Kahlo in 1932, Photographed by Her Father, Guillermo Kahlo 1907–1924: Family and Childhood

Total Page:16

File Type:pdf, Size:1020Kb

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 5th Feb 2018 - 18th Feb 2018 • Lithographs and silkscreens 19th Feb 2018 - 4th March 2018 • Aquatints and etchings 5th March 2018 - 18th March 18 • Miscellaneous works 19th March 2018 - 1st April 2018 Frida Khalo Frida Khalo Jean Dodds – Frida Kahlo, the life Gillian Sale – What the Water Gave Me Bob Wallace – Henry Ford Hospital Sally Crosher – The Wounded Table Christine Thomas – Frida and Diego Geoff Creek – Living Nature Jean Dodds – Self Portrait - The Frame FRIDA KAHLO BORN July 6, 1907 Magdalena Carmen Frida Kahlo y Calderón at Coyoacan, Mexico City Mexico DIED July 13, 1954 (aged 47) at Coyoacan, Mexico City Mexico By Jean Dodds Kahlo in 1932, photographed by her father, Guillermo Kahlo 1907–1924: Family and childhood Father: Guillermo Kahlo (1871- 1941) Mother: Matilde Calderón y González (1876–1932) Kahlo (on the right) and her sisters By Jean Dodds Cristina, Matilde, and Adriana, photographed by their father, 1916 Frida Kahlo married Diego Rivera August 21, 1929 They divorced in 1939 Frida Kahlo remarried Diego Rivera 1940 Kahlo with husband Diego Rivera in 1932 By Jean Dodds 1937–1953 International and Mexican recognition Exhibitions of Frida Kahlo's works 1938. University of Mexico and her first solo exhibition in Manhattan New York 1939 Paris 1940 New York, San Francisco and Mexico City 1941 Boston 1942 New York 1943 Mexico City, Philadelphia Museum of Art and New York By Jean Dodds 1937 Photograph of Frida Kahlo by Toni Frissell from a fashion shoot for Vogue 1950 – 1954 Frida Kahlo’s last years 1953 First solo exhibition in Mexico City and the Tate London La Casa Azul Kahlo’s wheelchair and easel By Jean Dodds Oil on canvas 91 cm × 70.5 cm Collection of Daniel Filipacchi, Paris By Gillian Sale Henry Ford Hospital Frida Kahlo 1932 Metal, Oil paint, 30.5 x 38 cm Dolores Olmedo Collection, Mexico City By Bob Wallace The wounded Table, (La Mesa Herida), Frida Kahlo 1940, Oil on Canvas 122 x 244 cm, Location unknown. Frida and Diego Rivera Frida Kahlo, 1931 Oil on Canvas 39 x 31 inches San Francisco Museum of Modern Art By Christine Thomas Living Nature by Frida Kahlo 1952 Oil on Canvas 44 x 59.7 cm Maria Felix Collection, Mexico City By Geoff Creak Self Portrait - The Frame Frida Kahlo 1938 Oil on aluminium and glass 28 x 20 cm Georges Pompidou Centre, Paris, France By Jean Dodds By David Green Fin.
Recommended publications
  • Rice Design Alliance Award Submission to the American Institute of Architects for Collaborative Achievement in Research, Dissemination, and Education
    Rice Design Alliance Award Submission to the American Institute of Architects for Collaborative Achievement in Research, Dissemination, and Education 14 October 2011 On October 14, 2011, the Rice Design Alliance submitted an award submission to the American Institute of Architects for “Collaborative Achievement in Research, Dissemination, and Education.” Along with our organization’s “Biography,” a “Statement of Contributions,” and 15-pages of “Exhibits,” the RDA submission was nominated by Raymond Brochstein, FAIA with five support letters from John Kaliski, AIA, Nonya Grenader, FAIA, David Lake, FAIA, Jay Baker, FAIA, and Edward M. Baum, FAIA. Captured on the following page are a few quotes from these AIA colleagues and RDA supporters. SUBMISSION COMMITTEE Barbara Amelio, Kimberly Hickson, Lonnie Hoogeboom, Craig Minor, Suzy Minor, Danny Samuels, Carrie Glassman Shoemake STAFF Kathryn Fosdick, Raj Mankad, Katie Plocheck, Linda Sylvan “The Rice Design Alliance has been at the forefront of thinking about the future of the built environment and how cities and buildings must be sustainable. RDA has a regional reach beyond Houston, including Austin, Corpus Christi, Galveston and my town, San Antonio. RDA’s audience is not limited to design professionals. It is inclusive, open, and inviting. I have friends who are developers, lawyers, teachers, and artists who routinely attend their events because of the inspirational, informative content. RDA’s commitment to excellence and their success in expanding the audience elucidates how good design benefits all of us and the natural realm. “The Rice Design Alliance was conceived by David Crane who was Dean of the Rice University School of Architecture in 1972.
    [Show full text]
  • Frida Kahlo I Diego Rivera. Polski Kontekst
    Polski kontekst I Polish context SPIS TREŚCI TABLE OF CONTENTS 9—11 7 Jacek Jaśkowiak 135—148 Helga Prignitz-Poda Prezydent Miasta Poznania I President of the City of Poznań Diego Rivera – prace I Diego Rivera – works Gdyby Frida była wśród nas… I If Frida were among us… 187—187 Helga Prignitz-Poda 19—19 Alejandro Negrín Nickolas Muray Ambasador Meksyku w Polsce I Ambassador of Mexico to Poland Frida Kahlo i Diego Rivera w Polsce: uniwersalizm kultury meksykańskiej 195—195 Ariel Zúñiga Frida Kahlo and Diego Rivera in Poland: the Universal Nature of Mexican Art O Bernice Kolko… I On Bernice Kolko… x1— 13 Anna Hryniewiecka 211—211 Dina Comisarenco Mirkin Dyrektor Centrum Kultury ZAMEK w Poznaniu I Director of ZAMEK Culture Centre in Poznań Grafiki Fanny Rabel (artystki w wieku pomiędzy sześćsetnym Frida. Czas kobiet I Frida. Time of Women i dwutysięcznym rokiem życia) I Graphic works by Fanny Rabel (artist between 600 and 2000 years of age) 17—17 Helga Prignitz-Poda Frida Kahlo i Diego Rivera. Polski kontekst. Sztuka meksykańska w wymianie kulturowej 135—224 Diego Rivera Frida Kahlo and Diego Rivera. Polish context. Mexican Art in Cultural Exchange O Fanny Rabel I About Fanny Rabel 17— 52 Elena Poniatowska 135—225 Frida Kahlo o Fanny Rabel, sierpień 1945 Frida Kahlo Frida Kahlo about Fanny Rabel, August 1945 0 53—53 Diego Rivera 227—227 Helga Prignitz-Poda Frida Kahlo i sztuka Meksyku I Frida Kahlo and Mexican Art Kolekcja prac z Wystawy sztuki meksykańskiej z 1955 roku w zbiorach Muzeum Narodowego w Warszawie I Works from the 1955 Exhibition
    [Show full text]
  • The Blue House: the Intimate Universe of Frida Kahlo
    The Blue House: The Intimate Universe of Frida Kahlo “Never in life will I forget your presence. You found me torn apart and you took me back full and complete.” Frida Kahlo By delving into the knowledge of Frida Kahlo's legacy, one discovers the intense relationship that exists between Frida, her work and her home. Her creative universe is to be found in the Blue House, the place where she was born and where she died. Following her marriage to Diego Rivera, Frida lived in different places in Mexico City and abroad, but she always returned to her family home in Coyoacan. Located in one of the oldest and most beautiful neighborhoods in Mexico City, the Blue House was made into a museum in 1958, four years after the death of the painter. Today it is one of the most visited museums in the Mexican capital. Popularly known as the Casa Azul (the ‘Blue House’), the Museo Frida Kahlo preserves the personal objects that reveal the private universe of Latin America’s most celebrated woman artist. The Blue House also contains some of the painter’s most important works: Long Live Life (1954), Frida and the Caesarian Operation (1931), and Portrait of My Father Wilhelm Kahlo (1952), among others. In the room she used during the day is the bed with the mirror on the ceiling, set up by her mother after the bus accident in which Frida was involved on her way home from the National Preparatory School. During her long convalescence, while she was bedridden for nine months, Frida began to paint portraits.
    [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 Story of the Handless Maiden 11 Chapter 2
    Number Twelve Carolyn and Ernest Fay Series in Analytical Psychology David H. Rosen, General Editor The Carolyn and Ernest Fay edited book series, based initially on the annual Fay Lecture Series in Analytical Psychology, was established to further the ideas of C. G. Jung among students, faculty, therapists, and other citizens and to enhance scholarly activities related to analytical psychology. The Book Series and Lecture Series address topics of im- portance to the individual and to society. Both series were generously endowed by Carolyn Grant Fay, the founding president of the C. G. Jung Educational Center in Houston, Texas. The series are in part a memorial to her late husband, Ernest Bel Fay. Carolyn Fay has planted a Jungian tree carrying both her name and that of her late husband, which will bear fruitful ideas and stimulate creative works from this time forward. Texas A&M University and all those who come in con- tact with the growing Fay Jungian tree are extremely grateful to Caro- lyn Grant Fay for what she has done. The holder of the McMillan Professorship in Analytical Psychology at Texas A&M functions as the general editor of the Fay Book Series. Memories of Our Lost Hands Memories of Our Lost Hands Searching for Feminine Spirituality and Creativity sonoko toyoda Texas A&M University Press College Station Copyright © 2006 by Sonoko Toyoda Manufactured in the United States of America All rights reserved First edition The paper used in this book meets the minimum requirements of the American National Standard for Permanence of Paper for Printed Library Materials, z39.48–1984.
    [Show 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.
    [Show full text]
  • Luna Benítez Karen Tania
    UNIVERSIDAD AUTÓNOMA DEL ESTADO DE MEXICO CENTRO UNIVERSITARIO UAEM TEXCOCO “Propuesta de folleto interpretativo auto guiado para el público nacional que visita el Museo Frida Kahlo - Casa Azul, México, Coyoacán, 2015”. TESIS QUE PARA OBTENER EL TÍTULO DE LICENCIADA EN TURISMO PRESENTA LUNA BENÍTEZ KAREN TANIA ASESORA DRA. EN.C. GREGORIA RODRÍGUEZ MUÑOZ REVISORES LIC.EN T. HUGO RAMÍREZ YAÑEZ M.EN A. MERCEDES MIREYA MOCTEZUMA MEDINA TEXCOCO, ESTADO DE MEXICO, OCTUBRE 2016. iii CONTENIDO Páginas INTRODUCCIÓN…………………………………………………………………………………………………… 1 CAPÍTULO 1. DISEÑO DE LA INVESTIGACIÓN………………………………………………………… 5 2.1 Planteamiento del problema…………………………………………………………………………… 5 2.2 Preguntas planteadas para la investigación…………………………………………………….. 6 2.3 Objetivos………………………………………………………………………………………………………… 6 2.4 Procedimiento metodológico...……………………………………………………………………….. 7 CAPÍTULO 2. MARCOTEÓRICO………………………………………………………………………………. 9 2.1 Los principios de la interpretación…………………………………………………………………… 9 2.2.1 Finalidades de la interpretación……………………………………………………………………. 13 2.3 Turismo…………………………………………………………………………………………………………… 14 2.3.1 Clasificación de turismo………………………………………………………………………………… 14 2.3.2 Turismo e interpretación………………………………………………………………………………. 16 2.4 Patrimonio………………………………………………………………………………………………………. 16 2.4.1 Clasificación del patrimonio………………………………………………………………………….. 17 2.5 El Museo…………………………………………………………………………………………………………. 18 2.5.1 Clasificación de Museo…………………………………………………………………………………. 19 CAPÍTULO 3. MARCO CONTEXTUAL……………………………………………………………………… 24 3.1
    [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: the Biography of Frida Kahlo Free Ebook
    FREEFRIDA: THE BIOGRAPHY OF FRIDA KAHLO EBOOK Hayden Herrera | 528 pages | 03 Mar 2003 | Bloomsbury Publishing PLC | 9780747566137 | English | London, United Kingdom Frida: A Biography of Frida Kahlo by Hayden Herrera She grew up in the family's home where was later referred to as the Blue House or Casa Azul. Her father is a German descendant and photographer. He immigrated to Mexico where he met and married her mother Matilde. Her mother is half Amerindian and half Spanish. Frida Kahlo has two older sisters and one younger sister. Frida Kahlo has poor health in her childhood. She contracted polio at the age of 6 and had to be bedridden for nine months. This disease caused her right leg and foot to grow much thinner than her left one. She limped after she recovered from polio. She has been wearing long skirts to cover that for the rest of her life. Her father encouraged her to do lots of sports to help her recover. She played soccer, went swimming, and even did wrestle, which is very unusual at that time for a girl. She has kept a very close relationship with her father for her whole life. There are only thirty-five female students enrolled in that school and she soon became famous for her outspokenness and bravery. At this school she first met the famous Mexican muralist Diego Rivera for the first time. Rivera at that time was working on a mural called The Creation on the school campus. Frida often watched it and she told a friend she will marry him someday.
    [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]
  • Frida Kahlo's Backbone
    JHR P OETRY Frida Kahlo’s Backbone By Michael Leach, PhD Frida Kahlo was born in July 1907 in old Coyoacán, Mexico. She was six years old going on 47 when polio struck her down. She survived with a shriveled leg and threw herself into sports. Proud parents stoked the bright fire of young Frida’s quick mind. At 18, Frida was in a motor crash that fractured her to pieces. Though she was lucky to be alive, her life goals burned to ash. Frida went from aspiring doctor to patient trapped in body casts. She was alone, in pain and unable to ambulate for near a year. She began to create oil paintings that mirrored her pained life. Diego Rivera loved her portraits of her own body and mind. They became a married couple – Frida Kahlo, 1932. Photograph by Guillermo Kahlo (1871- old painter & new painter. 1941). Public domain / Wikimedia Commons Frida suffered a miscarriage then painted her beloved fetus. In her art, she birthed herself into a bloodstained landscape. Published online 2 May 2017 at journalofhumanitiesinrehabilitation.org 1 © Emory University; authors retain copyright for their original articles POETRY FRIDA KAHLO’S BACKBONE The resilient love between Diego & Frida was often tested. Diego’s affair with Frida’s sister made Frida crop her hair. Frida divided into two Fridas with the power of self-nurture. She processed her darkest memories while soaking in bathwater. She offset the darkness with vibrant strokes of color and humor. Her art was exhibited and praised in Mexico, the US and Europe. Picasso praised her art and gave her gold, hand-shaped earrings.
    [Show full text]
  • 2 Frida Kahlo Biographies
    BIOGRAPHY OF FRIDA KAHLO FRIDA KAHLO, or MAGDALENA CARMEN FRIDA KAHLO CALDERÓN, was born on July 6, 1907 in the Mexico City home owned by her parents since 1904, known today as the Blue House. Daughter of Wilhelm (Guillermo) Kahlo, of German descent, and of Mexican Matilde Calderón, Frida was the third of four daughters of whom her two sisters, Matilde and Adriana, were the eldest and Cristina, the youngest. At the age of six Frida fell ill with polio, causing her right leg to remain shorter than the other, which resulted in bullying. Nevertheless, this setback did not prevent her from being a curious and tenacious student. She completed her high school studies at the Escuela Nacional Preparatoria. At the age of 18, on September 17th, 1925, Frida was in a tragic accident. A streetcar crashed into the bus she was traveling in. The consequences to her person were terrible: several bones were fractured and her spinal cord, damaged. While she was immobilized for several months, Frida began to paint. Afterwards, she formed relationships with several artists, including the photographer Tina Modotti and the already renowned artist Diego Rivera. In 1929, Frida married the muralist. The couple lived at the Blue House, Frida's childhood home, as well as at Diego's studio in San Ángel. Kahlo and Rivera also resided in Cuernavaca and in various cities of the United States: Detroit, San Francisco, and New York. They stayed for short periods of time in Mexico City. In 1930, Frida suffered her first miscarriage. In November of that same year and for work- related reasons, the couple traveled to San Francisco.
    [Show full text]