The Diary of Frida Kahlo: An Intimate Self-Portrait

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Tibol, Raquel. (1993). Frida Kahlo: an open life. Albuquerque: University of New Mexico Press. ISBN 0585211388. OCLC 44965043. The accident that changed Frida's life forever: "Life begins tomorrow" ". Frida Kahlo in Baden-Baden – Ihr Gesamtwerk (in German) . Retrieved 6 July 2020. Homage to Frida Kahlo (self-portrait) by Gabriela Gonzalez Dellosso". Art Renewal Center . Retrieved 21 July 2020.

Brown, Monica and Parra, John (Illustrator). 2017. Frida Kahlo and Her Animalitos. New York: NorthSouth.They are so damn 'intellectual' and rotten that I can't stand them anymore....I [would] rather sit on the floor in the market of Toluca and sell tortillas, than have anything to do with those 'artistic' bitches of Paris.”

Due to polio, Kahlo began school later than her peers. [156] Along with her younger sister Cristina, she attended the local kindergarten and primary school in Coyoacán and was homeschooled for the fifth and sixth grades. [157] While Cristina followed their sisters into a convent school, Kahlo was enrolled in a German school due to their father's wishes. [158] She was soon expelled for disobedience and was sent to a vocational teachers school. [157] Her stay at the school was brief, as she was sexually abused by a female teacher. [157] Shelter, Scott (14 March 2016). "The Rainbow Honor Walk: San Francisco's LGBT Walk of Fame". Quirky Travel Guy . Retrieved 28 July 2019. Baddeley, Oriana (2005). "Reflecting on Kahlo: Mirrors, Masquerade and the Politics of Identification". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. In 1943, Kahlo accepted a teaching position at the recently reformed, nationalistic Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda". [62] She encouraged her students to treat her in an informal and non-hierarchical way and taught them to appreciate Mexican popular culture and folk art and to derive their subjects from the street. [63] When her health problems made it difficult for her to commute to the school in Mexico City, she began to hold her lessons at La Casa Azul. [64] Four of her students– Fanny Rabel, Arturo García Bustos, Guillermo Monroy, and Arturo Estrada– became devotees, and were referred to as "Los Fridos" for their enthusiasm. [65] Kahlo secured three mural commissions for herself and her students. [66] In 1944, they painted La Rosita, a pulqueria in Coyoacán. In 1945, the government commissioned them to paint murals for a Coyoacán launderette as part of a national scheme to help poor women who made their living as laundresses. The same year, the group created murals for Posada del Sol, a hotel in Mexico City. However, it was destroyed soon after completion as the hotel's owner did not like it. [ citation needed]Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. In the absence of a Kahlo boy, Frida assumed something of a son’s role in the family—certainly she was her father’s favorite, and the one who identified most with him. Frida told Campos in her clinical interview, “I am in agreement with everything my father taught me and nothing my mother taught me.” Lucienne Bloch, a close friend of Kahlo’s and disciple of Diego Rivera’s, recalls that “she loved her father very much, but Frida did not have these same feelings for her mother.” In fact, in 1932, when Kahlo returned to Mexico from Detroit upon hearing that her mother was dying (Bloch accompanied her on the journey), she failed to visit Matilde or even view her body. The painfully obstetric work My Birth (now owned by Madonna), in which Frida Panzer 2004, pp.40–41, mentions 1931 letter from Kahlo to Muray, but not entirely sure if this was the beginning of affair; Marnham 1998, pp.234–235, interprets letter as evidence of the beginning of affair. Frida Kahlo Could Barely Walk. In This Ballet, She Dances". The New York Times. 17 January 2020. Archived from the original on 17 January 2020. Many of Kahlo's self-portraits mimic the classic bust-length portraits that were fashionable during the colonial era, but they subverted the format by depicting their subject as less attractive than in reality. [106] She concentrated more frequently on this format towards the end of the 1930s, thus reflecting changes in Mexican society. Increasingly disillusioned by the legacy of the revolution and struggling to cope with the effects of the Great Depression, Mexicans were abandoning the ethos of socialism for individualism. [107] This was reflected by the "personality cults", which developed around Mexican film stars such as Dolores del Río. [107] According to Schaefer, Kahlo's "mask-like self-portraits echo the contemporaneous fascination with the cinematic close-up of feminine beauty, as well as the mystique of female otherness expressed in film noir." [107] By always repeating the same facial features, Kahlo drew from the depiction of goddesses and saints in indigenous and Catholic cultures. [108]

Regardless of the many drawings that appear in the diary, it would seem that Kahlo did not necessarily approach the book as a sketchbook. In the essay that accompanies the publication of the diary, Sarah M. Lowe makes the point that none of the drawings resemble an artist working on preparatory sketches or figuring out solutions related to her paintings. The prolific Mexican author Carlos Fuentes distinguishes between Kahlo's choice of when to paint and when to write: The Diary is her lifeline to the world. When she saw herself, she painted and she painted because she was alone and she was the subject she knew best. But when she saw the world, she wrote, paradoxically, her Diary, a painted Diary which makes us realize that no matter how interior her work was, it was always uncannily close to the proximate, material world of animals, fruits, plants, earths, skies. ost pertinent to the diaries is an understanding of how the daughter of a lower-middle-class German-Jewish photographer and a hysterically Catholic Spanish-Indian mother became a celebrated painter, Communist, promiscuous temptress, and, later (during the diary years), a narcotic-addicted, dykish, suicidal amputee afflicted with a bizarre pathology known as Munchausen syndrome—the compulsion to be hospitalized and, in extreme cases, mutilated unnecessarily by surgery. What? Spanning 1944-54, the final ten years of the artist's troubled lifetime, the diary is a captivating commonplace book filled with Kahlo's thoughts, poems and dreams. Her brightly coloured, rounded script is accompanied by watercolour illustrations which offer wonderful insight into her creative approach – the sketches and paintings were often reworked and incorporated into Kahlo's later works.Kahlo (y Calderón), (Magdalena Carmen) Frida". Benezit Dictionary of Artists. Oxford University Press. 11 November 2020. doi: 10.1093/benz/9780199773787.article.B00096735. ISBN 9780199899913 . Retrieved 4 March 2021. The most important thing for everyone in Gringolandia is to have ambition and become 'somebody,' and frankly, I don't have the least ambition to become anybody.” The answerslie in an expansive book on her works titled, Frida Kahlo:The Complete Paintings,published by Taschen.