted her as one of their icons. The first two books about Kahlo were published in Mexico by Teresa del Conde and Raquel Tibol in 1976 and 1977, respectively, and, in 1977, The Tree of Hope Stands Firm (1944) became the first Kahlo painting to be sold in an auction, netting $19,000 at Sotheby's. These milestones were followed by the first two retrospectives staged on Kahlo's oeuvre in 1978, one at the Palacio de Bellas Artes in Mexico City and another at the Museum of Contemporary Art in Chicago.
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| Husband | Diego Rivera (m. 1929-1939) (m. 1940) |
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Net Worth and Salary
At the time of her death in 1954, Frida Kahlo's net worth was approximately $17 million, which translates to around $80 million today. This figure reflects the modest financial success she achieved during her lifetime, primarily through her art and support from her husband.
Career, Business, and Investments
Frida Kahlo's career as an artist blossomed in the late 1930s and early 1940s. Her unique style, which blended Mexican folk art with surrealism and realism, gained international recognition. Her posthumous fame soared in the 1980s, contributing significantly to her artistic legacy and the value of her works today. A notable example is the sale of her self-portrait Diego y yo, which fetched $34.9 million in 2021.
Upon returning to Mexico City in 1934 Kahlo made no new paintings, and only two in the following year, due to health complications. In 1937 and 1938, however, Kahlo's artistic career was extremely productive, following her divorce and then reconciliation with Rivera. She painted more "than she had done in all her eight previous years of marriage", creating such works as My Nurse and I (1937), Memory, the Heart (1937), Four Inhabitants of Mexico (1938), and What the Water Gave Me (1938). Although she was still unsure about her work, the National Autonomous University of Mexico exhibited some of her paintings in early 1938. She made her first significant sale in the summer of 1938 when film star and art collector Edward G. Robinson purchased four paintings at $200 each. Even greater recognition followed when French Surrealist André Breton visited Rivera in April 1938. He was impressed by Kahlo, immediately claiming her as a surrealist and describing her work as "a ribbon around a bomb". He not only promised to arrange for her paintings to be exhibited in Paris but also wrote to his friend and art dealer, Julien Levy, who invited her to hold her first solo exhibition at his gallery on the East 57th Street in Manhattan.
In 1943, Kahlo accepted a teaching position at the recently reformed, nationalistic Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda". She encouraged her students to treat her in an informal and non-hierarchical way and taught them to appreciate Mexican popular culture and folk art and to derive their subjects from the street. When her health problems made it difficult for her to commute to the school in Mexico City, she began to hold her lessons at La Casa Azul. Four of her students – Fanny Rabel, Arturo García Bustos, Guillermo Monroy, and Arturo Estrada – became devotees, and were referred to as "Los Fridos" for their enthusiasm. Kahlo secured three mural commissions for herself and her students.
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. 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, or an unrelated movement 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.
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. 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".
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".
At one of Modotti's parties in June 1928, Kahlo was introduced to Diego Rivera. They had met briefly in 1922 when he was painting a mural at her school. Shortly after their introduction in 1928, Kahlo asked him to judge whether her paintings showed enough talent for her to pursue a career as an artist. Rivera recalled being impressed by her works, stating that they showed "an unusual energy of expression, precise delineation of character, and true severity ... They had a fundamental plastic honesty, and an artistic personality of their own ... It was obvious to me that this girl was an authentic artist".
After Rivera had completed the commission in Cuernavaca in late 1930, he and Kahlo moved to San Francisco, where he painted murals for the Luncheon Club of the San Francisco Stock Exchange and the California School of Fine Arts. The couple was "feted, lionized, [and] spoiled" by influential collectors and clients during their stay in the city. Her long love affair with Hungarian-American photographer Nickolas Muray most likely began around this time.
* 4 January 2022–present: Frida Kahlo: The Life of an Icon at Barangaroo Reserve, Sydney. Audio visual exhibition created by the Frida Kahlo Corporation.
Social Network
Frida Kahlo did not have a social network presence during her lifetime, as social media platforms did not exist. However, her art and legacy continue to inspire numerous social media accounts and fan pages dedicated to her life and work.
Magdalena Carmen Frida Kahlo y Calderón (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 also known for painting about her experience of chronic pain.
In the United States, Kahlo's paintings continued to raise interest. In 1941, her works were featured at the Institute of Contemporary Art in Boston, and, in the following year, she participated in two high-profile exhibitions in New York, the Twentieth-Century Portraits exhibition at the MoMA and the Surrealists' First Papers of Surrealism exhibition. In 1943, she was included in the Mexican Art Today exhibition at the Philadelphia Museum of Art and Women Artists at Peggy Guggenheim's The Art of This Century gallery in New York. Kahlo gained more appreciation for her art in Mexico as well. She became a founding member of the Seminario de Cultura Mexicana, a group of twenty-five artists commissioned by the Ministry of Public Education in 1942 to spread public knowledge of Mexican culture. As a member, she took part in planning exhibitions and attended a conference on art. In Mexico City, her paintings were featured in two exhibitions on Mexican art that were staged at the English-language Benjamin Franklin Library in 1943 and 1944. She was invited to participate in "Salon de la Flor", an exhibition presented at the annual flower exposition. An article by Rivera on Kahlo's art was also published in the journal published by the Seminario de Cultura Mexicana.
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.
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 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.
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.
During the civil war Morelos had seen some of the heaviest fighting, and life in the Spanish-style city of Cuernavaca sharpened Kahlo's sense of a Mexican identity and history. Similar to many other Mexican women artists and intellectuals at the time, Kahlo began wearing traditional Indigenous Mexican peasant clothing to emphasize her mestiza ancestry: long and colorful skirts, huipils and rebozos, elaborate headdresses and masses of jewelry. She especially favored the dress of women from the allegedly matriarchal society of the Isthmus of Tehuantepec, who had come to represent "an authentic and indigenous Mexican cultural heritage" in post-revolutionary Mexico. The Tehuana outfit allowed Kahlo to express her feminist and anti-colonialist ideals.
Kahlo's popular appeal is seen to stem first and foremost from a fascination with her life story, especially its painful and tragic aspects. She has become an icon for several minority groups and political movements, such as feminists, the LGBTQ community, and Chicanos. Oriana Baddeley has written that Kahlo has become a signifier of non-conformity and "the archetype of a cultural minority", who is regarded simultaneously as "a victim, crippled and abused" and as "a survivor who fights back". Edward Sullivan stated that Kahlo is hailed as a hero by so many because she is "someone to validate their own struggle to find their own voice and their own public personalities". According to John Berger, Kahlo's popularity is partly due to the fact that "the sharing of pain is one of the essential preconditions for a refinding of dignity and hope" in twenty-first century society. Kirk Varnedoe, the former chief curator of MoMA, has stated that Kahlo's posthumous success is linked to the way in which "she clicks with today's sensibilities – her psycho-obsessive concern with herself, her creation of a personal alternative world carries a voltage. Her constant remaking of her identity, her construction of a theater of the self are exactly what preoccupy such contemporary artists as Cindy Sherman or Kiki Smith and, on a more popular level, Madonna... She fits well with the odd, androgynous hormonal chemistry of our particular epoch."
Kahlo's posthumous popularity and the commercialization of her image have drawn criticism from many scholars and cultural commenters, who think that, not only have many facets of her life been mythologized, but the dramatic aspects of her biography have also overshadowed her art, producing a simplistic reading of her works in which they are reduced to literal descriptions of events in her life. According to journalist Stephanie Mencimer, Kahlo "has been embraced as a poster child for every possible politically correct cause" and "like a game of telephone, the more Kahlo's story has been told, the more it has been distorted, omitting uncomfortable details that show her to be a far more complex and flawed figure than the movies and cookbooks suggest. This elevation of the artist over the art diminishes the public understanding of Kahlo's place in history and overshadows the deeper and more disturbing truths in her work. Even more troubling, though, is that by airbrushing her biography, Kahlo's promoters have set her up for the inevitable fall so typical of women artists, that time when the contrarians will band together and take sport in shooting down her inflated image, and with it, her art.'" Baddeley has compared the interest in Kahlo's life to the interest in the troubled life of Vincent van Gogh but has also stated that a crucial difference between the two is that most people associate Van Gogh with his paintings, whereas Kahlo is usually signified by an image of herself – an intriguing commentary on the way male and female artists are regarded. Similarly, Peter Wollen has compared Kahlo's cult-like following to that of Sylvia Plath, whose "unusually complex and contradictory art" has been overshadowed by simplified focus on her life.
Education
Frida Kahlo attended the National Preparatory School in Mexico City, where she initially aspired to become a doctor. Following her bus accident, she began painting as a form of therapy and self-expression, eventually becoming a prominent figure in Mexican art.
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 together in Mexico and the United States. During this time, she developed her artistic style, drawing her main inspiration from Mexican folk culture, and painted mostly small self-portraits that 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. While she had had solo exhibitions elsewhere, she had her first solo exhibition in Mexico in 1953, shortly before her death in 1954 at the age of 47.
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":
The accident ended Kahlo's dreams of becoming a physician and caused her pain and illness for the rest of her life; her friend Andrés Henestrosa stated that Kahlo "lived dying". Kahlo's bed rest was over by late 1927, and she began socializing with her old schoolfriends, who were now at university and involved in student politics. She joined the Mexican Communist Party (PCM) and was introduced to a circle of political activists and artists, including the exiled Cuban communist Julio Antonio Mella and the Italian-American photographer Tina Modotti.
Kahlo and Rivera returned to New York in March 1933, for he had been commissioned to paint a mural for the Rockefeller Center. During this time, she only worked on one painting, My Dress Hangs There (1933). She also gave further interviews to the American press. In May, Rivera was fired from the Rockefeller Center project and was instead hired to paint a mural for the New Workers School. Although Rivera wished to continue their stay in the United States, Kahlo was homesick, and they returned to Mexico soon after the mural's unveiling in December 1933.
Back in Mexico City, Kahlo and Rivera moved into a new house in the wealthy neighborhood of San Ángel. Commissioned from Le Corbusier's student Juan O'Gorman, it consisted of two sections joined by a bridge; Kahlo's was painted blue and Rivera's pink and white. The bohemian residence became an important meeting place for artists and political activists from Mexico and abroad.
In 2018, San Francisco Board of Supervisors unanimously voted to rename Phelan Avenue to Frida Kahlo Way. Frida Kahlo Way is the home of City College of San Francisco and Archbishop Riordan High School.
