Essay on Frida Kahlos Definition of Self - 1687 Words

Frida Kahlo is one of the most famous female painters to originate from the twentieth century, and for good reason. Her art is filled with beauty and creativity, but Frida’s main source of fame comes from the emotions that these paintings invoke, rather than the actual paintings. This is because Frida put herself into every painting she did, leaving traces of her presence all throughout this world and these traces remain long after her physical departure. Frida was a very peculiar and unique individual, hence, Frida’s definition of what a person is, or rather, what a self is, follows accordingly. The self is the reality that one conceives, and this self will live long after the physical body dies, continuing on as long as their†¦show more content†¦Also, it seems that the monkey on Frida’s shoulder is trying to dismantle this thorn necklace, so even with these other guardians or friends that Frida has transcended from her mind to the canvas she still exists in some from of anguish. To extrapolate one step further, Frida feels that no one can help her in this world of suffering, even if they desire to, and she is ultimately isolated in her own sense of reality. Throughout her career, Frida had shown many different themes of her life through her paintings. It seems clear, through analyzation of her paintings, that Frida lived something of a double life. Frida paints herself in distinctly different ways at times, sometimes she is a beautiful woman with strength like iron, and sometimes she is a frail damsel who has been broken already and will be broken again. Contrasting paintings include Self Portrait with Monkeys (Kahlo, 1) and Self-Portrait with Thorn Necklace, Diego and I (Kahlo, 1) and The Love Embrace of the Universe, the Earth (Mexico), Me, Diego, and Mr. Xolotl (Kahlo, 1). All of these paintings show that not only is there a contrast in her personality, in fact, Frida’s is actually two different people, as sh e paints it. Frida’s double personality is most present (excepting arguably The Two Fridas, which will be mentioned later in this essay) in her painting Tree of Hope, StandShow MoreRelatedThe Double Self Portrait By Frida Kahlo1605 Words   |  7 PagesOn first impression, The Two Fridas(1939) by Frida Kahlo, is an image that appears grim and sad, with a gloomy atmosphere, set by the background, and a gruesome imagery seen through the open, bloody hearts. The double self-portrait is an oil and canvas image of a European and Mexican Frida. The European Frida’s dress is covered in blood from a cut heart vein, and both the women’s hearts are exposed, with European Frida’s appearing broken. The two figures are sat in the foreground of the image, withRead MoreLove as a Major Muse: Analyzing Frida Kahlos Relationship With Diego Rivera1054 Words   |  4 PagesFrida Kahlo is quoted as saying, I suffered two grave accidents in my life. One in which a streetcar knocked me down. The other accident is Diego, (cited by Botis 1). The love relationship between Frida Kahlo and Diego Rivera is one of the most famous in modern art. Their relationship was tumultuous, which seemed to be a good recipe for creativity and artistic self-expression. It is a well-known fact that they had a passionate and stormy relationship, filled with great love and also betrayalsRead MoreArt as an Embodied Imagination22095 Words   |  89 Pagesthey ingest, and protect their environment. These personal motivations manifest a form of self-discipline (the disciplinary gaze has become an ordering principle of social life): the consumer adopts the perspective of his or her self, so it becomes natural to regard one’s body as a socially visible object that can and should be reconstructed to convey preferred meanings (Joy and Venkatesh 1994). In building a self-image and an identity, consumers engage in continuous processes (moral and otherwise)Read MoreArt as an Embodied Imagination22095 Words   |  89 Pagesthey ingest, and protect their environment. These personal motivations manifest a form of self-discipline (the disciplinary gaze has become an ordering principle of social life): the consumer adopts the perspective of his or her self, so it becomes natural to regard one’s body as a socially visible object that can and should be reconstructed to convey preferred meanings (Joy and Venkatesh 1994). In building a self-image and an identity, consumers engage in continuous processes (moral and otherwise)