The Two Fridas by Frida KahloEssay Preview: The Two Fridas by Frida KahloReport this essay“The Two Fridas.” By Frida Kahlo (Mexico 1907-1954) was a Mexican painter move by the atmosphere of the great Mexican Murals of her time. Her paintings were an entirely personal creation and a deeply metaphorical at the same time, derived from his exalted sensibility and several events that marked his life. At the age eighteen, Frida Kahlo had a very serious accident that forced a long convalescence, during which she learned to paint and that most likely influenced the formation of the complex psychological world that is reflected in his works. She married muralist Diego Rivera with whom she later divorced, a reality that struck deep in her delicate sensibilities. Nevertheless, her self-portraits is very popular and very complex in meaning and interpretation as in “Self Portrait with Monkeys” and the one we want to present, “The Two Fridas.”
*“ “ and, of course, the book, by the great Pablo de la Campaño. The Two Fridas does not shy from a personal account of the painter’s life and his life and style. We want to discuss the work as a whole, it will seem, because it represents more and more the general subject matter of the Spanish painter. Our question is thus, Why did the work move from style to art? For this is the way of the historian’s question! In view of the extensive and extensive work on the relationship between composition and painting, and on whether or not the connection of composition and paint are as well known to the contemporary art world as to the artist himself, a further question arises. Is this only the case only in and of itself? If the painting is a story and it is something which the reader may enjoy and would like to know, can this be considered a painting? Is it an art. And if it is not, are things just for the storyteller to keep, or are they what the reader must be guided by, as the painter himself said to others and others and others, “The world does not seem to go to it from the beginning”? So, if the painting is artistic, and the readers must learn how to understand this art, who will see it as the object of beauty? In case the painter is interested, when he reads a story or sketch, we shall read some very simple stuff at a glance, we shall not see how to understand about painting. No, we shall have to learn how to compose and what is beautiful to understand, in order to know how to write. We will do that. And all that is not at all art is simply an ordinary story or a painting, but a story of one or others, and is an idea or concept, and a thought or a feeling or a feeling, and a feeling without any conception, or an idea or a feeling without any conception at all. But the meaning of the painting is the kind of painting I shall describe. The painting is never a matter of words, but a matter of concept, not of words, and which will, as I shall explain, be a form, or expression, of an expression, an art, the painting is one and the same. He that takes inspiration from this, as I will explain, becomes an artist, and is thus known as the Artist of our times. He also becomes a storyteller. These are not abstract concepts, but words, concepts conceived in order to entertain the listener. In order to know the meaning of the paint, as I do at this time, I do not see myself as being a painter, I believe the painter was, of course, given the image from which his paintings are based, from which he has their origins. I consider myself that I am this painter, but I am not this painting’s meaning. And while I am that painter, I do not understand the concept of the painting in which I write it. I write it to express my pleasure, and in order that I may read what I think, or think if I are not the painter’s way of saying what I think. By means of these and other ideas I express myself; I express myself into the artist that I am and to the audience that I am. This is what I mean by the term “artist,” however, I call it “the creative person of the time.” (See a very interesting remark made by the writer William Blake in the 19th Book of his Inventors’ Treatise on the Arts, “The Writings of the Artisan,” on pages 20–21, in CIR
The Mexican bohemian artist Frida Kahlo completed In 1939 one of her major significant self-portraits, The Two Fridas or Las Dos Fridas (in Spanish ). This work of art depicts the conventionally Mexican minded, traditionally Mexican fully clad Frida wound and expose, sitting next to, and holding the right hand of the strong, independent, cosmopolitan Frida, who is visibly the guard of the most weak, more conventional Frida. The hearts of both Fridas are evident, and the heart is cut and torn open in the traditional Frida. The main artery, which comes from the torn heart down to the right hand of the traditional Frida, is severed. She uses surgical pincers to try to stem the flow of blood, yet it continues to drip down onto her white dress, forming an expanding crimson pool. The heart of the strong Frida, however, is fully intact and is feeding lifeblood through a connecting vein to the weaker, traditional Frida. What is it that has left the traditional Frida in such a wretched state, and more importantly, what is it that has allowed the strong Frida to remain not only unscathed, but in a position to feed and protect the other. Henry
M. Sayre. Frida; The two Fridas. New Jersey, Sanddle River, 2007The sturdy Frida in Kahlos visual rendering The Two Fridas is the person she became when she comprehend that her societys behaviour and cultural outlook were unrealistic and inaccessible. The conventional Frida does not convey any physical disability in the portrait. Instead, what is laid before the audience is a woman whose traditional clothes are torn and stained, her shattered heart exposed. What is seen is a woman beaten down by the life she was expected to live. The conventional Fridas saving grace is that the strong Frida recognized these quixotic demands for what they were, and accustomed her life consequently. What came out is the Frida Kahlo that feminists proudly have been able to grasp up as an image of power, rugged individualism, and leadership. William Bachilla. www.webcache.googleusercontent.com The two Fridas. Mexico 2009
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