Frida Kahlo in Multimedia
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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 -
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 -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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). -
{PDF} Frida Kahlo: the Paintings
FRIDA KAHLO: THE PAINTINGS PDF, EPUB, EBOOK Hayden Herrera | 272 pages | 04 Jun 2002 | HarperCollins Publishers Inc | 9780060923198 | English | New York, NY, United States 20 Most Famous Frida Kahlo Paintings - Artist PopLab 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.