DOCSLIB.ORG

Leveled Reading- -Resources- -Activities

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leveled Reading- -Resources- -Activities BIO Sphere -Leveled Reading- ATI RE VE -Resources- C K R A A A A L L L L C C C -Activities- C D L W O R Editable Presentation hosted on Google Slides. Click to Download. Early Life Early Life Frida ● Frida Kahlo was born on July 6, 1907 in ● In 1925, she was in a bus Kahlo Mexico City, Mexico. accident. Mexican Icon ● When she was six, she caught polio. This ● She had to stay in bed to gave her a limp for the rest of her life. recover for two years, and she Her father encouraged her to do sports was in pain for the rest of her life. to help her recover. ● While she was in bed ● She went to the National Preparatory recovering, she started painting. School. She was a good student and Depiction of Kahlo painting wanted to go to medical school. Frida Kahlo in 1919 Personality & Characteristics Life Story Life Story ● Kahlo was sociable and very interested in ● In 1929, she married Diego Rivera, who ● Kahlo became homesick, so they both politics. was famous for painting murals. moved back to Mexico City in 1933. ● She loved Mexican indigenous culture and ● They traveled a lot together around the ● They started to have troubles in their used it in her art and clothes. United States. marriage. Rivera had an affair with Kahlo’s sister, and he had also not wanted to However, she was very depressed and in a Her first art in an exhibition was a double ● ● move back to Mexico. lot of pain for most of her life. She used this portrait she painted of them both. emotion in her art but it didn’t make her ● They worked things out and stayed happy. married for a while, but things were never perfect and they both had affairs. Portrait of Frida Kahlo Kahlo and Diego Rivera Kahlo and Diego Rivera Notable & Quotable Life Story Life Story ● In 1938, Kahlo had an exhibition of her ● Kahlo and Rivera got divorced in 1939. work in New York. ● That year, she created one of her most “At the end of the day, we ● She managed to sell half of her paintings. famous paintings, The Two Fridas. ● She also had an exhibition in Paris. The ● People started to become interested in can endure much more Louvre, one of the most famous galleries in her art in Mexico and in the United States. the world, bought one of her paintings, She was in many exhibitions. She started The Frame. ● than we think we can.” teaching at La Esmerelda, an art school in ● This was the first time they had art by a Mexico City. Her pain started to get a lot The Two Fridas Mexican artist. Kahlo’s self portrait worse but she kept teaching. The Frame Life Story Late Life Late Life ● Kahlo’s paintings often use the theme of ● Kahlo’s health problems got worse in her ● Kahlo was last seen in public on July 2, pain, both physical and emotional. last few years. 1954 in a protest against the invasion of Guatemala. ● She had troubles because of the pain ● She had surgery on her spine in 1950, from her accident, her difficult which caused other problems. ● She got sicker and weaker. relationship, her two miscarriages and her In 1953, she had her first exhibition all of On July 13, 1954 she was found dead in depression. ● ● her own. She had her bed brought to her bed. She was 47 years old. ● Her husband also had lots of affairs. After the opening to meet people from it, and one affair, she cut off her hair in protest. she arrived by ambulance. The Wounded Deer (1946) This is shown in Self Portrait with Cropped Self-Portrait with Thorn Necklace and Self Portrait with Hummingbird Hair. Cropped Hair Notable & Quotable Notable & Quotable Legacy ● When Kahlo was alive she did not make “I am not sick. I am broken. “I never paint dreams or much money from her art. ● However, she became very popular after But I am happy to be alive nightmares. I paint my she died. ● In 2006, her self-portrait Roots sold for $5.26 as long as I can paint.” own reality.” million. ● Kahlo is thought of as a symbol for both feminism and indigenous Mexican culture. Roots (1943) What does this mean to you? What do you think she means? ● Today, her family home in Mexico City is open as the Frida Kahlo Museum. “At the end of the day, we can endure much more than we think we can.” Frida Kahlo (1907-1954) Mexico She was... - known for the surrealism she used in her self-portraits - left disabled from polio as a child - and is a Mexican national hero for her contributions to art history #artist #selfportraits #surrealism #icon #Fridamania c Clark Creative Education FRIDA KAHLO “I am not sick. I am broken. But I am happy to be alive as long as I can paint.” c Clark Creative Education “I never paint dreams or nightmares. I paint my own reality.” - Frida Kahlo c Clark Creative Education Your Name BIO Sphere artist surreal self-portrait icon polio Mexico Frida Kahlo c Clark Creative Education.
Load more

Recommended publications
  • Kahlo in 1932, Photographed by Her Father, Guillermo Kahlo 1907–1924: Family and Childhood
    RICKMANSWORTH U3A ART APPRECIATION GROUP Frida Khalo February 2018 Rickmansworth and District U3A Art Appreciation Group Programme for 2018 22 January Members’ Suggestions. 26 February Paintings of Frida Khalo (following the Classic Film Club film). 26 March ‘Isms’ – Baroque overview, Allegoricism, Baroque Classicism, Pietism. 23 April British Art: British Women Artists. 21 May Alternative meeting to avoid Spring Bank Holiday – visit to Bushey Museum and Ben Uri collection exhibition. 25 June ‘Isms’ - Sectarianism, Gesturalism, Emotionalism, Caravaggism. 23 July Wallace Collection visit. 27 August Summer Bank Holiday. 24 September British Art: The Glasgow Boys (or other British School). 22 October Another visit/talk. 26 November ‘Isms’ – Absolutism, Rococo, Academicism, Neo-Classicism. December No meeting – Christmas and New Year. Hertfordshire County Council plans to sell 'non-relevant' art A consultation on the proposed sale of artwork worth thousands of pounds owned by a local authority has begun. Hertfordshire County Council has 1,828 works, valued at £26.2m, and wants to get rid of 90% as they are at risk of deterioration. It plans to sell off or gift to museums more than 1,600 pieces that it says have little relevance to the county, and could raise £400,000. The money it raises will be used to conserve the remaining 167 piece which include four Henry Moore and Barbara Hepworth sculptures, which alone are insured for £21.85m. Consultation timetable • Acrylics and oil paintings 22nd Jan 2018 - 4th Feb 2018 • Drawings and watercolours
    [Show full text]
  • Scattergories 4 Questions by Will Nediger, Jinah Kim, and Joey Goldman Round 6
    Scattergories 4 Questions by Will Nediger, JinAh Kim, and Joey Goldman Round 6 1. An Eavan [AY-ven] Boland poem named for one of these things says that “an ageing woman finds no shelter in language” and that “[one of these things] is not a woman.” One of these things titles a theatrical monologue by Olwen Fouéré [fwair-AY] which adapts passages from a novel. A character who personifies one of these things is the subject of a chapter which begins with the words “O tell me all about [that character]” in the shape of a triangle, and ends with a request for stories about her children Shaun and (*) Shem. The names of hundreds of these things are referenced in a chapter about the gossip of two washerwomen who turn into a tree and a stone when night falls. The word for these things is implied to follow the words “a way a lone a last a loved a long the.” Anna Livia Plurabelle’s middle name references one of these geographical features. For 10 points, Finnegans Wake opens by describing what type of geographical feature running “past Eve and Adam’s”? ANSWER: rivers [accept riverrun; anti-prompt on “Liffey” by asking what the Liffey is] (The Boland poem is called “Anna Liffey” and the Fouéré play is called riverrun.) <WN> 2. A “madame” named after this author runs a brothel at which theology is secretly discussed in Ada Palmer’s Terra Ignota series, in which this author is called the Patriarch. A writer whose pseudonym is a contracted combination of this author and the town where this author lived secretly arranged for Thomas Jefferson to translate his radical book Ruins of Empires, from which the monster in Frankenstein learns history.
    [Show full text]
  • The World of Frida Exhibition Guide the World of Frida Reflects Frida Kahlo’S Passion and Pluck, and Demonstrates the Power, Scope and Weight of Her Work
    Exhibition Guide Orgainzed by: Walnut Creek | California | www.bedfordgallery.org Curatorial Statement The World of Frida celebrates the culture, style, and persona of visionary Mexican painter, Frida Kahlo (1907-1954), an artist who continues to inspire with her story of love, loss and incredible bravery. Celebrated globally today as an iconic, renegade artist and outspoken feminist, Frida Kahlo’s life began perilously. Stricken with polio as a child, and later tragically injured in a bus accident at age 18 that left her permanently injured, Kahlo was subjected to an enormous amount of pain and turmoil early in her life. While recovering from the bus accident Kahlo returned to her childhood hobby – painting. Soothed by the solace of art making, it was during this period that Kahlo decided to become an artist. In 1927, Kahlo became politically active, joined the Mexican Communist Party and met the famous Mexican muralist, Diego Rivera. The two married a year later in 1928. Kahlo spent the 1920’s and 1930’s traveling the U.S. and Mexico with Rivera while he worked on commissions, still continuing to create work herself, but undoubtedly in his professional shadow. Their marriage was tumultuous into the 1930’s and they divorced in 1939. Kahlo continued to paint, and eventually had her first solo show in Mexico in 1953, shortly before her death in 1954. Following her death, Kahlo remained largely unrecognized until the late 1970s when art historians and political activists rediscovered her work. By the late 1990s, her work was considered a significant contribution to art history, and she became an icon to many – including the Chicano, feminist, and LGBTQ movements.
    [Show full text]
  • Art and Pain in Frida Kahlo* Arte E Dor Em Frida Kahlo
    Rev Dor. São Paulo, 2014 apr-jun;15(2):139-44 REVIEW ARTICLE Art and pain in Frida Kahlo* Arte e dor em Frida Kahlo Rodrigo Siqueira-Batista1,2, Plínio Duarte Mendes3, Julia de Oliveira Fonseca1, Marina de Souza Maciel4 *Received from the Federal University of Viçosa, Viçosa, MG, Brazil. The article is result of the project “Parallel between health and art: Frida Kahlo’s colors”, appreciated and approved by the Ethics Committee for Research with Human Beings, UFV (Of. Ref. N 005/2012/CEPH). DOI 10.5935/1806-0013.20140018 ABSTRACT CONTEÚDO: A partir da apreciação do filme e de telas sele- cionadas da autora – analisadas com o apoio dos artigos obtidos BACKGROUND AND OBJECTIVES: The Mexican painter na revisão da literatura – foram organizadas quatro seções para a Frida Kahlo is one of the most important artists of the twenti- apresentação dos elementos obtidos: (1) As ‘origens’ de Frida, (2) eth century. After being involved in a car accident, remained at O primeiro acidente, (3) O segundo acidente: Diego Rivera e (4) O home to recover from several injuries, significant event for the martírio da maternidade frustrada. dawning of her painting. The aim of this study was to present CONCLUSÃO: Frida obteve na arte seu maior conforto, trans- aspects of the biography and life of Frida, seeking intersections formando sua trajetória dolorosa e intensa em um fecundo pro- between her artwork and her painful experiences. cesso de criação, o qual refletiu os sentidos de sua existência. CONTENTS: From the appreciation of film and screens select- Descritores: Dor crônica, Estresse psicológico, Medicina na ed author - analyzed with the support of the articles obtained arte, Pinturas.
    [Show full text]
  • 1. Frida Kahlo, Self-Portrait on the Borderbetween Mexico Andthe
    1. Frida Kahlo, Self-Portrait on the Border Between Mexico and the United States, 1932 . New York, Manuel Reyero(Christie's). 22 CULTURE, POLITICS, AND IDENTITY IN THE PAINTINGS OF FRIDA KAHLO JANICE HELLAND Frida Kahlo used the often traumatic and harrow- public protest opposed to American intervention ing iconography of her Mexican heritage to paint in Guatemala. On 14 July 1954, her body lay in herself and the pain which had become an integral state in the magnificent foyer of the Palace of part of her life after, at age eighteen, a streetcar Fine Arts in Mexico City. Much to the chagrin of accident left her crippled. From then on she un- Mexican officials, her coffin was draped with a derwent a series of operations and, because of her large flag bearing the Soviet hammer and sickle severely injured pelvis, a number of miscarriages superimposed upon a star. With her love of the and abortions. Her physical disability never inhib- unconventional and her talent for black humor, ited Kahlo's flair for theatrics, and this, combined Kahlo, in all likelihood, would have enjoyed the with a tempestuous relationship with her philan- uproar caused by this spectacle.' dering husband, the mural painter Diego Rivera, Kahlo, like many other educated young people established her as a tragically romantic and exotic during the tumultuous era between the world figure. As a result, Kahlo's works have been ex- wars, joined the Communist Party in the 1920s. haustively psychoanalyzed and thereby white- In the early part of the century, the intellectual washed of their bloody, brutal, and overtly politi- atmosphere in Mexico was charged with cosmo- cal content.
    [Show full text]
  • Dec 24 Pages 2 and 3
    DETROIT, Since 1989 www. laprensa1.com TOLEDO: TINTA CON SABOR TOLEDO CLEVELAND • LORAIN Ohio and Michigan’s Oldest & Largest Latino Weekly Check out our Classifieds online! www.laprensa1.com SO YOU’RE AGAINST May/mayo 29, 2015 Spanglish Lazo Cultural Edition Vol. 12, No. 5 (LP1) IMMIGRATION? SPLENDID! WHEN DO YOU LEAVE? CIVIL RIGHTS COMMISSION MEETS JUNE 1, P. LP4 Empresarios de la Cámara de Comercio Regional de Toledo se reúnen para conocer los beneficios de invertir en México Por: Isabel Flores, Corresponsal La Prensa 20 V 15: Con el tema “Haciendo de inversión que ha negocios en México: Un panorama de presentado Toyota oportunidades para exportación”, un y General Motors estimado de cuarenta empresarios, allá en México, una integrantes de la Cámara de Comercio opción muy Regional de Toledo, se reunieron el importante es que pasado miércoles 20 de mayo en las puedan vender ellos instalaciones de dicha institución, partes a las grandes ubicada en 300 de la avenida Madison, armadoras”, agregó suite 200, para escuchar la presentación el Cónsul de de Juan Manuel Solana, Cónsul de México. México para Michigan y norte de Ohio. Previo a la “Las oportunidades de inversión en presentación del México son muy importantes. Cónsul, Colleen Últimamente ha habido un gran Kardasz, Directora desarrollado en la industria automotriz, de International así como en el sector de energía”, Trade Assistance expuso Juan Manuel Solana en Center, hablo entrevista para La Prensa. “También se sobre los beneficios de pertenecer a incentivos que ofrece el gobierno para encuentran muy contentas y se espera subrayó el beneficio de cómo hacer la Cámara de Comercio y presentó los las artes y filmación de películas.
    [Show full text]
  • Re-Thinking the Language of Pain in the Works of Marguerite Duras and Frida Kahlo
    Re-thinking the Language of Pain in the Works of Marguerite Duras and Frida Kahlo Regina F. Bartolone A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirement for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2006 Approved by: Dr. Martine Antle (advisor) Dr. Marsha Collins (reader) Dr. Maria DeGuzmán (reader) Dr. Dominque Fisher (reader) Dr. Diane Leonard (reader) Abstract Regina F.Bartolone Re-Thinking the Language of Pain in the Works of Marguerite Duras and Frida Kahlo (Under the direction of Dr. Martine Antle) This dissertation is a cross-cultural examination of the creation and the socio- cultural implications of the languages of pain in the works of French author, Marguerite Duras and Mexican painter, Frida Kahlo. Recent studies have determined that discursive communication is insufficient in expressing one’s pain. In particular, Elaine Scarry maintains that pain destroys language and that its victims must rely on the vocabulary of other cultural spheres in order to express their pain. The problem is that neither Scarry nor any other Western pain scholar can provide an alternative to discursive language to express pain. This study claims that both artists must work beyond their own cultural registers in order to give their pain a language. In the process of expressing their suffering, Duras and Kahlo subvert traditional literary and artistic conventions. Through challenging literary and artistic forms, they begin to re-think and ultimately re-define the way their readers and viewers understand feminine subjectivity, colonial and wartime occupation, personal tragedy, the female body, Christianity and Western hegemony.
    [Show full text]
  • Frida Kahlo: Dress and Identity
    Frida Kahlo: Dress and Identity ART HISTORY MEXICO Cultural Journeys Mexico | Colombia | Guatemala www.tiastephanietours.com | (734) 769 7839 Frida Kahlo: Dress and Identity ART HISTORY MEXICO Many aspects of Frida Kahlo have been studied, pondered and admired. From her art, politics, love life, travails, and many others. A singular aspect of Frida Kahlo and her identity was her dress. Frida used dress consciously in the creation of her identity. Through dress, she crafted her image, displaying her cultural heritage from both Europe and Mexico. Who can imagine Frida Kahlo without visioning her Tehuana dress, the dress and region she most often adorned herself in, particularly for photos. But there were many others, from her “tomicoton” of Hueyapan, Puebla, her beautiful rebozos from Central Mexico, her Mazatec dress from Oaxaca and more. On this journey, we’ll explore how Frida used dress in the creation of her identity, and we’ll travel to some of the regions and communities of Mexico to meet the artisans, who to this day continue the legacy of hand crafting ethnographic clothing, an intimate expression of cultural identity. Program Highlights • Explore the National Museum of Anthropology • See her most famous painting: The Two Fridas at the Museum of Modern Art • Travel to Coyoacan to see her childhood home, “The Blue House” and to walk the neighborhood, LOCATION she and Diego often strolled hand and hand together (and eating tacos and drinking tequila!) • Attend lecture on Frida Kahlo’s ethnographic dress • Attend a rebozo expo-venta to learn of the iconic garment of Mexico, Frida often wore.
    [Show full text]
  • A Case Study of Claude Cahun and Frida Kahlo
    Reconsidering Self-Portraits by Women Surrealists: A Case Study of Claude Cahun and Frida Kahlo Jennifer Josten is a graduate student in the Department Introduction of the History of Art at Yale University, New Haven, CT. From the point of view of a casual observer, She holds a Master's degree in Art History and Theory Claude Cahun and Frida Kahlo had much in common. from the University of Essex, Colchester, England. Both were affiliated with the European Surrealists in the 1930s, focused obsessively on self-portraiture, and fell Abstract into obscurity after their deaths (which occurred the Both Claude Cahun and Frida Kahlo were affiliated with same year, in 1954), to be resuscitated via major the Surrealist movement in the 1930s for political and biographies - Hayden Herrera's Frida: A Biography of professional ends. In their respective bodies of Frida Kahlo (1983) and François Leperlier's Claude self-portraiture, they mirrored or doubled their own Cahun: l'écart et la metamorphose (1992), respectively.1 images and stretched the boundaries of gender and The rediscovery of these artists, which took place at a sexual representation in order to challenge moment when many scholars were focused on heteronormative conceptions of identity. reconsidering the writing of art history from a feminist Résumé perspective as well as on rethinking the Surrealist Claude Cahun et Frida Kahlo toutes les deux étaient movement, was followed by a massive increase in the affiliées au mouvement surréaliste durant les années 30 attention devoted to their respective oeuvres (Chadwick à des fins politiques et professionnelles. Dans leurs 1998, 7).
    [Show full text]
  • The Effects of Constructive Language Instruction and Cooperative Learning
    James Madison University JMU Scholarly Commons Masters Theses The Graduate School Summer 2014 The effects of constructive language instruction and cooperative learning on the quality of artwork at the middle level Laura Allison Thompson James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the Art and Design Commons Recommended Citation Thompson, Laura Allison, "The effects of constructive language instruction and cooperative learning on the quality of artwork at the middle level" (2014). Masters Theses. 348. https://commons.lib.jmu.edu/master201019/348 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact dc_admin@jmu.edu. The Effects of Constructive Language Instruction and Cooperative Learning on the Quality of Artwork at the Middle Level Laura Allison Thompson A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Arts in Art Education School of Art, Design, and Art History July 2014 Dedication I dedicate this thesis to my amazingly supportive husband, Aaron, whose counsel, patience, and encouragement sustained me throughout this arduous, yet deeply fulfilling, process. ii Acknowledgements I would like to thank my committee chair, Dr. Karin Tollefson-Hall, for her encouragement, support, and reassuring words throughout my research. I would also like to thank Dr. Mary Beth Cancienne for providing much needed guidance through the development of my research questions and data collection processes.
    [Show full text]
  • Press Release Frida Kahlothe Painter
    SCHIRMER/MOSEL VERLAG WIDENMAYERSTRASSE 16 • D-80538 MÜNCHEN TELEFON 089/21 26 70-0 • TELEFAX 089/33 86 95 e-mail: mail@schirmer-mosel.com Munich, February 2010 PRESS RELEASE FRIDA KAHLO Back to the essence: Selected masterpieces Helga Prignitz-Poda Frida Kahlo – The Painter and Her Work reduced-size softcover edition 264 pages, 121 color and duotone plates ISBN 978-3-8296-0464-2 US$ 39.95; Can.$ 49.95; EUR 29.80; CHF 49.- I was considered a Surrealist. That is not right. I never painted dreams. What I depicted, was my reality. (Frida Kahlo) This book zooms right into her reality, and it does so in a new and unusual way: presenting Frida Kahlo’s paintings in total view and in selected details, it reveals the wealth of stories and creatures hidden in her self-portraits; it makes tangible her life- long physical and spiritual pain; and it illustrates painterly skills and techniques reminiscent of old European masters. Frida Kahlo (1907-1954) left behind a slender œuvre, 143 small-size paintings, rarely larger than 20 x 30 or 40 x 60 cm. Nevertheless, some of them became icons of 20th century art, such as The Broken Column or The Wounded Deer . The latter is almost a miniature but no less fascinating. Two thirds of Frida Kahlo's œuvre are self-portraits. This ostensible narcissism is bound up with her biography, with the country and epoch in which she grew up, and with her decidedly eccentric character. Exotic and explosive, sensuous and fascinatingly vital, Kahlo's paintings shed a complex and often frightening light on her soul, her "inner reality", as she called it.
    [Show full text]
  • Finding Aid to the Nelleke Nix and Marianne Huber Collection: the Frida Kahlo Papers, 1930-1954 Archives of Women Artists
    Finding Aid to the Nelleke Nix and Marianne Huber Collection: The Frida Kahlo Papers, 1930-1954 Archives of Women Artists Finding Aid Prepared by and Collection Processed by: Jason Stieber (December, 2007) and Jennifer Page, (March, 2012) Betty Boyd Dettre Library & Research Center Email: lrc@nmwa.org Phone: 202-266-2835 Table of Contents (Click a section title to skip down.) Overview ................................................................................................................................. 1 Administrative Information ............................................................................................... 2 Biographical Note ................................................................................................................ 3 Scope and Content Note ................................................................................................... 6 Organization and Arrangement Information ............................................................... 7 Names and Subject Terms ............................................................................................... 7 Container Inventory ............................................................................................................ 8 Series1: Correspondence ............................................................................................... 8 Series 2: Drawings ......................................................................................................... 21 Series 3: Printed Matter ..............................................................................................
    [Show full text]