Frida Kahlo cover art

Frida Kahlo

Studies in World Art, Book 29

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Frida Kahlo

By: Edward Lucie-Smith
Narrated by: Willis Miller
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About this listen

Going to the Frida Kahlo exhibition current at Tate Modern in London is like entering the shrine of a secular saint. The rooms are thronged. People peer closely at the paintings, many of them very small. They seem afraid to talk much above a whisper.

There are a number of reasons for this reaction. One is Hayden Herrera’s highly readable biography of the artist, first published in 1983, and now established as a classic feminist text. Another is the feminist movement’s general need for heroines, which has had a similar effect on the posthumous reputation of Georgia O’Keeffe. A third, probably the most powerful, reason is Kahlo’s own personality, which combined self-assertion, defiance and masochism in almost equal proportions. In this respect Kahlo can be compared with a slightly later generation of English-language poets, male and female. Prominent among them are Robert Lowell, John Berryman, Sylvia Plath and Anne Sexton.

©2012, 2017 Cv Publications (P)2017 Cv Publications
Art World

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Interesting critique on her "status"

Whilst this critique points out largely that her success was due more to her husband's success than her own this may well still have been a sign of the times with women less praised on their own merits. However a short and interesting appraisal which gave insight into her background other than her own self-perceived and proclaimed artistic view, and limits to her artistic style of work, along with her undoubted lifelong suffering with pain. 7 minutes was enough commentary though enticed me to look into her life again, as we probably should do with anyone artistically or otherwise prominent that we have an interest in,

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