{PDF} Frida Kahlo: the Paintings

FRIDA KAHLO: THE PAINTINGS PDF, EPUB, EBOOK

Kahlo discussed What the Water Gave Me with the Manhattan gallery owner Julien Levy, and suggested that it was a sad piece that mourned the loss of her childhood. Perhaps the strangled figure at the centre is representative of the inner emotional torments experienced by Kahlo herself. It is clear from the conversation that the artist had with Levy, that Kahlo was aware of the philosophical implications of her work. In an interview with Herrera, Levy recalls, in 'a long philosophical discourse, Kahlo talked about the perspective of herself that is shown in this painting'. He further relays that 'her idea was about the image of yourself that you have because you do not see your head. The head is something that is looking, but is not seen. It is what one carries around to look at life with. As well as an inclusion of death by strangulation in the centre of the water, there is also a labia-like flower and a cluster of pubic hair painted between Kahlo's legs. The work is quite sexual while also showing preoccupation with destruction and death. The motif of the bathtub in art is one that has been popular since Jacques-Louis David's The Death of Marat , and was later taken up many different personalities such as Francesca Woodman and Tracey Emin. This double self-portrait is one of Kahlo's most recognized compositions, and is symbolic of the artist's emotional pain experienced during her divorce from Rivera. On the left, the artist is shown in modern European attire, wearing the costume from her marriage to Rivera. Throughout their marriage, given Rivera's strong nationalism, Kahlo became increasingly interested in indigenism and began to explore traditional Mexican costume, which she wears in the portrait on the right. It is the Mexican Kahlo that holds a locket with an image of Rivera. The stormy sky in the background, and the artist's bleeding heart - a fundamental symbol of Catholicism and also symbolic of Aztec ritual sacrifice - accentuate Kahlo's personal tribulation and physical pain. Symbolic elements frequently possess multiple layers of meaning in Kahlo's pictures; the recurrent theme of blood represents both metaphysical and physical suffering, gesturing also to the artist's ambivalent attitude toward accepted notions of womanhood and fertility. Although both women have their hearts exposed, the woman in the white European outfit also seems to have had her heart dissected and the artery that runs from this heart is cut and bleeding. The artery that runs from the heart of her Tehuana-costumed self remains intact because it is connected to the miniature photograph of Diego as a child. Whereas Kahlo's heart in the Mexican dress remains sustained, the European Kahlo, disconnected from her beloved Diego, bleeds profusely onto her dress. As well as being one of the artist's most famous works, this is also her largest canvas. This self-portrait shows Kahlo as an androgynous figure. Scholars have seen this gesture as a confrontational response to Rivera's demand for a divorce, revealing the artist's injured sense of female pride and her self-punishment for the failures of her marriage. Her masculine attire also reminds the viewer of early family photographs in which Kahlo chose to wear a suit. The cropped hair also presents a nuanced expression of the artist's identity. She holds one cut braid in her left hand while many strands of hair lie scattered on the floor. The act of cutting a braid symbolizes a rejection of girlhood and innocence, but equally can be seen as the severance of a connective cord maybe umbilical that binds two people or two ways of life. Either way, braids were a central element in Kahlo's identity as the traditional La Mexicana , and in the act of cutting off her braids, she rejects some aspect of her former identity. The hair strewn about the floor echoes an earlier self-portrait painted as the Mexican folkloric figure La Llorana , here ridding herself of these female attributes. Kahlo clutches a pair of scissors, as the discarded strands of hair become animated around her feet; the tresses appear to have a life of their own as they curl across the floor and around the legs of her chair. Above her sorrowful scene, Kahlo inscribed the lyrics and music of a song that declares cruelly, "Look, if I loved you it was for your hair, now that you are hairless, I don't love you anymore," confirming Kahlo's own denunciation and rejection of her female roles. On the occasion of her marriage, Brotherus cuts her hair, the remains of which her new husband holds in his hands. The act of cutting one's hair symbolic of a moment of change happens in the work of other female artists too, including that of Francesca Woodman and Rebecca Horn. The frontal position and outward stare of Kahlo in this self-portrait directly confronts and engages the viewer. The artist wears Christ's unraveled crown of thorns as a necklace that digs into her neck, signifying her self-representation as a Christian martyr and the enduring pain experienced following her failed marriage. A dead hummingbird, a symbol in Mexican folkloric tradition of luck charms for falling in love, hangs in the center of her necklace. A black cat - symbolic of bad luck and death - crouches behind her left shoulder, and a spider monkey gifted from Rivera, symbolic of evil, is included to her right. Kahlo frequently employed flora and fauna in the background of her bust-length portraits to create a tight, claustrophobic space, using the symbolic element of nature to simultaneously compare and contrast the link between female fertility with the barren and deathly imagery of the foreground. Typically a symbol of good fortune, the meaning of a 'dead' hummingbird is to be reversed. Kahlo, who craves flight, is perturbed and disturbed by the fact that the butterflies in her hair are too delicate to travel far and that the dead bird around her neck, has become an anchor, preyed upon by the nearby cat. In failing to directly translate complex inner feelings it as though the painting illustrates the artist's frustrations. The Broken Column is a particularly pertinent example of the combination of Kahlo's emotional and physical pain. The artist's biographer, Hayden Herrera, writes of this painting, 'A gap resembling an earthquake fissure splits her in two. The opened body suggests surgery and Frida's feeling that without the steel corset she would literally fall apart'. A broken ionic column replaces the artist's crumbling spine and sharp metal nails pierce her body. The hard coldness of this inserted column recalls the steel rod that pierced the artist's vagina during her streetcar accident. More generally, the architectural feature now in ruins, has associations of the simultaneous power and fragility of the female body. Beyond its physical dimensions, the cloth wrapped around Kahlo's pelvis, recalls Christ's loincloth. Indeed, Kahlo again displays her wounds like a Christian martyr; through identification with Saint Sebastian, she uses physical pain, nakedness, and sexuality to bring home the message of spiritual suffering. Tears dot the artist's face as they do many depictions of the Madonna in Mexico; her eyes stare out beyond the painting as though renouncing the flesh and summoning the spirit. It is as a result of depictions like this one that Kahlo is now considered a Magic Realist. Georgia O'Keeffe is one of the most famous to have been directly influenced by Kahlo's work. A large proportion of artworks by Frida Kahlo are unavailable for loan outside of Mexico, and this has ensured that the focus, at least internationally, has been placed entirely on her more accessible pieces. Whilst this remains frustrating to international art fans, it does at least ensure that this proud Mexican painter will continue to be enjoyed by her fellow-Mexicans for generations to come. Enough have become available from time to time across Europe and North America to ensure her reputation remains strong. Indeed those two particular continents provided an important influence in her life, through her family heritage and also her promotional tours as an artist. In recent years there has been a solid effort towards at least documenting these hidden pieces, so that all of her ouevre is truly understood. Some have been lost or stolen, others moved to collections which are completely inaccessible to the public. Some of her finest works can be found at the in the Frida Kahlo Museum in Mexico. Today -. Our extensive gallery summarises the invention and technical qualities of this famous Mexican artist and delivers Frida Kahlo paintings at their bright and brilliant best. The Two Fridas. The Broken Column. Self-Portrait with Thorn Necklace and Hummingbird. Self-Portrait with Monkey. Without Hope. The Wounded Deer. Frieda and Diego Rivera. My Grandparents, My Parents and Me. Diego and I. Self Portrait with Cropped Hair. My Birth. The Suicide of Dorothy Hale. A Few Small Nips. Self-Portrait in a Velvet Dress. Girl with Death Mask. Included among the illustrations are more than eighty full-color paintings, as well as dozens of black-and-white pictures and line illustrations. Here, too, are documentary photographs of Frida Kahlo and her world that help to illuminate the various stages of her life. Im Buch. Inhalt Frida Kahlo. Bibliografische Informationen. The Hidden Meanings In Frida Kahlo's Paintings — Google Arts & Culture

Frida Kahlo is known for symbolically portraying her physical and psychological wounds through her self-portraits and this painting is a prime example of that. In it Kahlo is wearing a thorn necklace and blood can be seen tricking from the wounds made on her neck by the thorns. A black monkey and a black cat are present on left and right side of her. Hummingbird, a symbol of freedom, is hanging lifelessly from the thorn necklace. It is a double self-portrait. Frida on the left is wearing a white European style dress with her heart torn and bleeding while Frida on the right is wearing a traditional Mexican dress with her heart still whole. Kahlo remarried Rivera a year later and although their second marriage was as troubled as the first, it lasted till her death. The painting is the largest work of Kahlo and also her most famous. Such beautiful pieces. Petersburg Florida. I hope it will return soon. Save my name, email, and website in this browser for the next time I comment. Sign in. Log into your account. Forgot your password? Privacy Policy. Password recovery. Recover your password. This self-portrait shows Kahlo as an androgynous figure. Scholars have seen this gesture as a confrontational response to Rivera's demand for a divorce, revealing the artist's injured sense of female pride and her self-punishment for the failures of her marriage. Her masculine attire also reminds the viewer of early family photographs in which Kahlo chose to wear a suit. The cropped hair also presents a nuanced expression of the artist's identity. She holds one cut braid in her left hand while many strands of hair lie scattered on the floor. The act of cutting a braid symbolizes a rejection of girlhood and innocence, but equally can be seen as the severance of a connective cord maybe umbilical that binds two people or two ways of life. Either way, braids were a central element in Kahlo's identity as the traditional La Mexicana , and in the act of cutting off her braids, she rejects some aspect of her former identity. The hair strewn about the floor echoes an earlier self-portrait painted as the Mexican folkloric figure La Llorana , here ridding herself of these female attributes. Kahlo clutches a pair of scissors, as the discarded strands of hair become animated around her feet; the tresses appear to have a life of their own as they curl across the floor and around the legs of her chair. Above her sorrowful scene, Kahlo inscribed the lyrics and music of a song that declares cruelly, "Look, if I loved you it was for your hair, now that you are hairless, I don't love you anymore," confirming Kahlo's own denunciation and rejection of her female roles. On the occasion of her marriage, Brotherus cuts her hair, the remains of which her new husband holds in his hands. The act of cutting one's hair symbolic of a moment of change happens in the work of other female artists too, including that of Francesca Woodman and Rebecca Horn. The frontal position and outward stare of Kahlo in this self-portrait directly confronts and engages the viewer. The artist wears Christ's unraveled crown of thorns as a necklace that digs into her neck, signifying her self-representation as a Christian martyr and the enduring pain experienced following her failed marriage. A dead hummingbird, a symbol in Mexican folkloric tradition of luck charms for falling in love, hangs in the center of her necklace. A black cat - symbolic of bad luck and death - crouches behind her left shoulder, and a spider monkey gifted from Rivera, symbolic of evil, is included to her right. Kahlo frequently employed flora and fauna in the background of her bust-length portraits to create a tight, claustrophobic space, using the symbolic element of nature to simultaneously compare and contrast the link between female fertility with the barren and deathly imagery of the foreground. Typically a symbol of good fortune, the meaning of a 'dead' hummingbird is to be reversed. Kahlo, who craves flight, is perturbed and disturbed by the fact that the butterflies in her hair are too delicate to travel far and that the dead bird around her neck, has become an anchor, preyed upon by the nearby cat. In failing to directly translate complex inner feelings it as though the painting illustrates the artist's frustrations. The Broken Column is a particularly pertinent example of the combination of Kahlo's emotional and physical pain. The artist's biographer, Hayden Herrera, writes of this painting, 'A gap resembling an earthquake fissure splits her in two. The opened body suggests surgery and Frida's feeling that without the steel corset she would literally fall apart'. A broken ionic column replaces the artist's crumbling spine and sharp metal nails pierce her body. The hard coldness of this inserted column recalls the steel rod that pierced the artist's vagina during her streetcar accident. More generally, the architectural feature now in ruins, has associations of the simultaneous power and fragility of the female body. Beyond its physical dimensions, the cloth wrapped around Kahlo's pelvis, recalls Christ's loincloth. Indeed, Kahlo again displays her wounds like a Christian martyr; through identification with Saint Sebastian, she uses physical pain, nakedness, and sexuality to bring home the message of spiritual suffering. Tears dot the artist's face as they do many depictions of the Madonna in Mexico; her eyes stare out beyond the painting as though renouncing the flesh and summoning the spirit. It is as a result of depictions like this one that Kahlo is now considered a Magic Realist. Her eyes are never-changing, realistic, while the rest of the painting is highly fantastical. The painting is not overly concerned with the workings of the subconscious or with irrational juxtapositions that feature more typically in Surrealist works. The notion of being wounded in the way that we see illustrated in The Broken Column , is referred to in Spanish as chingada. This word embodies numerous interrelated meanings and concepts, which include to be wounded, broken, torn open or deceived. The word derives from the verb for penetration and implies domination of the female by the male. It refers to the status of victimhood. The painting also recalls a performance and sculptural piece made by Rebecca Horn in called Unicorn. In Unicorn , Horn walks naked through an arable field with her body strapped in a fabric corset that appears almost identical to that worn by Kahlo in The Broken Column. In the piece by the German performance artist, however, the erect, sky-reaching pillar is fixed to her head rather than inserted into her chest. The performance has an air of mythology and religiosity similar to that of Kahlo's painting, but the column is whole and strong again, perhaps paying homage to Kahlo's fortitude and artistic triumph. As a hybrid between a deer and a woman, the innocent Kahlo is wounded and bleeding, preyed upon and hunted down in a clearing in the forest. Staring directly at the viewer, the artist confirms that she is alive, and yet the arrows will slowly kill her. The artist wears a pearl earring, as though highlighting the tension that she feels between her social existence and the desire to exist more freely alongside nature. Kahlo does not portray herself as a delicate and gentle fawn; she is instead a full-bodied stag with large antlers and drooping testicles. Not only does this suggest, like her suited appearance in early family photographs, that Kahlo is interested in combining the sexes to create an androgyne, but also shows that she attempted to align herself with the other great artists of the past, most of whom had been men. The branch beneath the stag's feet is reminiscent of the palm branches that onlookers laid under the feet of Jesus as he arrived in Jerusalem. Kahlo continued to identify with the religious figure of Saint Sebastian from this point until her death. In , she completed a drawing of herself in which eleven arrows pierce her skin. Similarly, the artist Louise Bourgeois, also interested in the visualization of pain, used Saint Sebastian as a recurring symbol in her art. She first depicted the motif in as an abstracted series of forms, barely distinguishable as a human figure; drawn using watercolor and pencil on pink paper, but then later made obvious pink fabric sculptures of the saint, stuck with arrows, she like Kahlo feeling under attack and afraid. Frida Kahlo's extraordinary life and revolutionary art continue to bear fruit with two superb new books, coming quickly on the heels of Martha Zamora's acclaimed Frida Kahlo: The Brush of Anguish LJ Account Options Anmelden. Meine Mediathek Hilfe Erweiterte Buchsuche. Frida Kahlo : The Paintings. Hayden Herrera. Frida Kahlo Paintings

In this painting, a few people are sitting side by side on a wooden bench of a rickety bus. They are representatives of different classes of Mexican society. From left to right, there are a housewife holding her shopping basket, a blue-collar guy in his work overall, a barefoot Indian mother who is feeding her baby, a little boy looking around, a businessman holding his money bag and a young girl which might be Frida herself. In this painting, Frida demonstrated her sympathy for the dispossessed. She painted the Indian mother as Madonna-like and the blue-eyed gringo is a representation for the capitalists. This painting is also a depiction of the bus accident which happened in and changed her life forever. The other accident is Diego. The most powerful bond between the two is their admiration for each other's art. In this beautiful book, art historian Hayden Herrera brings together numerous paintings and sketches by the amazing Mexican artist, documenting each with explanatory text that probes the influences in Kahlo's life and their meaning for her work. Included among the illustrations are more than eighty full-color paintings, as well as dozens of black-and-white pictures and line illustrations. Here, too, are documentary photographs of Frida Kahlo and her world that help to illuminate the various stages of her life. Im Buch. Inhalt Frida Kahlo. The abstract was all too concrete for her, as real as the prison of pain. Henry Ford Hospital Frida Kahlo. Girl with Death Mask by Frida Kahlo. Millennial artists use the paintings of Frida Kahlo to complement their design and art products. Frida and Deigo Riveria Frida Kahlo. Deigo and I Frida Kahlo. Broken Column. A few small nips by Frida Kahlo. My Grandparents and My Parents. Self Portrait Dedicated to Leon Trotsky. Self Portrait with Braid by Frida Kahlo. Still Life with Parrot Frida Kahlo. The Two Fridas by Frida Kahlo.

What the Water Gave Me (painting) - Wikipedia

This self-portrait shows Kahlo as an androgynous figure. Scholars have seen this gesture as a confrontational response to Rivera's demand for a divorce, revealing the artist's injured sense of female pride and her self-punishment for the failures of her marriage. Her masculine attire also reminds the viewer of early family photographs in which Kahlo chose to wear a suit. The cropped hair also presents a nuanced expression of the artist's identity. She holds one cut braid in her left hand while many strands of hair lie scattered on the floor. The act of cutting a braid symbolizes a rejection of girlhood and innocence, but equally can be seen as the severance of a connective cord maybe umbilical that binds two people or two ways of life. Either way, braids were a central element in Kahlo's identity as the traditional La Mexicana , and in the act of cutting off her braids, she rejects some aspect of her former identity. The hair strewn about the floor echoes an earlier self-portrait painted as the Mexican folkloric figure La Llorana , here ridding herself of these female attributes. Kahlo clutches a pair of scissors, as the discarded strands of hair become animated around her feet; the tresses appear to have a life of their own as they curl across the floor and around the legs of her chair. Above her sorrowful scene, Kahlo inscribed the lyrics and music of a song that declares cruelly, "Look, if I loved you it was for your hair, now that you are hairless, I don't love you anymore," confirming Kahlo's own denunciation and rejection of her female roles. On the occasion of her marriage, Brotherus cuts her hair, the remains of which her new husband holds in his hands. The act of cutting one's hair symbolic of a moment of change happens in the work of other female artists too, including that of Francesca Woodman and Rebecca Horn. The frontal position and outward stare of Kahlo in this self-portrait directly confronts and engages the viewer. The artist wears Christ's unraveled crown of thorns as a necklace that digs into her neck, signifying her self-representation as a Christian martyr and the enduring pain experienced following her failed marriage. A dead hummingbird, a symbol in Mexican folkloric tradition of luck charms for falling in love, hangs in the center of her necklace. A black cat - symbolic of bad luck and death - crouches behind her left shoulder, and a spider monkey gifted from Rivera, symbolic of evil, is included to her right. Kahlo frequently employed flora and fauna in the background of her bust-length portraits to create a tight, claustrophobic space, using the symbolic element of nature to simultaneously compare and contrast the link between female fertility with the barren and deathly imagery of the foreground. Typically a symbol of good fortune, the meaning of a 'dead' hummingbird is to be reversed. Kahlo, who craves flight, is perturbed and disturbed by the fact that the butterflies in her hair are too delicate to travel far and that the dead bird around her neck, has become an anchor, preyed upon by the nearby cat. In failing to directly translate complex inner feelings it as though the painting illustrates the artist's frustrations. The Broken Column is a particularly pertinent example of the combination of Kahlo's emotional and physical pain. The artist's biographer, Hayden Herrera, writes of this painting, 'A gap resembling an earthquake fissure splits her in two. The opened body suggests surgery and Frida's feeling that without the steel corset she would literally fall apart'. A broken ionic column replaces the artist's crumbling spine and sharp metal nails pierce her body. The hard coldness of this inserted column recalls the steel rod that pierced the artist's vagina during her streetcar accident. More generally, the architectural feature now in ruins, has associations of the simultaneous power and fragility of the female body. Beyond its physical dimensions, the cloth wrapped around Kahlo's pelvis, recalls Christ's loincloth. Indeed, Kahlo again displays her wounds like a Christian martyr; through identification with Saint Sebastian, she uses physical pain, nakedness, and sexuality to bring home the message of spiritual suffering. Tears dot the artist's face as they do many depictions of the Madonna in Mexico; her eyes stare out beyond the painting as though renouncing the flesh and summoning the spirit. It is as a result of depictions like this one that Kahlo is now considered a Magic Realist. Her eyes are never- changing, realistic, while the rest of the painting is highly fantastical. The painting is not overly concerned with the workings of the subconscious or with irrational juxtapositions that feature more typically in Surrealist works. The notion of being wounded in the way that we see illustrated in The Broken Column , is referred to in Spanish as chingada. This word embodies numerous interrelated meanings and concepts, which include to be wounded, broken, torn open or deceived. The word derives from the verb for penetration and implies domination of the female by the male. It refers to the status of victimhood. The painting also recalls a performance and sculptural piece made by Rebecca Horn in called Unicorn. In Unicorn , Horn walks naked through an arable field with her body strapped in a fabric corset that appears almost identical to that worn by Kahlo in The Broken Column. In the piece by the German performance artist, however, the erect, sky-reaching pillar is fixed to her head rather than inserted into her chest. The performance has an air of mythology and religiosity similar to that of Kahlo's painting, but the column is whole and strong again, perhaps paying homage to Kahlo's fortitude and artistic triumph. As a hybrid between a deer and a woman, the innocent Kahlo is wounded and bleeding, preyed upon and hunted down in a clearing in the forest. Staring directly at the viewer, the artist confirms that she is alive, and yet the arrows will slowly kill her. The artist wears a pearl earring, as though highlighting the tension that she feels between her social existence and the desire to exist more freely alongside nature. Kahlo does not portray herself as a delicate and gentle fawn; she is instead a full-bodied stag with large antlers and drooping testicles. Not only does this suggest, like her suited appearance in early family photographs, that Kahlo is interested in combining the sexes to create an androgyne, but also shows that she attempted to align herself with the other great artists of the past, most of whom had been men. The branch beneath the stag's feet is reminiscent of the palm branches that onlookers laid under the feet of Jesus as he arrived in Jerusalem. Kahlo continued to identify with the religious figure of Saint Sebastian from this point until her death. In , she completed a drawing of herself in which eleven arrows pierce her skin. Similarly, the artist Louise Bourgeois, also interested in the visualization of pain, used Saint Sebastian as a recurring symbol in her art. She first depicted the motif in as an abstracted series of forms, barely distinguishable as a human figure; drawn using watercolor and pencil on pink paper, but then later made obvious pink fabric sculptures of the saint, stuck with arrows, she like Kahlo feeling under attack and afraid. In , Kahlo suffered from a lack of appetite due to the numerous surgeries she had to undergo and because she was ill often. As she had become malnourished, the doctor prescribed her complete bed rest and a forced diet of pureed food every two hours. Through this painting Kahlo portrays what she went through when she was forced fed. In it she shows a wooden structure which holds a funnel to continuously feed her. Kahlo draws a parallel between herself and another unfortunate woman about whom she learned in a newspaper. The woman, who was unfaithful, was murdered in an act of jealousy. Nails are stuck into her face and body and tears can be seen on her face but she looks straight at the viewer. The Broken Column is the most straightforward and ruthless depiction of the agony she faced through her life. Frida Kahlo is known for symbolically portraying her physical and psychological wounds through her self-portraits and this painting is a prime example of that. In it Kahlo is wearing a thorn necklace and blood can be seen tricking from the wounds made on her neck by the thorns. A black monkey and a black cat are present on left and right side of her. Hummingbird, a symbol of freedom, is hanging lifelessly from the thorn necklace. It is a double self-portrait. Frida on the left is wearing a white European style dress with her heart torn and bleeding while Frida on the right is wearing a traditional Mexican dress with her heart still whole. Kahlo remarried Rivera a year later and although their second marriage was as troubled as the first, it lasted till her death. The painting is the largest work of Kahlo and also her most famous. Such beautiful pieces. Petersburg Florida. Thinking about Death - by Frida Kahlo. Me and My Parrots - by Frida Kahlo. The Bus - by Frida Kahlo. The Broken Column - by Frida Kahlo. Coconuts - by Frida Kahlo. Diego and Frida - by Frida Kahlo. Portrait of Frida's Family. Diego and I - by Frida Kahlo. Four Inhabitants of Mexico - by Frida Kahlo. Frieda and Diego Divera - by Frida Kahlo. Fruit of Life - by Frida Kahlo. Fruits of the Earth - by Frida Kahlo. Fulang Chang and I - by Frida Kahlo. Girl with Death Mask - by Frida Kahlo. Frida and the Cesarean Operatione - by Frida Kahlo. Itzcuintli Dog with Me - by Frida Kahlo. Landscape - by Frida Kahlo. Living Nature - by Frida Kahlo. Magnolias - by Frida Kahlo. Marxism will give health to the sick - by Frida Kahlo. Me and My Doll - by Frida Kahlo. Memory the heart - by Frida Kahlo. Moses - by Frida Kahlo. My Birth - by Frida Kahlo. My nurse and i - by Frida Kahlo. Pitahayas - by Frida Kahlo. Portrait of a Woman in White - by Frida Kahlo. Portrait of Alicia Galant - by Frida Kahlo.

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