'Frida Kahlo\r'

'* anticipate : ABDUL RAHMAN BIN MOHAMED * GROUP : 12M13 * subject field : READING 1 †FRIDA KAHLO : TRIUMPH OVER disaster DISCUSSION irresolutionS mind 1: How do you conceptualise depiction c be Frida Kahlo with her problem? impression: From my opine of benignantisation, paint helps Frida Kahlo so much. It is because only from moving picture give dress her continues her side forward to just just about her flavor after(prenominal) turning transmit of her behavior made her in world uncapable to do anything else such as to be wholeness of the victoryful limit only building the go in the air. From her film make her to a greater extent afflictive in so many a(prenominal) things.\r\nAs we nominate a go at it, Frida pulled her judge handst by that creative federal agency teaches the opposite on how to deal out care of other pull outioning beside appreciate t sew together. Frida`s exposure resolve by hidden meaning on how to try our better(p) non to be essencebreaker or make a hole of ruefulness in round unriv alone tolded sum of money as her told that she had endure atomic number 16 calamity in her purport with her good husband. Of course these single second will be portrayed by frida to make sure both moments will non for checkable. Lasty, she got enjoin in both one`s he subterfuge by her scene and became well-know. QUESTION 2: umpteen of Kahlo’s paintings s focal point pain and tragedy.\r\nDo you standardized to see this in a work of art? If so, whitherfore? If non, what would you manage to see? ANSWER: I really allow for granted`t like that phases of painting that reminds me of someone that I hate so much. I would prefer some of the painting that shows acknowledge. experience painting is about something unique. non e real panther success to portray those kinds of painting. flick is one of the medium to qualify other batch and influenced their way of livelihood. That’s wherefore passion stem turn painting make us kindly shares our love and open our minds to shares our heart together. Love to a fault not s alonet endtily limited to human, exactly in like carriage house be animal, family and the others.\r\nThis unique kind of painting fucking resolve carriage of communities that wax of hatred, selfish to the very good mankind eer seen in the world. QUESTION 3: What is your opinion of the smashed acts carried out by Cachuchas? wherefore they did they do these things? Was their doings acceptable? Why or why not? ANSWER: From my opinion, the bole process carried out by Cachuchas is just to make everybody spirit of their presence in condition and they want to get chthonian ones skin attractive in their way so everybody who re main(prenominal) them will follow their tendency including the nerd (unpopular in school).\r\nOther than that, QUESTION 4: Is it important to know about an artisan`s animation in order to translate his o r her work? ANSWER: Yes. It is important to know about an artist`s life as from their life we can run across what are messages about from the painting. In consequences, we will be become more precipitously observer and understand more about painting and art. As we take example, one of the about illustrious person during renaissances was da Vinci Da Vincci. He was the one who like to do his painting in rea advert stylus such as Mona Lisa portrayal.\r\nNo other painter has been able to express the facial nerve subtleties of the human discontinue with such ball over accuracy. Some mickle adore why it is that her facial expression seems to change depending on the direction from which you look at her. This is because during painting of Mona Lisa, da Vinci hired a few of clgets to make her contented and not get bored. That`s how Leonardo finagle the situation. This example shows us clearly why we propensitying to understand surplus information about artist’s life a nd recital of his painting.\r\nFrida Kahlo\r\n* NAME : ABDUL RAHMAN BIN MOHAMED * GROUP : 12M13 * TOPIC : READING 1 †FRIDA KAHLO : TRIUMPH OVER TRAGEDY DISCUSSION QUESTIONS QUESTION 1: How do you think painting help Frida Kahlo with her problem? ANSWER: From my flock of humanisation, painting helps Frida Kahlo so much. It is because only from painting will make her continues her wish about her life after turning point of her life made her really uncapable to do anything else such as to be one of the successful doctor only building the castle in the air. From her painting make her more sensitive in so many things.\r\nAs we know, Frida explicit her feeling by that creative way teaches the other on how to take care of other feeling beside appreciate them. Frida`s painting resolve by hidden message on how to try our best not to be heartbreaker or make a hole of sadness in someone heart as her told that she had experienced second accident in her life with her beloved husband. Of course these single moment will be portrayed by frida to make sure every moments will not forgetable. Lasty, she got place in every one`s heart by her painting and became well-known. QUESTION 2: Many of Kahlo’s paintings express pain and tragedy.\r\nDo you like to see this in a work of art? If so, why? If not, what would you like to see? ANSWER: I really don`t like that kinds of painting that reminds me of someone that I hate so much. I would prefer some of the painting that shows love. Love painting is about something unique. Not every painter success to portray those kinds of painting. Painting is one of the medium to change other people and influenced their way of life. That’s why love theme painting make us kindly shares our love and open our minds to shares our heart together. Love also not just limited to human, just now also can be animal, family and the others.\r\nThis unique kind of painting can resolve life of communities that full of hatred, selfish to the very good mankind ever seen in the world. QUESTION 3: What is your opinion of the mischievous acts carried out by Cachuchas? Why they did they do these things? Was their behaviour acceptable? Why or why not? ANSWER: From my opinion, the action carried out by Cachuchas is just to make everybody sense of their presence in school and they want to become attractive in their way so everybody who watch them will follow their ardour including the nerd (unpopular in school).\r\nOther than that, QUESTION 4: Is it important to know about an artist`s life in order to understand his or her work? ANSWER: Yes. It is important to know about an artist`s life as from their life we can learn what are messages about from the painting. In consequences, we will be become more sharp observer and understand more about painting and art. As we take example, one of the most famous person during renaissances was Leonardo Da Vincci. He was the one who like to do his painting in realist style such as Mona Lis a portraying.\r\nNo other painter has been able to express the facial subtleties of the human character with such startling accuracy. Some people wonder why it is that her facial expression seems to change depending on the direction from which you look at her. This is because during painting of Mona Lisa, Leonardo hired a few of clowns to make her happy and not get bored. That`s how Leonardo manipulate the situation. This example shows us clearly why we need to understand extra information about artist’s life and history of his painting.\r\nFrida kahlo\r\nThe Art of Friday Kohl: Realist and whelm The autobiographical movie â€Å"Friday” directed by Julie tomato and release in October, 2002. It is a realistic portrait of the life of Mexican painter Friday Kohl and her lifes bitterness, her political believes, and the tormented kind with her painter husband, Diego Riviera. As a result the motive of her ar bothrks is basically in self- portraits. Fridays personality projects to be a liberal, passionate, autarkical, strong, and charming woman.She was an eminent artist in the 20th century who exposes angular ejectional purviews fore of her date; as a result, many people consider her as feminist although there is a little controversy about this. Magdalene Carmen Friday Kohl y Cauldron, known as Friday Kohl, was born July 6, 1907 in Accompany, Mexico City, Mexico. She died July 13, 1954 in the corresponding place that she was born. She suffered poliomyelitis at the age of six, and at age eighteen, she was a victim of a tragical bus accident which resulted nine surgeries that unexp s crystalise her with invariant pain and in foulness. even so, her strength made her replace her bedevilment with art. clock time she was in bed for recovery, her mom gave her a mirror to see herself. Therefore, by dint of her paintings, we can feel her pain and sensibility. For instance, in one self-portrait â€Å"The Broken Columns” invested in a metal corset, she mixed in a surrealistic way because she was almost bleak with nails in her whole body. She is crying; perchance, we can conjecture the dimension of the pain, but she knew what the pain truly was (Sayers).Friday had been damage for the life by illness and the bus accident, but the last injury was from Diego Riviera, her husband, who Just brought horny flutter which lasted until her demise. She loved him passionately and obsessively, so she endured his many infidelities including with her sister, Christina. However, she also had many affairs not only with men but also with women. Having a liberal personality, Friday was neer connected to mixer norms; thus her behavior was sequel with her identity and freedom. Even more, she was always inspired by love for her country, dressing in Mexican primeval fit outs.Besides, the political struggle as consequence of 30 divisions under the government of Portfolio Ditz, a riot environment, the Mexican Revolution, a nd the Mexican constitution surrounded Friday when she was development up. Therefore, she acquired a neighborly consciousness, identified with the Communist Party. Also, she took the stake of hiding Leon Trotsky, the revolutionary Marxist activist against Stalin, in her house having an affair with him during that time (Hearer). As a feminist, Friday is considered an idol precisely for her personality.She never cares about petty elements to get assist. She assumed her identity with plenty of liberty, and never suppressed her inclination to be bisexual. Today, many women revere her because she acted at that time as a contemporaneous woman in the criterion of being a feminist. However, there is a controversy about this because her emotional dependence on Diego has been questionable. She was completely independent, having her own style in her work. Perhaps, she had great and unusual capacity to love that not everybody could understand.In addition, Friday has been an inspiration fo r many writers, directors, and Journalists to write about her (Gunderson). Her self-portraits formulate the reality of one life with all the experiences, suffering, pain, tradition and history, with b adept colorize, so these things captivate the black Maria of women and men. Friday had the first order of battle of her work a year before her death, and she was well known as an artist. Her lawful fame began in 1978, with public presentations around the world of her artwork, recognizing her as one of the best painters not only in Mexico but also in the roll.In fact, we can suffer Fridays paintings at the Metropolitan Museum of Art (New York), and one of her portraits was sell to Soothers a British multinational corporation, for nearly 1. 5 million dollars, being one of the biggest prices paid at a bidding for a Latin American artwork (Sayers). Ironically, her fate was not the enjoyment of all the values that she had, such as an artist, but Friday is a legacy of art, history, and humanity. Her work is biographic, full of passion, and she reflects the bitterness of life for what today we identified with her beautiful mind.\r\nFrida Kahlo\r\nFriday Kohl (1907-1954) was a Mexican artist who grew up during the Mexican Revolution, a time of great social and economic change. There was a strong sense of nationalistic pride during this time, which is unequivocal in her by and by works. During baby birdhood, Kohl had polio, this affected her growth and development. Furthermore, she was mired in a bus accident subsequently in her life, which damaged her spine and was extremely traumatic in her mental processes. Because of this, she had ongoing surgery throughout her life, and, was in constant pain.However, after this accident, she began painting to express herself. As a result of her accident, she suffered numerous abortions and was inefficient to need children †an issue she explores in her 1932 work ? heat content cross Hospital]. Kohl was an active pa rticipant in the social and political landscape of Mexico, and used artworks to express her social and political views, as well as themes of her animal(prenominal) pain and contain, heathen background and mythology, and Mexican traditions through her dress, layout, and symbolism.Particularly evident in ?young girl Dos Fridays, history and culture are shown to be an incredibly potent and important aspect of Fridays mindset and views on life ND her own personal and ethnical identity. lass Dos Fridays is one of Kohls largest works at or so 68 x 68 inches in size. L It is a departure from the retable format she frequently used, reflecting Kohls propensity for her work to be noticed at the Surrealist exhibition for which it was intended. 2 Two monumental, full length representations of the artist are seated side-by-side on a ingenuous green bench, gently holding hands.Behind them, dark, Jagged clouds top the sky, eliminating any specific sense of place. The two manikins are link ed by a shared circulatory system which pumps blood between their exposed hearts. The cypher on the left uses a clamp in an attempt to stanch the flow of blood locomote on her stiff snowy gown. 3 As the blood mobs in the folds of her dress, it spills over and falls onto the hem of her skirt in uniform, circular droplets. The shape of the dropping droplets of blood mimics, both in color and shape, the embroidered patterned pattern which adorns the bottom of her skirt.This antiquated frock with an workly decorated lace bodice covers the majority of the figures body with the exception of her forearms and her left breast, which is exposed by an irregularly organize void in the garment. 4 Significantly, the lack of Jose string and the absence of the excess fabric that would have been produced had her garment been forcibly ripped open suggests a less violent, perhaps voluntary, method of exposure. Adjacent to the figures heart, the lace bodice is interrupted by a cutout which pro vides a view of the white under-layer reenforcement the lacework.This ob ample cutout, bordered by ribbon and stand out with an intricate knot of hair-like fabric, references the female anatomy. The figures demure attitude and promisingly painted red lips convey a sense of femininity which is repeated in her elaborate gown. Her heart is embedded in her body, a part of her self, whereas the earth of the figure on the right seems to float, affix to her gown but not to her body. Furthermore, the heart of the portrait on the left has been surgically dissected to rat its inner-workings while the heart of the figure on the right is intact.The two figures are connected by an prolonged artery which wraps around the European Kohls neck, contrasting the white lace of her gown with the deep red of her own blood. The self-portrait on the right exudes a much more masculine aura than her companion; her lips are unrouged and the slightest shadow of a mustache darkens her upper lip. Addition ally, her spreading knees and slightly curved back suggest a more relaxed, less demure, pose. The masculine elements of the portrait on the right are complicated by the way in which the thin fabric of her blouse clings to her breasts, highlighting their knowing and affirming her femaleness.She is clothed in the dwell dress inherent to the Isthmus of Authentic, home to a traditionally matriarchic society known for the strength and independence of its natural female residents. 5 The white hem of the dwell Kohls dress is embroidered with a white-on-white floral pattern that mimics the vivid red flowers of the European own, emblematicalally connecting the two figures and reminding the lulu that the blood dripping on the white gown comes from the bodies of both figures due to their shared circulatory system. While the vascular system of the figure on the left is completely exposed and travels across the surface of her gown, the main artery of the figure on the right disappears under the shoulder of her blouse, reappearing as it wraps around her arm. The Tenant Kohl is penetrated by the artery leading from her heart to the medallion held in her right hand. This artery culminates in an image of Riviera as a child which Kohl delicately holds near her womb. Alternatively, the cylindrical shape of the medallion and the positioning of Kohls hand suggests a vulgar masculine gesture, reiterating the androgynous nature of the Tenant Kohl.In spite of their many differences, the two Kohls are inextricably linked, not only due to their role as multiple facets of the artists identity but by their employment hands, the continuity of the hems of their gowns, and their shared circulatory system. This symbiotic relationship reiterates the unity of these two figures, not as remote elements of Kohls identity, but as the visual expression of al facets of one complex whole. Lass Dos Fridays serves as a depiction of the multiple facets of Kohls identity which cross centurie s of Mexican history.Kohls use of elements drawn from throughout Mexican history forges a sense of unity that encompasses Mexico pre-Columbian, compound, and extremist past. Thus, rather than dichotomies, Lass Dos Fridays embodies the unity of seemingly incompatible parts which express Kohls conceptualization of Mexico and her personal identity as it related to the history of her country. Because Kohls acquire was German and her flummox was Indian, Lass Dos Fridays can e interpreted as a visual percept of her multiform European/Mexican heritage. The concept of the Colonial is of particular importance.As a product of the European colony of Mexico, Kohl literally embodies both the colonizer and the colonized. In Lass Dos Fridays, Kohl uses a lacy, white and characteristically European or American gown to represent immaterial influence in Mexico. In addition to her mixed heritage, Kohl quite literally utilized her self-portraiture, especially habits of costume, to modify herse lf into a representation of Mexican history and identity. Kohls manipulation of Mexican tradition to comment on modern politics is exemplified by her appropriation of La Lorena in atomic number 1 Ford Hospital, 1932 (fig.AY). In this self-portrait, Kohl depicts the aftermath of the silentbirth of her most recent pregnancy. The popular perception of Kohls views on motherhood assert that, ?she lived as well with a yearning for a child she could never have?her smashed pelvis led only to miscarriages and at least three therapeutic miscarriages. 126 This traditional view does not account for the fact that Kohl herself requested an abortion and voluntarily ingested castor oil in the hope of ending her 1932 pregnancy. occur heat Ford Hospital is a self portrait of a crying Kohl, position naked and disheveled on a infirmary bed following her 1932 abortion at the atomic number 1 Ford Hospital in Detroit. Her bed rests at a precarious angle, maked in a vast expanse of barren land, po ssibly a reference to the loneliness a Mexican woman felt who rejected deeply embedded heathen norms about womanhood and motherhood. 30 In the background, Kohl added a skyline reminiscent of the River Rouge Plant in Detroit, calling to mind the role of the female body as a site dedicated to the employment of children. Placing herself against a stark white sheet immerse in her own blood, Kohl included prominent bust rolling down her face. These tears are the most straightforward link between Kohl and La Lorena. ! In depicting herself as La Lorena, Kohl utilized the queen of folklore to address social issues far beyond the backcloth of her personal angst. She appropriated a cultural symbol as a direct commentary on social norms and their restrictive nature regarding women and their business leader to control reproduction.In total heat Ford Hospital, Kohl explicitly challenges the dichotomy of the virgin and the here that categorizes women as either good or baffling mothers. 32 This dichotomy leaves little freedom for women to personify between these two extremes and is clearly tailored to the preservation of male power. Kohl does present herself in a unprotected state, but her brazen depiction of her disregard cultural norms which equated womanhood to motherhood references the powerful Micronesian goddesses rather than the profaned Lorena.In depicting herself as La Lorena, Kohl lays the groundwork for vanquish artists to redefine the role of women in these cultures without abandoning their three mother figures, La Lorena, La Virgin De Guadalupe, and La Mainline. Henry Ford Hospital challenged cultural norms concerning womanhood and allowed Kohl to publicly address issues she was otherwise unwilling to discuss. Through her art, Friday lived this contrastive reality, announcing that giving birth to the other within us is where ‘who we are begins. 4 Self-proclaimed as the one who gave birth to herself (Feints, 1995, nursing home 49), Friday K ohl painted her own reality; reclaiming it, reflecting it and repeatedly re-living it. A performer of gender roles, unabashedly excessive in femininity as well as masculinity, and an intimate lover of both women and men, she painted narratives ND wrote images that shape the creative tensions concealed and compelled by oppositional rationale. Boldly confronting the difficult imperative of subjectivity, she embraced her heterogeneous marginality as a important political standpoint as well as an innovative personal imperative.Her works re-activate identities as assemblages of energising and incomplete parts operating in the divers(a) cultural contexts that partially produce and are produced by the subjects who inhabit and perform them. Perhaps most compellingly of all, though, her collar gaze fixes the viewer, unsettling the assumed division between the saddle sore viewing subject and its inert viewed object, and returning the viewers scrutiny towards a consideration of how, an d with what effects, identity and marginality are normatively dealt with and reconciled.Hybrid of race, sex, gender and sexuality coalesce in Fridays work to dissolve cogently the paradigm of sameness versus difference that has historically elided contestant identities. Her paintings, which negotiate the intricate tensions between identity and marginality, situate her ‘in between. A curious artist and committed idealist, she painted magic with a realist brush, and in so doing dealt with difference assortedly.\r\nFrida Kahlo\r\nWhile scrolling through a list of Friday Kohls artwork, I stumbled upon her painting titled Henry Ford Hospital. The thumbnail alone Jumped off of the screen and caught my eye. I was nowadays pulled in by the beauty of the female figure lying nude on a infirmary bed. Upon further inspection of the image, it became quite clear which aspects of this gentleman I gravitated towards and why. The image is a painful self-portrait surround the experience of Fridays second miscarriage.While I can not relate to the tragedy of losing a precious fetus, I can strongly relate to the grief experienced during and after the expulsion of ones womb. In this piece, Friday has painted herself on a hospital bed with a pool of blood surrounding her and a somewhat contort body. Her legs and pelvis are twisted away from the viewer, suggesting her annoyance or perhaps even shame. She has her hands cradling her still bloated belly with what appear to be six different umbilical cords leading to different symbolic objects.Attached to the umbilical cords are the fetus, a snail, a dying orchid, a medical implement, a human pelvis, and the sidewise of diagram depicting the female anatomy. The fetus is that of her would-be sons Disguise, or â€Å"Little Diego (her husbands name). The snail is thought to be representative of her painfully slow delivery of a cold baby. The single orchid, which is said to be a real orchid that her husband gave her, has long been viewed as a symbol of love, strength, and sexuality. The medical machine pictured, to me, seems to be a symbol of the cold and sometimes robotic process of any medical procedure.The final two items connected to Fridays abdomen, the diagram of the female body and a pelvic bone, portray an awareness of what this second miscarriage meaner hectically for her body. In the background of the image, we see the many industrial buildings of Detroit, where Friday was at the time of the miscarriage. In 1925, Friday Kohl was concern in a terrible bus accident which left her with a low-spirited pelvis, a broken spinal column, and various other injuries. Friday was told she would most in all likelihood never be able to have children. In 1929 she married Diego Riviera and soon she became pregnant. This original pregnancy ended in abortion.Due to her because previously broken pelvis, the fetus was positioned falsely which was risk to both Friday and the child. By the time her second pregnan cy occurred in 1932, it was clear to Friday that Diego had not wanted children. In an attempt to abort the child, she had unsuccessfully interpreted quinine. Realizing her failure to terminate Friday chose to continue with the pregnancy. Three and half(a) months pregnant, Friday was admitted to the hospital with severe hemorrhaging and eventually suffered a miscarriage. This painting was created very soon after a traumatic event that made her realize that she could never feed a pregnancy to term.\r\nFrida Kahlo\r\nThe documentary talked about the Mexican painter Friday Kohl who was best known for her unique series of self-portraits. I knew about her artwork and was quite astonied by her way of portraying self-portraits in an rattling(prenominal) expression before I watched this documentary. After ceremony the video, I understand more about the reasons why her painting was done this way. Her artworks brought the pieces of her life stories to the audience. Her marriage with Dieg o Riviera contributes the later works of her. It was the main influence of her life.If she did not stir Diego Riviera, e would probably see a total Friday Kohl. The complicated relationship from inability of reproduction, Dies unfaithfulness, Kohls affairs, divorce to remarriage created the Kohl who was physically and emotionally torn. She expressed her life problems in her paintings, her tragic and exotic figures brand her personal art career. However the important event in her life was the undergo of the miscarriage and abortion. It portrayed the painful personal of Kohl that reflected in the emotional disorder of her artwork.Kohl wanted a child very much, her nightmares ND thoughts about fertility was shown. The fertility dream is the part which I like most about the documentary. It portrays a womans struggle and pain for losing the ability to have a baby, the heart wrenching when you wish for a child of you and your loves one but you have lost the fruitful system ability. The artwork Henry Ford Hospital (The Flying Bed) provokes the emotions in us. I would also think that this painting attract the attention the issue on fertility, at the same time encourage the public to take care of their reproductive health.It would make a different influence to Kohls career if she was not living in Mexico. In her paintings, a strong indigenous Mexican culture was shown in the use of intense color and primitive style. She also wore traditional indigenous clothing of Mexico as shown in her paintings. If she was living in Europe or America, the colors she used and costumes will most probably reflect the scene of the country instead. The humming birds and monkey painted are animals in Mexican mythology. The folk cultural content will disappear and she will looting express her self-portrait in another way.I am move by the Mexicans attitude to death in the documentary. The way they took death in a celebration manner shocked me. She even painted a dead child and put in on top of her bed. Collection of skeleton in her house showed her confining association with death, either death of children or the death itself. I do not agree with Andre Bretons commentary of Kohls work as surrealist. Friday Kohl painted her own stories, she did not paint dreams. The dream-like fantasy atmosphere she painted is a metaphor to her own life.Her pain and Joy were represented by elements that are irrational and imaginary. They were all what she had been through, but not dream. In my point of view, Friday Kohl was an amazing independent artist. In response to her tragic life, she painted. She triumphed over her life problems by her own strength and self- determination. Painting the reality helped in expressing her pain and tears, a way of relinquish perhaps helped in easing her suffering process. She revealed her life in art and this has helped to address the issues to the public that serves as a reminder and encouragement.\r\n'