Frida: Vita di Frida Kahlo

Frida: Vita di Frida Kahlo✼ Frida: Vita di Frida Kahlo Epub ✿ Author Hayden Herrera – Oaklandjobs.co.uk Frida Kahlo diceva di se stessa Pensavano che fossi una surrealista ma non lo ero Non ho mai dipinto sogni Ho dipinto la mia realtà La realtà di una donna dalla bellezza magnetica e strana piccola e Frida Kahlo diceva di se stessa Pensavano di Frida PDF/EPUB ë che fossi una surrealista ma non lo ero Non ho mai dipinto sogni Ho dipinto la mia realtà La realtà di una donna dalla bellezza magnetica e strana piccola e fiera Nata in Messico nel alla vigilia della rivoluzione e spezzata a diciott'anni da un incidente che fa della sua vita un calvario di sofferenze fisiche Ma un romanzo su Frida Khalo vuole anche dire passione politica Frida: Vita PDF or a e sofferta ricerca artistica Sposata al grande muralista Diego Rivera amante di Trockij e di molti altri ammirata da Breton e da Picasso da Kandinskij e da Mirò Frida ha dipinto ossessivamente durante la sua vita autoritratti e nature morte sensuali visionarie e antropomorfiche o inuietanti rivisitazioni delle sue sofferenze e delle sue cicatrici. Have not read this book I have no reason not think it is good. Just wanted to comment on the cover.I always hate buying an edition of a book with movie art on the front. Nothing ruins a copy of a Lord of the Rings book like stills from the films on the cover. Carrying that around just makes you look like such a joiner. I know it is big money marketing, and there is no stopping it.But I gotta say, with an artist like Frida Kahlo, who painted so many incredible self protraits, it is just so lame to have a photo of Salma Hayek on the cover.When I saw this book I had to laugh. If I ever buy this, you can bet it will have artwork by the actual artist on the front. This is not an accurate portrayal of Frida's life. She was of a revolutionary than this book makes her out to be. She was also a gender bending feminist, and a brilliant painter. Herrera makes her out to be a Diego obsessed, pain obsessed sack of potatoes, and i'm not buying it. Herrera also infers several things to be true from Frida's paintings. She frequently ignores literal translations from paintings including text painted in that reveals the meaning completely on it's own. I am very sorry that this Kahlo has been subjected to pop culture by Herrera, and suggest looking elsewhere to find accurate information!Suggested Reading: Devouring Frida by: Margaret A. Lindauer I am a little in love with Frida Kahlo, or perhaps I should say intensely so. Surely no one can read this superb biography without being spun head over heels. Frida Kahlo was truly extraordinary. Vast beauty, intelligence, commitments, loyalties and most of all vast creativity and artistic talent. On top of this, the book also contains a formidable and passionate love story, and an inspiring story about her battles against terrible physical injuries. Frida was a gargantuan and lion hearted character, and she strode the world with flamboyant and anarchic exuberance. The art historian Parker Lesley described her thus: "Everyone stared at Frida, who wore her Tehuana dress and all Diego's gold jewellery, and clanked like a knight in armour. She had the Byzantine opulence of the Empress Theodora, a combination of barbarism and elegance. She had two gold incisors and when she was all gussied up she would take off the plain gold caps, and put on gold caps with rose diamonds in front, so that her smile really sparkled." Her love affair and two marriages with Diego Rivera were tempestuous. Both of them took lots of lovers, yet both were intensely jealous of one another's philandering. Under the emotional ructions there was however a deep love and friendship between them, and a huge respect for one another's work as artists. Both of them also shared a great commitment to Mexico, to the Communist Party, and had great loyalties to the ordinary working people of Mexico. Frida's artwork is intensely personal. It is a visual diary of her life and feelings. And those feelings were often traumatic. Her life was very difficult, due to her injuries which caused her massive problems throughout her life. In the early days only close personal friends would buy her paintings they were just too raw, and often violent, for most people to be attracted to them. Later on, as she gained fame and respect, her audience widened. I loved this book for the breadth it gives us of Frida's life, not only of the highlights, but of the thousands of little pleasures she shared with Diego and other friends. She enjoyed a life that was wonderfully rich and rewarding in many ways. Seemingly living each moment with passion, humour and bravado.Another great aspect of this book is the insight it gives us into her creative processes. She is one of those people for whom her life was her art. Herewith a prose/poem she wrote about colour, it gives a small taste of the originality of her thinking: (view spoiler)[ GREEN: warm and good lightREDDISH PURPLE: Aztec. Tlapali (Aztec word for "colour" used for painting and drawing). Old blood of prickly pear. The most alive and oldest.BROWN: colour of mole, of the leaf that goes. Earth.YELLOW: madness, sickness, fear. Part of the sun and of joy.COBALT BLUE: electricity and purity. Love.BLACK: nothing is black, really nothingLEAF GREEN: leaves, sadness, science. The whole of Germany is this colour.GREENISH YELLOW: madness and mystery. All the phantoms wear suits of this color.or at least underclothes.DARK GREEN: colour of bad news and good business.NAVY BLUE: distance. Also tenderness can be of this blue.MAGENTA: Blood? Well, who knows! (hide spoiler)] This is a long book of a rather short life: Frida Kahlo was injured in a traffic incident when she was eighteen and spent the rest of her life in pain and 'invalidism'. Regardless of this, her persona was so vibrant and vital that her magnetism outshone her vivid, charismatic work, and if she had lived thirty years the book would doubtless be three hundred pages longer.But it would have been completely different. Frida would probably not have begun to paint if she had not been immobilised for many months after her accident, and if she had not been made unable to have children, she would have had them. And so she would not have painted her physical pain and her frustrated longing. I enjoyed Herrera's descriptive interpretations of Frida's paintings and only rarely felt she had gone too far in taking them literally or carrying her own idea further than was justified. I enjoyed her rejection of the inclusion of Frida in the Surrealist movement, though perhaps her scorn of the latter is too strong and relies on some misunderstanding of surrealism as practised by at least some of its proponents. Herrera underlines the cultural and individual specificity of Frida's work and the personal authenticity of its non realistic elements. Her work perhaps owes something to Mexical socialist realism and Latin@ Catholic iconography (the 'naive" ex voto tradition is clearly an influence) but not to self indulgent European navel gazing. Herrera explains why Surrealism gained little traction in Mexico:Mexico had its own magic and myths and did not need foreign notions of fantasy. The self conscious search for subconscious truths that may have provided European Surrealists with some release from the confines of their rational world and ordinary bourgeois life offered little enchantment in a country where reality and dreams are perceived to merge and miracles are thought to be daily occurrencesI also loved her eloquent writing about Frida's dress and 'costume which was obviously a hugely important part of her process of identity. Although Frida's maternal grandfather was indigenous, she had a middle class settler Christian upbringing and dressing in tehuana clothing was a deliberate, political, and perhaps disingenuous act of appropriation, motivated, it seems, by Communist anti imperialism, aesthetic appreciation and the desire to hide her right leg, which was damaged by childhood polio and became increasingly problematic, probably as her injuries put an end to her therapeutic habits of exercise.It's always hard not to see the life of an artist primarily through their work, but according to Herrera, in many periods of her life Frida painted little. She writes that Frida's relationship to Diego was often important to her sense of herself than her art. Some of Frida's writing supports this, but I am uncomfortable with Herrera's adhesion to the idea, especially as Frida often complained about Diego too. She had many correspondants, friends, and semi secret lovers, and organised Diego's life and finances as well as her own. While he floundered without her, however inattentive he could be (apparently he lived for his work; unlike Frida he seems to have painted compulsively from childhood), she seems entirely capable of independence.Diego was always unfaithful, but while he apparently tolerated Frida's lesbian affairs, he seemed to be typically macho about her heterosexual ones, which she kept secret. Herrera gives far attention to these associations with men, although affairs and intimacies with women may have been at least as important to Frida. But perhaps she did not write to her women lovers, or the letters have not come into the public realm, as those written to men have. I usually feel that biographers of bisexual women are annoyingly dismissive in this way: lesbian affairs do not count, just as they didn't for Diego.Frida and Diego were ardent Communists, and as world communism shifted and strained their allegiances were juggled too. But they retained the original impulse towards the rights of the people, towards leftist revolutionary and anti imperialist politics. Frida was frustrated that she could not make political art, but Diego reassured her that her work was a worthwhile political contribution. Later in life, she became a teacher and led students in creating murals for a pulqueria and a women's laundry. It was fun to read her scornful opinion of European bohemians who 'did no work" and spent all their time in idle talk. A message to Euro USian hipsters not to co opt Frida as 'one of us'. In Depth, thorough and intriguing. However, I did not always agree with the author's interpretive nature of assuming to understand what Frida was feeling or thinking, and forcing these interpretations by consistent repetition. Frida still had an amazing and extremely interesting life. Frida Kahlo was such a complex indiviual, unfortunately Hayden Herrera simplifies this multifaceted artists life and passions. Like many Kahlo scholars in the 1970's she bases many of her ideas on Kahlo's work on gender stereotypes and assumptions. Read "Devouring Frida" if you are interested in a REAL analysis of the artist's life. My rating reflects the author's efforts and not the interest of the subject. Rated on Kalo, I would have awarded a rating of five, because Frida Kalo is an intriguing and compelling subject, whose life and art are inseparable and awe inspiring. I became interested in Kalo when I attended the San Francisco La Raza Homage to Frida Kalo (1978); her work grabbed my gut. Prints of her paintings The Little Deer and her self portraits with monkeys and with Diego Rivera looking out from her third eye hung in my apartments and are still tucked into my old journals from that time in my life. Kalo was one of my beacons of light as I made my own way in life as an independent, quirky, and stubborn woman, hoping I could be half as brave in my life as she was in hers.I found this particular biography a little frustrating in that the plates and photos were not well positioned in the book, so I kept losing my place as I tried to read and refer to the visuals. The author, I think, may have glossed over important aspects of the artist's political life and focussed incessantly on her relationship with Rivera. And, most unfortunately, the book's cover is a photogrpah not of the subject, but of Salma Hayak as Frida Kalo in a movie. I'm probably the last person under the sun not to have seen Julie Taymor's Frida, based on this biography (which is changing as I write these words). I find rating biographies difficult do I rate a book, or a life? but I think I can safely give it 3.5 4 stars, with the disclaimer that my ratings are lenient for biographies than for fiction. The description of the birth of creativity, and subsequent relations between Frida and Diego, and other people in her life, were interesting, thorough, and touching. The image of Frida and Diego locating each other in the crowd by means of whistling The International will stay with me. This book has its faults, pointed out by other reviewers, but I find them minor, not enough to spoil my reading experience. Frida Kahlo. To most people, she is the Mexican painter with the intense stare and dominant brows, known for her self portraits. At the same time she has become an icon. I've seen people drinking out of Frida cups, wearing Frida socks and getting Frida tattoos. This biography really made me understand what it was that made this woman so magnetising. A woman in love with lifeFrida never had it easy. She grew up during the Mexican Revolution, which certainly wasn't the easiest time to be a Mexican. At the age of eighteen, she became victim to a devastating accident, which left her crippled and unable to bear children. This affected her whole life, during which she consistently had to fight physical health issues. And still she was in love with living. She was a surprising, mesmerising and slightly macabre woman who couldn't help but to enchant those around her. She inspired with her radical and vibrant art as well as with her way of living, never afraid of showing her feelings or being kind those around her. "You know why they do all these crazy things? Because they don't have any personality. They must make it up. You are going to be an artist because you have talent. You are an artist, so you don't have to do all these things." A marriage to defineThe book focusses strongly on her relationship with Diego Rivera, a muralist much older whom she married at a young age. Neither can be described as faithful to each other in the most traditional sense they both had affairs and other lovers and yet they could not live without each other. Their relationship of nearly twenty five years went through many ups and downs and Herrera describes those very well. To be fair, I found these parts of the book slightly repetitive and too long, as it shifted the focus from Frida the individual to Frida the wife, which is where I get to my criticism of this biography. A revolutionaryIt's easy to forget that Frida Kahlo lived in a time in which it wasn't common for woman to have a loud and outspoken voice. She, however, did. I felt like this book cut short on that fact a lot, making her seem less like the revolutionary she was. While many describe Hayden Herrera's style of writing as clear and accurate, I found it to be prosaic und even arbitrary at times. She analyses many of her paintings, trying to give them a context and deducting what can be learned from them about the life Frida Kahlo led, yet on various occasions I wasn't quite sure where her claims were coming from. Some passages felt clumsy to me, when she calls the painting My Birth "one of the most awesome images of childbirth" only to then note how dead the child looks. On other occasions paintings or photographs are described in longwinded texts which weren't included in the book, which was annoying, because I would have rather liked to see the images myself than solely relying on somebody else's interpretation of them. I also would have liked to hear about her own views and thoughts, especially in relation to politics and Communism. After all, Kahlo felt most alive when she was able to talk for herself: "Let's go to work; I will be your so called teacher, I am not any such thing, I only want to be your friend, I have never been a painting teacher, nor do I think I ever will be, since I am always learning. I hope you will not be bored with me, and when I seem to bore you, I ask you, please, not to keep quiet, all right?" To sum up, I think Frida Kahlo was a fascinating and eclectic woman, so than this biography implies. It's a nice read and gives a wonderful insight into her life and times, yet I was left feeling unsatisfied on various occasions throughout the book, which keeps me from calling this a truly great biography. “The painter, poet, and prominent critic José Moreno Villa struck in Novedades the note that would resound over the years: “ It is impossible,” he wrote, “to separate the life and work of this singular person. Her paintings are her biography.”” Magdalena Carmen Frida Kahlo y Calderón (1907 1954) was a medical student when, at the age of eighteen, she was critically injured in a bus accident. “Before that we had taken another bus, but since I had lost a little parasol, we got off to look for it and that was how we happened to get on the bus that destroyed me." Her injuries were horrific: “Her spinal column was broken in three places in the lumbar region. Her collarbone was broken, and her third and fourth ribs. Her right leg had eleven fractures and her right foot was dislocated and crushed. Her left shoulder was out of joint, her pelvis broken in three places. The steel handrail had literally skewered her body at the level of the abdomen; entering on the left side, it had come out through the vagina. “ I lost my virginity,” she said.” Prior to the accident she had already been a victim to polio. She suffered many illnesses and ghastly treatments; “at least thirty two surgical operations” and twenty eight special corsets, one of which was made of steel. There were times when she survived on alcohol and pain killers.In 1929 she married the very famous artist Diego Rivera. “The Riveras had much in common: humor, intelligence, Mexicanism, social conscience, a bohemian approach to life.” But the marriage was not plain sailing as Diego was an inveterate womaniser (he even had an affair with her younger sister) and Frida retaliated by having affairs with people of both sexes. The Riveras even divorced at one stage, but later remarried. Frida maintained that she loved him and that “”For me he is my child, my son, my mother, my father, my lover, my husband, my everything.””However, these calamities did not crush her spirit. Dressed in long flamboyant native Mexican costumes with heavy jewellery and elaborate hairstyles she dazzled those around her with her wit, her sense of fun and her outspokenness. “She had the Byzantine opulence of the Empress Theodora, a combination of barbarism and elegance. She had two gold incisors and when she was all gussied up she would take off the plain gold caps and put on gold caps with rose diamonds in front, so that her smile really sparkled.” When her leg was eventually amputated she ordered red leather boots with gold decorations and little bells and “…danced the jarabe tapatío with her wooden leg.” When she was ill in bed she kept her visitors amused and they came away feeling uplifted. When she had to remain flat on her back she continued painting using a special easel that attached to the bed.It is through her art that she expressed what she really thought and felt. She repeatedly painted herself, and it is in these pictures that she reveals the 'other" Frida, the Frida who suffered both physical and mental pain, the Frida who was desperate to have a child, the Frida who at times was depressed and tried to commit suicide. But to the world around her she was the vivacious Frida who loved to joke. In her last days she insisted, against doctors" orders, in attending the opening night of a solo exhibition of her art, and she arrived on a stretcher in great pomp and ceremony and dressed to the nines. Author and art historian Hayden Herrera does an excellent job of analysing Frida's paintings. The book is very well illustrated and documented. Leon Trotsky and his wife lived with the Riveras for a period of time, and Frida actually had an affair with Trotsky. The author briefly recounts this history, but the focus quite rightly remains on Frida.Frida's last painting was of a watermelon: ”Eight days before she died, when her hours were darkened by calamity, Frida Kahlo dipped her brush in blood red paint and inscribed her name plus the date and the place of execution, Coyoacán, Mexico, across the crimson pulp of the foremost slice. Then, in large capital letters, she wrote her final salute to life: VIVA LA VIDA.”###Frida on her art: “”I never knew I was a Surrealist,” she had said, “till André Breton came to Mexico and told me I was. The only thing I know is that I paint because I need to, and I paint always whatever passes through my head, without any other consideration.”" Diego maintained that she was a 'realist'. ""I paint myself because I am so often alone,” Frida said, “because I am the subject I know best.”"""Since the accident changed my path, and many other things,” she told Antonio Rodríguez, “I was not permitted to fulfill the desires which the whole world considers normal, and nothing seemed natural than to paint what had not been fulfilled my paintings are . the most frank expression of myself, without taking into consideration either judgments or prejudices of anyone.””###Gallery:Self Portrait with Necklace of ThornsThe Wounded DeerDiego and I###There is also a film based on this book with Salma Hayek portraying the role of Frida..

  ¿ Frida: Vita di Frida Kahlo ePUB ✓ di Frida
    Her love affair and two marriages with Diego Rivera were tempestuous. Both of them took lots of lovers, yet both were intensely jealous of one another's philandering. Under the emotional ructions there was however a deep love and friendship between them, and a huge respect for one another's work as artists. Both of them also shared a great commitment to Mexico, to the Communist Party, and had great loyalties to the ordinary working people of Mexico. Frida's artwork is intensely personal. It is a visual diary of her life and feelings. And those feelings were often traumatic. Her life was very difficult, due to her injuries which caused her massive problems throughout her life. In the early days only close personal friends would buy her paintings they were just too raw, and often violent, for most people to be attracted to them. Later on, as she gained fame and respect, her audience widened. I loved this book for the breadth it gives us of Frida's life, not only of the highlights, but of the thousands of little pleasures she shared with Diego and other friends. She enjoyed a life that was wonderfully rich and rewarding in many ways. Seemingly living each moment with passion, humour and bravado.Another great aspect of this book is the insight it gives us into her creative processes. She is one of those people for whom her life was her art. Herewith a prose/poem she wrote about colour, it gives a small taste of the originality of her thinking: (view spoiler)[ GREEN: warm and good lightREDDISH PURPLE: Aztec. Tlapali (Aztec word for "colour" used for painting and drawing). Old blood of prickly pear. The most alive and oldest.BROWN: colour of mole, of the leaf that goes. Earth.YELLOW: madness, sickness, fear. Part of the sun and of joy.COBALT BLUE: electricity and purity. Love.BLACK: nothing is black, really nothingLEAF GREEN: leaves, sadness, science. The whole of Germany is this colour.GREENISH YELLOW: madness and mystery. All the phantoms wear suits of this color.or at least underclothes.DARK GREEN: colour of bad news and good business.NAVY BLUE: distance. Also tenderness can be of this blue.MAGENTA: Blood? Well, who knows! (hide spoiler)] This is a long book of a rather short life: Frida Kahlo was injured in a traffic incident when she was eighteen and spent the rest of her life in pain and 'invalidism'. Regardless of this, her persona was so vibrant and vital that her magnetism outshone her vivid, charismatic work, and if she had lived thirty years the book would doubtless be three hundred pages longer.But it would have been completely different. Frida would probably not have begun to paint if she had not been immobilised for many months after her accident, and if she had not been made unable to have children, she would have had them. And so she would not have painted her physical pain and her frustrated longing. I enjoyed Herrera's descriptive interpretations of Frida's paintings and only rarely felt she had gone too far in taking them literally or carrying her own idea further than was justified. I enjoyed her rejection of the inclusion of Frida in the Surrealist movement, though perhaps her scorn of the latter is too strong and relies on some misunderstanding of surrealism as practised by at least some of its proponents. Herrera underlines the cultural and individual specificity of Frida's work and the personal authenticity of its non realistic elements. Her work perhaps owes something to Mexical socialist realism and Latin@ Catholic iconography (the 'naive" ex voto tradition is clearly an influence) but not to self indulgent European navel gazing. Herrera explains why Surrealism gained little traction in Mexico:Mexico had its own magic and myths and did not need foreign notions of fantasy. The self conscious search for subconscious truths that may have provided European Surrealists with some release from the confines of their rational world and ordinary bourgeois life offered little enchantment in a country where reality and dreams are perceived to merge and miracles are thought to be daily occurrencesI also loved her eloquent writing about Frida's dress and 'costume which was obviously a hugely important part of her process of identity. Although Frida's maternal grandfather was indigenous, she had a middle class settler Christian upbringing and dressing in tehuana clothing was a deliberate, political, and perhaps disingenuous act of appropriation, motivated, it seems, by Communist anti imperialism, aesthetic appreciation and the desire to hide her right leg, which was damaged by childhood polio and became increasingly problematic, probably as her injuries put an end to her therapeutic habits of exercise.It's always hard not to see the life of an artist primarily through their work, but according to Herrera, in many periods of her life Frida painted little. She writes that Frida's relationship to Diego was often important to her sense of herself than her art. Some of Frida's writing supports this, but I am uncomfortable with Herrera's adhesion to the idea, especially as Frida often complained about Diego too. She had many correspondants, friends, and semi secret lovers, and organised Diego's life and finances as well as her own. While he floundered without her, however inattentive he could be (apparently he lived for his work; unlike Frida he seems to have painted compulsively from childhood), she seems entirely capable of independence.Diego was always unfaithful, but while he apparently tolerated Frida's lesbian affairs, he seemed to be typically macho about her heterosexual ones, which she kept secret. Herrera gives far attention to these associations with men, although affairs and intimacies with women may have been at least as important to Frida. But perhaps she did not write to her women lovers, or the letters have not come into the public realm, as those written to men have. I usually feel that biographers of bisexual women are annoyingly dismissive in this way: lesbian affairs do not count, just as they didn't for Diego.Frida and Diego were ardent Communists, and as world communism shifted and strained their allegiances were juggled too. But they retained the original impulse towards the rights of the people, towards leftist revolutionary and anti imperialist politics. Frida was frustrated that she could not make political art, but Diego reassured her that her work was a worthwhile political contribution. Later in life, she became a teacher and led students in creating murals for a pulqueria and a women's laundry. It was fun to read her scornful opinion of European bohemians who 'did no work" and spent all their time in idle talk. A message to Euro USian hipsters not to co opt Frida as 'one of us'. In Depth, thorough and intriguing. However, I did not always agree with the author's interpretive nature of assuming to understand what Frida was feeling or thinking, and forcing these interpretations by consistent repetition. Frida still had an amazing and extremely interesting life. Frida Kahlo was such a complex indiviual, unfortunately Hayden Herrera simplifies this multifaceted artists life and passions. Like many Kahlo scholars in the 1970's she bases many of her ideas on Kahlo's work on gender stereotypes and assumptions. Read "Devouring Frida" if you are interested in a REAL analysis of the artist's life. My rating reflects the author's efforts and not the interest of the subject. Rated on Kalo, I would have awarded a rating of five, because Frida Kalo is an intriguing and compelling subject, whose life and art are inseparable and awe inspiring. I became interested in Kalo when I attended the San Francisco La Raza Homage to Frida Kalo (1978); her work grabbed my gut. Prints of her paintings The Little Deer and her self portraits with monkeys and with Diego Rivera looking out from her third eye hung in my apartments and are still tucked into my old journals from that time in my life. Kalo was one of my beacons of light as I made my own way in life as an independent, quirky, and stubborn woman, hoping I could be half as brave in my life as she was in hers.I found this particular biography a little frustrating in that the plates and photos were not well positioned in the book, so I kept losing my place as I tried to read and refer to the visuals. The author, I think, may have glossed over important aspects of the artist's political life and focussed incessantly on her relationship with Rivera. And, most unfortunately, the book's cover is a photogrpah not of the subject, but of Salma Hayak as Frida Kalo in a movie. I'm probably the last person under the sun not to have seen Julie Taymor's Frida, based on this biography (which is changing as I write these words). I find rating biographies difficult do I rate a book, or a life? but I think I can safely give it 3.5 4 stars, with the disclaimer that my ratings are lenient for biographies than for fiction. The description of the birth of creativity, and subsequent relations between Frida and Diego, and other people in her life, were interesting, thorough, and touching. The image of Frida and Diego locating each other in the crowd by means of whistling The International will stay with me. This book has its faults, pointed out by other reviewers, but I find them minor, not enough to spoil my reading experience. Frida Kahlo. To most people, she is the Mexican painter with the intense stare and dominant brows, known for her self portraits. At the same time she has become an icon. I've seen people drinking out of Frida cups, wearing Frida socks and getting Frida tattoos. This biography really made me understand what it was that made this woman so magnetising. A woman in love with lifeFrida never had it easy. She grew up during the Mexican Revolution, which certainly wasn't the easiest time to be a Mexican. At the age of eighteen, she became victim to a devastating accident, which left her crippled and unable to bear children. This affected her whole life, during which she consistently had to fight physical health issues. And still she was in love with living. She was a surprising, mesmerising and slightly macabre woman who couldn't help but to enchant those around her. She inspired with her radical and vibrant art as well as with her way of living, never afraid of showing her feelings or being kind those around her. "You know why they do all these crazy things? Because they don't have any personality. They must make it up. You are going to be an artist because you have talent. You are an artist, so you don't have to do all these things." A marriage to defineThe book focusses strongly on her relationship with Diego Rivera, a muralist much older whom she married at a young age. Neither can be described as faithful to each other in the most traditional sense they both had affairs and other lovers and yet they could not live without each other. Their relationship of nearly twenty five years went through many ups and downs and Herrera describes those very well. To be fair, I found these parts of the book slightly repetitive and too long, as it shifted the focus from Frida the individual to Frida the wife, which is where I get to my criticism of this biography. A revolutionaryIt's easy to forget that Frida Kahlo lived in a time in which it wasn't common for woman to have a loud and outspoken voice. She, however, did. I felt like this book cut short on that fact a lot, making her seem less like the revolutionary she was. While many describe Hayden Herrera's style of writing as clear and accurate, I found it to be prosaic und even arbitrary at times. She analyses many of her paintings, trying to give them a context and deducting what can be learned from them about the life Frida Kahlo led, yet on various occasions I wasn't quite sure where her claims were coming from. Some passages felt clumsy to me, when she calls the painting My Birth "one of the most awesome images of childbirth" only to then note how dead the child looks. On other occasions paintings or photographs are described in longwinded texts which weren't included in the book, which was annoying, because I would have rather liked to see the images myself than solely relying on somebody else's interpretation of them. I also would have liked to hear about her own views and thoughts, especially in relation to politics and Communism. After all, Kahlo felt most alive when she was able to talk for herself: "Let's go to work; I will be your so called teacher, I am not any such thing, I only want to be your friend, I have never been a painting teacher, nor do I think I ever will be, since I am always learning. I hope you will not be bored with me, and when I seem to bore you, I ask you, please, not to keep quiet, all right?" To sum up, I think Frida Kahlo was a fascinating and eclectic woman, so than this biography implies. It's a nice read and gives a wonderful insight into her life and times, yet I was left feeling unsatisfied on various occasions throughout the book, which keeps me from calling this a truly great biography. “The painter, poet, and prominent critic José Moreno Villa struck in Novedades the note that would resound over the years: “ It is impossible,” he wrote, “to separate the life and work of this singular person. Her paintings are her biography.”” Magdalena Carmen Frida Kahlo y Calderón (1907 1954) was a medical student when, at the age of eighteen, she was critically injured in a bus accident. “Before that we had taken another bus, but since I had lost a little parasol, we got off to look for it and that was how we happened to get on the bus that destroyed me." Her injuries were horrific: “Her spinal column was broken in three places in the lumbar region. Her collarbone was broken, and her third and fourth ribs. Her right leg had eleven fractures and her right foot was dislocated and crushed. Her left shoulder was out of joint, her pelvis broken in three places. The steel handrail had literally skewered her body at the level of the abdomen; entering on the left side, it had come out through the vagina. “ I lost my virginity,” she said.” Prior to the accident she had already been a victim to polio. She suffered many illnesses and ghastly treatments; “at least thirty two surgical operations” and twenty eight special corsets, one of which was made of steel. There were times when she survived on alcohol and pain killers.In 1929 she married the very famous artist Diego Rivera. “The Riveras had much in common: humor, intelligence, Mexicanism, social conscience, a bohemian approach to life.” But the marriage was not plain sailing as Diego was an inveterate womaniser (he even had an affair with her younger sister) and Frida retaliated by having affairs with people of both sexes. The Riveras even divorced at one stage, but later remarried. Frida maintained that she loved him and that “”For me he is my child, my son, my mother, my father, my lover, my husband, my everything.””However, these calamities did not crush her spirit. Dressed in long flamboyant native Mexican costumes with heavy jewellery and elaborate hairstyles she dazzled those around her with her wit, her sense of fun and her outspokenness. “She had the Byzantine opulence of the Empress Theodora, a combination of barbarism and elegance. She had two gold incisors and when she was all gussied up she would take off the plain gold caps and put on gold caps with rose diamonds in front, so that her smile really sparkled.” When her leg was eventually amputated she ordered red leather boots with gold decorations and little bells and “…danced the jarabe tapatío with her wooden leg.” When she was ill in bed she kept her visitors amused and they came away feeling uplifted. When she had to remain flat on her back she continued painting using a special easel that attached to the bed.It is through her art that she expressed what she really thought and felt. She repeatedly painted herself, and it is in these pictures that she reveals the 'other" Frida, the Frida who suffered both physical and mental pain, the Frida who was desperate to have a child, the Frida who at times was depressed and tried to commit suicide. But to the world around her she was the vivacious Frida who loved to joke. In her last days she insisted, against doctors" orders, in attending the opening night of a solo exhibition of her art, and she arrived on a stretcher in great pomp and ceremony and dressed to the nines. Author and art historian Hayden Herrera does an excellent job of analysing Frida's paintings. The book is very well illustrated and documented. Leon Trotsky and his wife lived with the Riveras for a period of time, and Frida actually had an affair with Trotsky. The author briefly recounts this history, but the focus quite rightly remains on Frida.Frida's last painting was of a watermelon: ”Eight days before she died, when her hours were darkened by calamity, Frida Kahlo dipped her brush in blood red paint and inscribed her name plus the date and the place of execution, Coyoacán, Mexico, across the crimson pulp of the foremost slice. Then, in large capital letters, she wrote her final salute to life: VIVA LA VIDA.”###Frida on her art: “”I never knew I was a Surrealist,” she had said, “till André Breton came to Mexico and told me I was. The only thing I know is that I paint because I need to, and I paint always whatever passes through my head, without any other consideration.”" Diego maintained that she was a 'realist'. ""I paint myself because I am so often alone,” Frida said, “because I am the subject I know best.”"""Since the accident changed my path, and many other things,” she told Antonio Rodríguez, “I was not permitted to fulfill the desires which the whole world considers normal, and nothing seemed natural than to paint what had not been fulfilled my paintings are . the most frank expression of myself, without taking into consideration either judgments or prejudices of anyone.””###Gallery:Self Portrait with Necklace of ThornsThe Wounded DeerDiego and I###There is also a film based on this book with Salma Hayek portraying the role of Frida.. "/>
  • Frida: Vita di Frida Kahlo
  • Hayden Herrera
  • Italian
  • 04 October 2016
  • 8877383453