Menu
Home Explore People Places Arts History Plants & Animals Science Life & Culture Technology
On this page

Magdalena Carmen Frida Kahlo y Calderón was a Mexican painter famous for her self-portraits and works inspired by Mexico’s popular culture, blending naïve folk art with themes of identity, gender, and race. After surviving polio and a severe bus accident, she pursued art, developing a unique style influenced by Mexican folk culture and postcolonialism. Kahlo joined the Mexican Communist Party, marrying artist Diego Rivera, and earned international recognition with exhibitions arranged by André Breton. Her legacy, rediscovered in the 1970s, endures as a symbol for feminism, Chicanos, and the LGBTQ+ community, celebrated for her honest portrayal of Mexican and Indigenous culture.

We don't have any YouTube videos related to Frida Kahlo yet.
We don't have any PDF documents related to Frida Kahlo yet.
We don't have any Books related to Frida Kahlo yet.

Artistic career

Early career

Kahlo enjoyed art from an early age, receiving drawing instruction from printmaker Fernando Fernández (who was her father's friend)12 and filling notebooks with sketches.13 In 1925, she began to work outside of school to help her family.14 After briefly working as a stenographer, she became a paid engraving apprentice for Fernández.15 He was impressed by her talent,16 although she did not consider art as a career at this time.17

A severe bus accident at the age of 18 left Kahlo in lifelong pain. Confined to bed for three months following the accident, Kahlo began to paint.18 She started to consider a career as a medical illustrator, as well, which would combine her interests in science and art. Her mother provided her with a specially-made easel, which enabled her to paint in bed, and her father lent her some of his oil paints. She had a mirror placed above the easel, so that she could see herself.1920 Painting became a way for Kahlo to explore questions of identity and existence.21 She explained, "I paint myself because I am often alone and I am the subject I know best."22 She later stated that the accident and the isolating recovery period made her desire "to begin again, painting things just as [she] saw them with [her] own eyes and nothing more."23

Most of the paintings Kahlo made during this time were portraits of herself, her sisters, and her schoolfriends.24 Her early paintings and correspondence show that she drew inspiration especially from European artists, in particular Renaissance masters such as Sandro Botticelli and Bronzino25 and from avant-garde movements such as Neue Sachlichkeit and Cubism.26 On moving to Morelos in 1929 with her husband Diego Rivera, Kahlo was inspired by the city of Cuernavaca where they lived.27 She changed her artistic style and increasingly drew inspiration from Mexican folk art.28 Art historian Andrea Kettenmann states that she may have been influenced by Adolfo Best Maugard's treatise on the subject, for she incorporated many of the characteristics that he outlined – for example, the lack of perspective and the combining of elements from pre-Columbian and colonial periods of Mexican art.29 Her identification with La Raza, the people of Mexico, and her profound interest in its culture remained important facets of her art throughout the rest of her life.30

Work in the United States

When Kahlo and Rivera moved to San Francisco in 1930, Kahlo was introduced to American artists such as Edward Weston, Ralph Stackpole, Timothy L. Pflueger, and Nickolas Muray.31 The six months spent in San Francisco were a productive period for Kahlo,32 who further developed the folk art style she had adopted in Cuernavaca.33 In addition to painting portraits of several new acquaintances,34 she made Frieda and Diego Rivera (1931), a double portrait based on their wedding photograph,35 and The Portrait of Luther Burbank (1931), which depicted the eponymous horticulturist as a hybrid between a human and a plant.36 Although she still publicly presented herself as simply Rivera's spouse rather than as an artist,37 she participated for the first time in an exhibition, when Frieda and Diego Rivera was included in the Sixth Annual Exhibition of the San Francisco Society of Women Artists in the Palace of the Legion of Honor.3839

On moving to Detroit with Rivera, Kahlo experienced numerous health problems related to a failed pregnancy.40 Despite these health problems, as well as her dislike for the capitalist culture of the United States,41 Kahlo's time in the city was beneficial for her artistic expression. She experimented with different techniques, such as etching and frescos,42 and her paintings began to show a stronger narrative style.43 She also began placing emphasis on the themes of "terror, suffering, wounds, and pain".44 Despite the popularity of the mural in Mexican art at the time, she adopted a diametrically opposed medium, votive images or retablos, religious paintings made on small metal sheets by amateur artists to thank saints for their blessings during a calamity.45 Amongst the works she made in the retablo manner in Detroit are Henry Ford Hospital (1932), My Birth (1932), and Self-Portrait on the Border of Mexico and the United States (1932).46 While none of Kahlo's works were featured in exhibitions in Detroit, she gave an interview to the Detroit News on her art; the article was condescendingly titled "Wife of the Master Mural Painter Gleefully Dabbles in Works of Art".47

Return to Mexico City and international recognition

Upon returning to Mexico City in 1934 Kahlo made no new paintings, and only two in the following year, due to health complications.48 In 1937 and 1938, however, Kahlo's artistic career was extremely productive, following her divorce and then reconciliation with Rivera. She painted more "than she had done in all her eight previous years of marriage", creating such works as My Nurse and I (1937), Memory, the Heart (1937), Four Inhabitants of Mexico (1938), and What the Water Gave Me (1938).49 Although she was still unsure about her work, the National Autonomous University of Mexico exhibited some of her paintings in early 1938.50 She made her first significant sale in the summer of 1938 when film star and art collector Edward G. Robinson purchased four paintings at $200 each.51 Even greater recognition followed when French Surrealist André Breton visited Rivera in April 1938. He was impressed by Kahlo, immediately claiming her as a surrealist and describing her work as "a ribbon around a bomb".52 He not only promised to arrange for her paintings to be exhibited in Paris but also wrote to his friend and art dealer, Julien Levy, who invited her to hold her first solo exhibition at his gallery on the East 57th Street in Manhattan.53

In October, Kahlo traveled alone to New York, where her colorful Mexican dress "caused a sensation" and made her seen as "the height of exotica".54 The exhibition opening in November was attended by famous figures such as Georgia O'Keeffe and Clare Boothe Luce and received much positive attention in the press, although many critics adopted a condescending tone in their reviews.55 For example, Time wrote that "Little Frida's pictures ... had the daintiness of miniatures, the vivid reds, and yellows of Mexican tradition and the playfully bloody fancy of an unsentimental child".56 Despite the Great Depression, Kahlo sold half of the 25 paintings presented in the exhibition.57 She also received commissions from A. Conger Goodyear, then the president of the MoMA, and Clare Boothe Luce, for whom she painted a portrait of Luce's friend, socialite Dorothy Hale, who had committed suicide by jumping from her apartment building.58 During the three months she spent in New York, Kahlo painted very little, instead focusing on enjoying the city to the extent that her fragile health allowed.59 She also had several affairs, continuing the one with Nickolas Muray and engaging in ones with Levy and Edgar Kaufmann, Jr.60

In January 1939, Kahlo sailed to Paris to follow up on André Breton's invitation to stage an exhibition of her work.61 When she arrived, she found that he had not cleared her paintings from the customs and no longer even owned a gallery.62 With the aid of Marcel Duchamp, she was able to arrange for an exhibition at the Renou et Colle Gallery.63 Further problems arose when the gallery refused to show all but two of Kahlo's paintings, considering them too shocking for audiences,64 and Breton insisted that they be shown alongside photographs by Manuel Alvarez Bravo, pre-Columbian sculptures, 18th- and 19th-century Mexican portraits, and what she considered "junk": sugar skulls, toys, and other items he had bought from Mexican markets.65

The exhibition opened in March, but received much less attention than she had received in the United States, partly due to the looming Second World War, and made a loss financially, which led Kahlo to cancel a planned exhibition in London.66 Regardless, the Louvre purchased The Frame, making her the first Mexican artist to be featured in their collection.67 She was also warmly received by other Parisian artists, such as Pablo Picasso and Joan Miró,68 as well as the fashion world, with designer Elsa Schiaparelli designing a dress inspired by her and Vogue Paris featuring her on its pages.69 However, her overall opinion of Paris and the Surrealists remained negative; in a letter to Muray, she called them "this bunch of coocoo lunatics and very stupid surrealists"70 who "are so crazy 'intellectual' and rotten that I can't even stand them anymore".71

In the United States, Kahlo's paintings continued to raise interest. In 1941, her works were featured at the Institute of Contemporary Art in Boston, and, in the following year, she participated in two high-profile exhibitions in New York, the Twentieth-Century Portraits exhibition at the MoMA and the Surrealists' First Papers of Surrealism exhibition.72 In 1943, she was included in the Mexican Art Today exhibition at the Philadelphia Museum of Art and Women Artists at Peggy Guggenheim's The Art of This Century gallery in New York.73

Kahlo gained more appreciation for her art in Mexico as well. She became a founding member of the Seminario de Cultura Mexicana, a group of twenty-five artists commissioned by the Ministry of Public Education in 1942 to spread public knowledge of Mexican culture.74 As a member, she took part in planning exhibitions and attended a conference on art.75 In Mexico City, her paintings were featured in two exhibitions on Mexican art that were staged at the English-language Benjamin Franklin Library in 1943 and 1944. She was invited to participate in "Salon de la Flor", an exhibition presented at the annual flower exposition.76 An article by Rivera on Kahlo's art was also published in the journal published by the Seminario de Cultura Mexicana.77

In 1943, Kahlo accepted a teaching position at the recently reformed, nationalistic Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda".78 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.79 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.80 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.81 Kahlo secured three mural commissions for herself and her students.82

Kahlo struggled to make a living from her art until the mid to late 1940s, as she refused to adapt her style to suit her clients' wishes.83 She received two commissions from the Mexican government in the early 1940s. She did not complete the first one, possibly due to her dislike of the subject, and the second commission was rejected by the commissioning body.84 Nevertheless, she had regular private clients, such as engineer Eduardo Morillo Safa, who ordered more than thirty portraits of family members over the decade.85 Her financial situation improved when she received a 5000-peso national prize for her painting Moses (1945) in 1946 and when The Two Fridas was purchased by the Museo de Arte Moderno in 1947.86 According to art historian Andrea Kettenmann, by the mid-1940s, her paintings were "featured in the majority of group exhibitions in Mexico". Further, Martha Zamora wrote that she could "sell whatever she was currently painting; sometimes incomplete pictures were purchased right off the easel".87

Later years

Even as Kahlo was gaining recognition in Mexico, her health was declining rapidly, and an attempted surgery to support her spine failed.88 Her paintings from this period include Broken Column (1944), Without Hope (1945), Tree of Hope, Stand Fast (1946), and The Wounded Deer (1946), reflecting her poor physical state.89 During her last years, Kahlo was mostly confined to the Casa Azul.90 She painted mostly still lifes, portraying fruit and flowers with political symbols such as flags or doves.91 She was concerned about being able to portray her political convictions, stating that "I have a great restlessness about my paintings. Mainly because I want to make it useful to the revolutionary communist movement... until now I have managed simply an honest expression of my own self ... I must struggle with all my strength to ensure that the little positive my health allows me to do also benefits the Revolution, the only real reason to live."9293 She also altered her painting style: her brushstrokes, previously delicate and careful, were now hastier, her use of color more brash, and the overall style more intense and feverish.94

Photographer Lola Alvarez Bravo understood that Kahlo did not have long to live, and thus staged her first solo exhibition in Mexico at the Galería Arte Contemporaneo in April 1953.95 Though Kahlo was initially not due to attend the opening, as her doctors had prescribed bed rest for her, she ordered her four-poster bed to be moved from her home to the gallery. To the surprise of the guests, she arrived in an ambulance and was carried on a stretcher to the bed, where she stayed for the duration of the party.96 The exhibition was a notable cultural event in Mexico and also received attention in mainstream press around the world.97 The same year, the Tate Gallery's exhibition on Mexican art in London featured five of her paintings.98

In 1954, Kahlo was again hospitalized in April and May.99 That spring, she resumed painting after a one-year interval.100 Her last paintings include the political Marxism Will Give Health to the Sick (c. 1954) and Frida and Stalin (c. 1954) and the still-life Viva La Vida (1954).101

Self-portraits

Style and influences

See also: List of paintings by Frida Kahlo

Estimates vary on how many paintings Kahlo made during her life, with figures ranging from fewer than 150102 to around 200.103104 Her earliest paintings, which she made in the mid-1920s, show influence from Renaissance masters and European avant-garde artists such as Amedeo Modigliani.105 Towards the end of the decade, Kahlo derived more inspiration from Mexican folk art,106 drawn to its elements of "fantasy, naivety, and fascination with violence and death".107 The style she developed mixed reality with surrealistic elements and often depicted pain and death.108

One of Kahlo's earliest champions was Surrealist artist André Breton, who claimed her as part of the movement as an artist who had supposedly developed her style "in total ignorance of the ideas that motivated the activities of my friends and myself".109 This was echoed by Bertram D. Wolfe, who wrote that Kahlo's was a "sort of 'naïve' Surrealism, which she invented for herself".110 Although Breton regarded her as mostly a feminine force within the Surrealist movement, Kahlo brought postcolonial questions and themes to the forefront of her brand of Surrealism.111 Breton also described Kahlo's work as "wonderfully situated at the point of intersection between the political (philosophical) line and the artistic line".112 While she subsequently participated in Surrealist exhibitions, she stated that she "detest[ed] Surrealism", which to her was "bourgeois art" and not "true art that the people hope from the artist".113 Some art historians have disagreed whether her work should be classified as belonging to the movement at all. According to Andrea Kettenmann, Kahlo was a symbolist concerned more in portraying her inner experiences.114 Emma Dexter has argued that, as Kahlo derived her mix of fantasy and reality mainly from Aztec mythology and Mexican culture instead of Surrealism, it is more appropriate to consider her paintings as having more in common with magical realism, or an unrelated movement known as New Objectivity. It combined reality and fantasy and employed similar style to Kahlo's, such as flattened perspective, clearly outlined characters and bright colours.115

Mexicanidad

Similarly to many other contemporary Mexican artists, Kahlo was heavily influenced by Mexicanidad, a romantic nationalism that had developed in the aftermath of the revolution.116117 The Mexicanidad movement claimed to resist the "mindset of cultural inferiority" created by colonialism, and placed special importance on Indigenous cultures.118 Before the revolution, Mexican folk culture – a mixture of Indigenous and European elements – was disparaged by the elite, who claimed to have purely European ancestry and regarded Europe as the definition of civilization which Mexico should imitate.119 Kahlo's artistic ambition was to paint for the Mexican people, and she stated that she wished "to be worthy, with my paintings, of the people to whom I belong and to the ideas which strengthen me".120 To enforce this image, she preferred to conceal the education she had received in art from her father and Ferdinand Fernandez and at the preparatory school. Instead, she cultivated an image of herself as a "self-taught and naive artist".121

When Kahlo began her career as an artist in the 1920s, muralists dominated the Mexican art scene. They created large public pieces in the vein of Renaissance masters and Russian socialist realists: they usually depicted masses of people, and their political messages were easy to decipher.122 Although she was close to muralists such as Rivera, José Clemente Orozco and David Alfaro Siquieros and shared their commitment to socialism and Mexican nationalism, the majority of Kahlo's paintings were self-portraits of relatively small size.123124 Particularly in the 1930s, her style was especially indebted to votive paintings or retablos, which were postcard-sized religious images made by amateur artists.125 Their purpose was to thank saints for their protection during a calamity, and they normally depicted an event, such as an illness or an accident, from which its commissioner had been saved.126 The focus was on the figures depicted, and they seldom featured a realistic perspective or detailed background, thus distilling the event to its essentials.127 Kahlo had an extensive collection of approximately 2,000 retablos, which she displayed on the walls of La Casa Azul.128 According to Laura Mulvey and Peter Wollen, the retablo format enabled Kahlo to "develop the limits of the purely iconic and allowed her to use narrative and allegory".129

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.130 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.131 This was reflected by the "personality cults", which developed around Mexican film stars such as Dolores del Río.132 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."133 By always repeating the same facial features, Kahlo drew from the depiction of goddesses and saints in Indigenous and Catholic cultures.134

Out of specific Mexican folk artists, Kahlo was especially influenced by Hermenegildo Bustos, whose works portrayed Mexican culture and peasant life, and José Guadalupe Posada, who depicted accidents and crime in satiric manner.135 She also derived inspiration from the works of Hieronymus Bosch, whom she called a "man of genius", and Pieter Bruegel the Elder, whose focus on peasant life was similar to her own interest in the Mexican people.136 Another influence was the poet Rosario Castellanos, whose poems often chronicle a woman's lot in the patriarchal Mexican society, a concern with the female body, and tell stories of immense physical and emotional pain.137

Symbolism and iconography

Kahlo's paintings often feature root imagery, with roots growing out of her body to tie her to the ground. This reflects in a positive sense the theme of personal growth; in a negative sense of being trapped in a particular place, time and situation; and in an ambiguous sense of how memories of the past influence the present for good and/or ill.138 In My Grandparents and I, Kahlo painted herself as a ten-year old, holding a ribbon that grows from an ancient tree that bears the portraits of her grandparents and other ancestors while her left foot is a tree trunk growing out of the ground, reflecting Kahlo's view of humanity's unity with the earth and her own sense of unity with Mexico.139 In Kahlo's paintings, trees serve as symbols of hope, of strength and of a continuity that transcends generations.140 Additionally, hair features as a symbol of growth and of the feminine in Kahlo's paintings and in Self-Portrait with Cropped Hair, Kahlo painted herself wearing a man's suit and shorn of her long hair, which she had just cut off.141 Kahlo holds the scissors with one hand menacingly close to her genitals, which can be interpreted as a threat to Rivera – whose frequent unfaithfulness infuriated her – and/or a threat to harm her own body like she has attacked her own hair, a sign of the way that women often project their fury against others onto themselves.142 Moreover, the picture reflects Kahlo's frustration not only with Rivera, but also her unease with the patriarchal values of Mexico as the scissors symbolize a malevolent sense of masculinity that threatens to "cut up" women, both metaphorically and literally.143 In Mexico, the traditional Spanish values of machismo were widely embraced, but Kahlo was always uncomfortable with machismo.144

As she suffered for the rest of her life from the bus accident in her youth, Kahlo spent much of her life in hospitals and undergoing surgery, much of it performed by quacks who Kahlo believed could restore her back to where she had been before the accident.145 Many of Kahlo's paintings are concerned with medical imagery, which is presented in terms of pain and hurt, featuring Kahlo bleeding and displaying her open wounds.146 Many of Kahlo's medical paintings, especially dealing with childbirth and miscarriage, have a strong sense of guilt, of a sense of living one's life at the expense of another who has died so one might live.147

Although Kahlo featured herself and events from her life in her paintings, they were often ambiguous in meaning.148 She did not use them only to show her subjective experience but to raise questions about Mexican society and the construction of identity within it, particularly gender, race, and social class.149 Historian Liza Bakewell has stated that Kahlo "recognized the conflicts brought on by revolutionary ideology":

What was it to be a Mexican? – modern, yet pre-Columbian; young, yet old; anti-Catholic yet Catholic; Western, yet New World; developing, yet underdeveloped; independent, yet colonized; mestizo, yet not Spanish nor Indian.150

To explore these questions through her art, Kahlo developed a complex iconography, extensively employing pre-Columbian and Christian symbols and mythology in her paintings.151 In most of her self-portraits, she depicts her face as mask-like, but surrounded by visual cues which allow the viewer to decipher deeper meanings for it. Aztec mythology features heavily in Kahlo's paintings in symbols including monkeys, skeletons, skulls, blood, and hearts; often, these symbols referred to the myths of Coatlicue, Quetzalcoatl, and Xolotl.152 Other central elements that Kahlo derived from Aztec mythology were hybridity and dualism.153 Many of her paintings depict opposites: life and death, pre-modernity and modernity, Mexican and European, male and female.154

In addition to Aztec legends, Kahlo frequently depicted two central female figures from Mexican folklore in her paintings: La Llorona and La Malinche155 as interlinked to the hard situations, the suffering, misfortune or judgement, as being calamitous, wretched or being "de la chingada".156 For example, when she painted herself following her miscarriage in Detroit in Henry Ford Hospital (1932), she shows herself as weeping, with dishevelled hair and an exposed heart, which are all considered part of the appearance of La Llorona, a woman who murdered her children.157 The painting was traditionally interpreted as simply a depiction of Kahlo's grief and pain over her failed pregnancies. But with the interpretation of the symbols in the painting and the information of Kahlo's actual views towards motherhood from her correspondence, the painting has been seen as depicting the unconventional and taboo choice of a woman remaining childless in Mexican society.

Kahlo often featured her own body in her paintings, presenting it in varying states and disguises: as wounded, broken, as a child, or clothed in different outfits, such as the Tehuana costume, a man's suit, or a European dress.158 She used her body as a metaphor to explore questions on societal roles.159 Her paintings often depicted the female body in an unconventional manner, such as during miscarriages, and childbirth or cross-dressing.160 In depicting the female body in graphic manner, Kahlo positioned the viewer in the role of the voyeur, "making it virtually impossible for a viewer not to assume a consciously held position in response".161

According to Nancy Cooey, Kahlo made herself through her paintings into "the main character of her own mythology, as a woman, as a Mexican, and as a suffering person ... She knew how to convert each into a symbol or sign capable of expressing the enormous spiritual resistance of humanity and its splendid sexuality".162 Similarly, Nancy Deffebach has stated that Kahlo "created herself as a subject who was female, Mexican, modern, and powerful", and who diverged from the usual dichotomy of roles of mother/whore allowed to women in Mexican society.163 Due to her gender and divergence from the muralist tradition, Kahlo's paintings were treated as less political and more naïve and subjective than those of her male counterparts up until the late 1980s.164 According to art historian Joan Borsa,

the critical reception of her exploration of subjectivity and personal history has all too frequently denied or de-emphasized the politics involved in examining one's own location, inheritances and social conditions ... Critical responses continue to gloss over Kahlo's reworking of the personal, ignoring or minimizing her interrogation of sexuality, sexual difference, marginality, cultural identity, female subjectivity, politics and power.165

Personal life

1907–1924: Family and childhood

Magdalena Carmen Frida Kahlo y Calderón166 was born on 6 July 1907 in Coyoacán, a village on the outskirts of Mexico City.167168 Kahlo stated that she was born at the family home, La Casa Azul (The Blue House), but according to the official birth registry, the birth took place at the nearby home of her maternal grandmother.169 Kahlo's parents were photographer Guillermo Kahlo (1871–1941) and Matilde Calderón y González (1876–1932), and they were thirty-six and thirty, respectively, when they had her.170 Originally from Germany, Guillermo had immigrated to Mexico in 1891, after epilepsy caused by an accident ended his university studies.171 Although Kahlo said her father was Jewish and her paternal grandparents were Jews from the city of Arad,172 this claim was challenged in 2006 by a pair of German genealogists who found he was instead a Lutheran.173174 Matilde was born in Oaxaca to an Indigenous father and a mother of Spanish descent.175 In addition to Kahlo, the marriage produced daughters Matilde (c. 1898–1951), Adriana (c. 1902–1968), and Cristina (c. 1908–1964).176 She had two half-sisters from Guillermo's first marriage, María Luisa and Margarita, but they were raised in a convent.177

Kahlo later described the atmosphere in her childhood home as often "very, very sad".178 Both parents were often sick,179 and their marriage was devoid of love.180 Her relationship with her mother, Matilde, was extremely tense.181 Kahlo described her mother as "kind, active and intelligent, but also calculating, cruel and fanatically religious".182 Her father Guillermo's photography business suffered greatly during the Mexican Revolution, as the overthrown government had commissioned works from him, and the long civil war limited the number of private clients.183

When Kahlo was six years old, she contracted polio, which eventually made her right leg grow shorter and thinner than the left.184185 The illness forced her to be isolated from her peers for months, and she was bullied.186 While the experience made her reclusive,187 it made her Guillermo's favorite due to their shared experience of living with disability.188 Kahlo credited him for making her childhood "marvelous ... he was an immense example to me of tenderness, of work (photographer and also painter), and above all in understanding for all my problems." He taught her about literature, nature, and philosophy, and encouraged her to play sports to regain her strength, despite the fact that most physical exercise was seen as unsuitable for girls.189 He also taught her photography, and she began to help him retouch, develop, and color photographs.190

Due to polio, Kahlo began school later than her peers.191 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.192 While Cristina followed their sisters into a convent school, Kahlo was enrolled in a German school due to their father's wishes.193 She was soon expelled for disobedience and was sent to a vocational teachers school.194 Her stay at the school was brief, as she was sexually abused by a female teacher.195

In 1922, Kahlo was accepted to the elite National Preparatory School, where she focused on natural sciences with the aim of becoming a physician.196 The institution had only recently begun admitting women, with only 35 girls out of 2,000 students.197 She performed well academically,198 was a voracious reader, and became "deeply immersed and seriously committed to Mexican culture, political activism and issues of social justice".199 The school promoted indigenismo, a new sense of Mexican identity that took pride in the country's Indigenous heritage and sought to rid itself of the colonial mindset of Europe as superior to Mexico.200 Particularly influential to Kahlo at this time were nine of her schoolmates, with whom she formed an informal group called the "Cachuchas" – many of them would become leading figures of the Mexican intellectual elite.201 They were rebellious and against everything conservative and pulled pranks, staged plays, and debated philosophy and Russian classics.202 To mask the fact that she was older and to declare herself a "daughter of the revolution", she began saying that she had been born on 7 July 1910, the year the Mexican Revolution began, which she continued throughout her life.203 She fell in love with Alejandro Gomez Arias, the leader of the group and her first love. Her parents did not approve of the relationship. Arias and Kahlo were often separated from each other, due to the political instability and violence of the period, so they exchanged passionate love letters.204205

1925–1930: Bus accident and marriage to Diego Rivera

On 17 September 1925, Kahlo and her boyfriend, Arias, were on their way home from school. They boarded one bus, but they got off the bus to look for an umbrella that Kahlo had left behind. They then boarded a second bus, which was crowded, and they sat in the back. The driver attempted to pass an oncoming electric streetcar. The streetcar crashed into the side of the wooden bus, dragging it a few feet. Several passengers were killed in the accident. While Arias only suffered minor injuries, Frida was impaled by an iron handrail that went through her pelvis. She later described the injury as "the way a sword pierces a bull". The handrail was removed by Arias and others, which was incredibly painful for Kahlo.206207208

Kahlo suffered many injuries: her pelvic bone had been fractured, her abdomen and uterus had been punctured by the rail, her spine was broken in three places, her right leg was broken in eleven places, her right foot was crushed and dislocated, her collarbone was broken, and her shoulder was dislocated.209210 She spent a month in hospital and two months recovering at home before being able to return to work.211212213 As she continued to experience fatigue and back pain, her doctors ordered X-rays, which revealed that the accident had also displaced three vertebrae.214 As treatment she had to wear a plaster corset which confined her to bed rest for the better part of three months.215

The accident ended Kahlo's dreams of becoming a physician and caused her pain and illness for the rest of her life; her friend Andrés Henestrosa stated that Kahlo "lived dying".216 Kahlo's bed rest was over by late 1927, and she began socializing with her old schoolfriends, who were now at university and involved in student politics. She joined the Mexican Communist Party (PCM) and was introduced to a circle of political activists and artists, including the exiled Cuban communist Julio Antonio Mella and the Italian-American photographer Tina Modotti.217

At one of Modotti's parties in June 1928, Kahlo was introduced to Diego Rivera.218 They had met briefly in 1922 when he was painting a mural at her school.219 Shortly after their introduction in 1928, Kahlo asked him to judge whether her paintings showed enough talent for her to pursue a career as an artist.220 Rivera recalled being impressed by her works, stating that they showed "an unusual energy of expression, precise delineation of character, and true severity ... They had a fundamental plastic honesty, and an artistic personality of their own ... It was obvious to me that this girl was an authentic artist".221

Kahlo soon began a relationship with Rivera, who was 21 years her senior and had two common-law wives.222 Kahlo and Rivera were married in a civil ceremony at the town hall of Coyoacán on 21 August 1929.223 Her mother opposed the marriage, and both parents referred to it as a "marriage between an elephant and a dove", referring to the couple's differences in size; Rivera was tall and overweight while Kahlo was petite and fragile.224 Regardless, her father approved of Rivera, who was wealthy and therefore able to support Kahlo, who could not work and had to receive expensive medical treatment.225 The wedding was reported by the Mexican and international press,226 and the marriage was subject to constant media attention in Mexico in the following years, with articles referring to the couple as simply "Diego and Frida".227

Soon after the marriage, in late 1929, Kahlo and Rivera moved to Cuernavaca in the rural state of Morelos, where he had been commissioned to paint murals for the Palace of Cortés.228 Around the same time, she resigned her membership of the PCM in support of Rivera, who had been expelled shortly before the marriage for his support of the leftist opposition movement within the Third International.229

During the civil war Morelos had seen some of the heaviest fighting, and life in the Spanish-style city of Cuernavaca sharpened Kahlo's sense of a Mexican identity and history.230 Similar to many other Mexican women artists and intellectuals at the time,231 Kahlo began wearing traditional Indigenous Mexican peasant clothing to emphasize her mestiza ancestry: long and colorful skirts, huipils and rebozos, elaborate headdresses and masses of jewelry.232 She especially favored the dress of women from the allegedly matriarchal society of the Isthmus of Tehuantepec, who had come to represent "an authentic and indigenous Mexican cultural heritage" in post-revolutionary Mexico.233 The Tehuana outfit allowed Kahlo to express her feminist and anti-colonialist ideals.234

1931–1933: Travels in the United States

After Rivera had completed the commission in Cuernavaca in late 1930, he and Kahlo moved to San Francisco, where he painted murals for the Luncheon Club of the San Francisco Stock Exchange and the California School of Fine Arts.235 The couple was "feted, lionized, [and] spoiled" by influential collectors and clients during their stay in the city.236 Her long love affair with Hungarian-American photographer Nickolas Muray most likely began around this time.237

Kahlo and Rivera returned to Mexico for the summer of 1931, and in the fall traveled to New York City for the opening of Rivera's retrospective at the Museum of Modern Art (MoMA). In April 1932, they headed to Detroit, where Rivera had been commissioned to paint murals for the Detroit Institute of Arts.238 By this time, Kahlo had become bolder in her interactions with the press, impressing journalists with her fluency in English and stating on her arrival to the city that she was the greater artist of the two of them.239

"Of course he [Rivera] does well for a little boy, but it is I who am the big artist"

— Frida Kahlo in interview with the Detroit News, 2 February 1933.240

The year spent in Detroit was a difficult time for Kahlo. Although she had enjoyed visiting San Francisco and New York City, she disliked aspects of American society, which she regarded as colonialist, as well as most Americans, whom she found "boring".241 She disliked having to socialize with capitalists such as Henry and Edsel Ford, and was angered that many of the hotels in Detroit refused to accept Jewish guests.242 In a letter to a friend, she wrote that "although I am very interested in all the industrial and mechanical development of the United States", she felt "a bit of a rage against all the rich guys here, since I have seen thousands of people in the most terrible misery without anything to eat and with no place to sleep, that is what has most impressed me here, it is terrifying to see the rich having parties day and night while thousands and thousands of people are dying of hunger."243 Kahlo's time in Detroit was also complicated by a pregnancy. Her doctor agreed to perform an abortion, but the medication used was ineffective.244 Kahlo was deeply ambivalent about having a child and had already undergone an abortion earlier in her marriage to Rivera.245 Following the failed abortion, she reluctantly agreed to continue with the pregnancy, but miscarried in July, which caused a serious hemorrhage that required her being hospitalized for two weeks.246 Less than three months later, her mother died from complications of surgery in Mexico.247

Kahlo and Rivera returned to New York in March 1933, for he had been commissioned to paint a mural for the Rockefeller Center.248 During this time, she only worked on one painting, My Dress Hangs There (1933).249 She also gave further interviews to the American press.250 In May, Rivera was fired from the Rockefeller Center project and was instead hired to paint a mural for the New Workers School.251252 Although Rivera wished to continue their stay in the United States, Kahlo was homesick, and they returned to Mexico soon after the mural's unveiling in December 1933.253

1934–1949: La Casa Azul and declining health

Back in Mexico City, Kahlo and Rivera moved into a new house in the wealthy neighborhood of San Ángel.254 Commissioned from Le Corbusier's student Juan O'Gorman, it consisted of two sections joined by a bridge; Kahlo's was painted blue and Rivera's pink and white.255 The bohemian residence became an important meeting place for artists and political activists from Mexico and abroad.256

Kahlo once again experienced health problems – undergoing an appendectomy, two abortions, and the amputation of gangrenous toes257258 – and her marriage to Rivera had become strained. He was not happy to be back in Mexico and blamed Kahlo for their return.259 While he had been unfaithful to her before, he now embarked on an affair with her younger sister Cristina, which deeply hurt Kahlo's feelings.260 After discovering the affair in early 1935, she moved to an apartment in central Mexico City and considered divorcing him.261 She also had an affair of her own with American artist Isamu Noguchi.262

Kahlo was reconciled with Rivera and Cristina later in 1935 and moved back to San Ángel.263 She became a loving aunt to Cristina's children, Isolda and Antonio.264 Despite the reconciliation, both Rivera and Kahlo continued their infidelities.265 She also resumed her political activities in 1936, joining the Fourth International and becoming a founding member of a solidarity committee to provide aid to the Republicans in the Spanish Civil War.266 She and Rivera successfully petitioned the Mexican government to grant asylum to former Soviet leader Leon Trotsky and offered La Casa Azul for him and his wife Natalia Sedova as a residence.267 The couple lived there from January 1937 until April 1939, with Kahlo and Trotsky not only becoming good friends but also having a brief affair.268 Kahlo painted Self-Portrait Dedicated to Leon Trotsky in 1937 during their time together in Mexico City, including a written inscription to Trotsky in the painting on a letter that Kahlo's figure holds.269

After opening an exhibition in Paris, Kahlo sailed back to New York.270 She was eager to be reunited with Muray, but he decided to end their affair, as he had met another woman whom he was planning to marry.271 Kahlo traveled back to Mexico City, where Rivera requested a divorce from her. The exact reasons for his decision are unknown, but he stated publicly that it was merely a "matter of legal convenience in the style of modern times ... there are no sentimental, artistic, or economic reasons".272 According to their friends, the divorce was mainly caused by their mutual infidelities.273 He and Kahlo were granted a divorce in November 1939, but remained friendly; she continued to manage his finances and correspondence.274

Following her separation from Rivera, Kahlo moved back to La Casa Azul and, determined to earn her own living, began another productive period as an artist, inspired by her experiences abroad.275 Encouraged by the recognition she was gaining, she moved from using the small and more intimate tin sheets she had used since 1932 to large canvases, as they were easier to exhibit.276 She also adopted a more sophisticated technique, limited the graphic details, and began to produce more quarter-length portraits, which were easier to sell.277 She painted several of her most famous pieces during this period, such as The Two Fridas (1939), Self-portrait with Cropped Hair (1940), The Wounded Table (1940), and Self-Portrait with Thorn Necklace and Hummingbird (1940). Three exhibitions featured her works in 1940: the fourth International Surrealist Exhibition in Mexico City, the Golden Gate International Exposition in San Francisco, and Twenty Centuries of Mexican Art in MoMA in New York.278279

On 21 August 1940, Trotsky was assassinated in Coyoacán, where he had continued to live after leaving La Casa Azul.280 Kahlo was briefly suspected of being involved, as she knew the murderer, and was arrested and held for two days with her sister Cristina.281 The following month, Kahlo traveled to San Francisco for medical treatment for back pain and a fungal infection on her hand.282 Her continuously fragile health had increasingly declined since her divorce and was exacerbated by her heavy consumption of alcohol.283

Rivera was also in San Francisco after he fled Mexico City following Trotsky's murder and accepted a commission.284 Although Kahlo had a relationship with art dealer Heinz Berggruen during her visit to San Francisco,285 she and Rivera were reconciled.286 They remarried in a simple civil ceremony on 8 December 1940.287 Kahlo and Rivera returned to Mexico soon after their wedding. The union was less turbulent than before for its first five years.288 Both were more independent,289 and while La Casa Azul was their primary residence, Rivera retained the San Ángel house for use as his studio and second apartment.290 Both continued having extramarital affairs; Kahlo had affairs with both men and women, with evidence suggesting her male lovers were more important to Kahlo than her female lovers.291292

Despite the medical treatment she had received in San Francisco, Kahlo's health problems continued throughout the 1940s. Due to her spinal problems, she wore twenty-eight separate supportive corsets, varying from steel and leather to plaster, between 1940 and 1954.293 She experienced pain in her legs, the infection on her hand had become chronic, and she was also treated for syphilis.294 The death of her father in April 1941 plunged her into a depression.295 Her ill health made her increasingly confined to La Casa Azul, which became the center of her world. She enjoyed taking care of the house and its garden, and was kept company by friends, servants, and various pets, including spider monkeys, Xoloitzcuintlis, and parrots.296

While Kahlo was gaining recognition in her home country, her health continued to decline. By the mid-1940s, her back had worsened to the point that she could no longer sit or stand continuously.297 In June 1945, she traveled to New York for an operation which fused a bone graft and a steel support to her spine to straighten it.298 The difficult operation was a failure.299 According to biographer Hayden Herrera, Kahlo also sabotaged her recovery by not resting as required and by once physically re-opening her wounds in a fit of anger.300 Her paintings from this period, such as The Broken Column (1944), Without Hope (1945), Tree of Hope, Stand Fast (1946), and The Wounded Deer (1946), reflect her declining health.301

1950–1954: Last years and death

In 1950, Kahlo spent most of the year in Hospital ABC in Mexico City, where she underwent a new bone graft surgery on her spine.302 It caused a difficult infection and necessitated several follow-up surgeries.303 After being discharged, she was mostly confined to La Casa Azul, using a wheelchair and crutches to be ambulatory.304 During these final years of her life, Kahlo dedicated her time to political causes to the extent that her health allowed. She had rejoined the Mexican Communist Party in 1948305 and campaigned for peace, for example, by collecting signatures for the Stockholm Appeal.306

Kahlo's right leg was amputated at the knee due to gangrene in August 1953.307 She became severely depressed and anxious, and her dependence on painkillers escalated.308 When Rivera began yet another affair, she attempted suicide by overdose.309 She wrote in her diary in February 1954, "They amputated my leg six months ago, they have given me centuries of torture and at moments I almost lost my reason. I keep on wanting to kill myself. Diego is what keeps me from it, through my vain idea that he would miss me. ... But never in my life have I suffered more. I will wait a while..."310

In her last days, Kahlo was mostly bedridden with bronchopneumonia, though she made a public appearance on 2 July 1954, participating with Rivera in a demonstration against the CIA invasion of Guatemala.311 She seemed to anticipate her death, as she spoke about it to visitors and drew skeletons and angels in her diary.312 The last drawing was a black angel, which biographer Hayden Herrera interprets as the Angel of Death.313 It was accompanied by the last words she wrote, "I joyfully await the exit – and I hope never to return – Frida" ("Espero Alegre la Salida – y Espero no Volver jamás").314

The demonstration worsened her illness, and on the night of 12 July 1954, Kahlo had a high fever and was in extreme pain.315 At approximately 6 a.m. on 13 July 1954, her nurse found her dead in her bed.316 Kahlo was 47 years old. The official cause of death was pulmonary embolism, although no autopsy was performed.317 Herrera has argued that Kahlo, in fact, committed suicide.318319 The nurse, who counted Kahlo's painkillers to monitor her drug use, stated that Kahlo had taken an overdose the night she died. She had been prescribed a maximum dose of seven pills but had taken eleven.320 She had also given Rivera a wedding anniversary present that evening, over a month in advance.321

On the evening of 13 July, Kahlo's body was taken to the Palacio de Bellas Artes, where it lay in state under a Communist flag.322 The following day, it was carried to the Panteón Civil de Dolores, where friends and family attended an informal funeral ceremony. Hundreds of admirers stood outside.323 In accordance with her wishes, Kahlo was cremated in a fittingly spectacular fashion that, according to legend, saw the mourners witness her hair catching fire, her corpse sitting up, and her face forming one last seductive grin.324 Rivera, who stated that her death was "the most tragic day of my life", died three years later, in 1957.325 Kahlo's ashes are displayed in a pre-Columbian urn at La Casa Azul, which opened as a museum in 1958.326

Posthumous recognition and "Fridamania"

The Tate Modern considers Kahlo "one of the most significant artists of the twentieth century".327 Art historian Elizabeth Bakewell, has stated that Kahlo is "one of Mexico's most important twentieth-century figures".328 Kahlo's reputation as an artist developed late in her life and grew even further posthumously, as during her lifetime she was primarily known as the wife of Diego Rivera and as an eccentric personality among the international cultural elite.329 She gradually gained more recognition in the late 1970s when feminist scholars began to question the exclusion of female and non-Western artists from the art historical canon and the Chicano Movement lifted her as one of their icons.330331 The first two books about Kahlo were published in Mexico by Teresa del Conde and Raquel Tibol in 1976 and 1977, respectively,332 and, in 1977, The Tree of Hope Stands Firm (1944) became the first Kahlo painting to be sold in an auction, netting $19,000 at Sotheby's.333 These milestones were followed by the first two retrospectives staged on Kahlo's oeuvre in 1978, one at the Palacio de Bellas Artes in Mexico City and another at the Museum of Contemporary Art in Chicago.334

Two events were instrumental in raising interest in her life and art for the general public outside Mexico. The first was a joint retrospective of her paintings and Tina Modotti's photographs at the Whitechapel Gallery in London, which was curated and organized by Peter Wollen and Laura Mulvey.335 It opened in May 1982, and later traveled to Sweden, Germany, the United States, and Mexico.336 The second was the publication of art historian Hayden Herrera's international bestseller Frida: A Biography of Frida Kahlo in 1983.337338

By 1984, Kahlo's reputation as an artist had grown to such extent that Mexico declared her works part of the national cultural heritage, prohibiting their export from the country.339340 As a result, her paintings seldom appear in international auctions, and comprehensive retrospectives are rare.341 Regardless, her paintings have still broken records for Latin American art in the 1990s and 2000s. In 1990, she became the first Latin American artist to break the one-million-dollar threshold when Diego and I was auctioned by Sotheby's for $1,430,000.342 In 2006, Roots (1943) reached US$5.6 million,343 and in 2016, Two Nudes in a Forest (1939) sold for $8 million.344

Kahlo has attracted popular interest to the extent that the term "Fridamania" has been coined to describe the phenomenon.345 She is considered "one of the most instantly recognizable artists",346 whose face has been "used with the same regularity, and often with a shared symbolism, as images of Che Guevara or Bob Marley".347 Her life and art have inspired a variety of merchandise, and her distinctive look has been appropriated by the fashion world.348349350 A Hollywood biopic, Julie Taymor's Frida, was released in 2002.351 Based on Herrera's biography and starring Salma Hayek (who co-produced the film) as Kahlo, it grossed US$56 million worldwide and earned six Academy Award nominations, winning for Best Makeup and Best Original Score.352 The 2017 Disney-Pixar animation Coco also features a fictionalized Kahlo as a supporting character, voiced by Natalia Cordova-Buckley.353

Kahlo's popular appeal is seen to stem first and foremost from a fascination with her life story, especially its painful and tragic aspects. She has become an icon for several minority groups and political movements, such as feminists, the LGBTQ community, and Chicanos. Oriana Baddeley has written that Kahlo has become a signifier of non-conformity and "the archetype of a cultural minority", who is regarded simultaneously as "a victim, crippled and abused" and as "a survivor who fights back".354 Edward Sullivan stated that Kahlo is hailed as a hero by so many because she is "someone to validate their own struggle to find their own voice and their own public personalities".355 According to John Berger, Kahlo's popularity is partly due to the fact that "the sharing of pain is one of the essential preconditions for a refinding of dignity and hope" in twenty-first century society.356 Kirk Varnedoe, the former chief curator of MoMA, has stated that Kahlo's posthumous success is linked to the way in which "she clicks with today's sensibilities – her psycho-obsessive concern with herself, her creation of a personal alternative world carries a voltage. Her constant remaking of her identity, her construction of a theater of the self are exactly what preoccupy such contemporary artists as Cindy Sherman or Kiki Smith and, on a more popular level, Madonna... She fits well with the odd, androgynous hormonal chemistry of our particular epoch."357

Kahlo's posthumous popularity and the commercialization of her image have drawn criticism from many scholars and cultural commenters, who think that, not only have many facets of her life been mythologized, but the dramatic aspects of her biography have also overshadowed her art, producing a simplistic reading of her works in which they are reduced to literal descriptions of events in her life.358 According to journalist Stephanie Mencimer, Kahlo "has been embraced as a poster child for every possible politically correct cause" and

like a game of telephone, the more Kahlo's story has been told, the more it has been distorted, omitting uncomfortable details that show her to be a far more complex and flawed figure than the movies and cookbooks suggest. This elevation of the artist over the art diminishes the public understanding of Kahlo's place in history and overshadows the deeper and more disturbing truths in her work. Even more troubling, though, is that by airbrushing her biography, Kahlo's promoters have set her up for the inevitable fall so typical of women artists, that time when the contrarians will band together and take sport in shooting down her inflated image, and with it, her art."359

Baddeley has compared the interest in Kahlo's life to the interest in the troubled life of Vincent van Gogh but has also stated that a crucial difference between the two is that most people associate Van Gogh with his paintings, whereas Kahlo is usually signified by an image of herself – an intriguing commentary on the way male and female artists are regarded.360 Similarly, Peter Wollen has compared Kahlo's cult-like following to that of Sylvia Plath, whose "unusually complex and contradictory art" has been overshadowed by simplified focus on her life.361

Commemorations and characterizations

Kahlo's legacy has been commemorated in several ways. La Casa Azul, her home in Coyoacán, was opened as a museum in 1958, and has become one of the most popular museums in Mexico City, with approximately 25,000 visitors monthly.362 The city dedicated a park, Parque Frida Kahlo, to her in Coyoacán in 1985.363 The park features a bronze statue of Kahlo.364 In the United States, she became the first Hispanic woman to be honored with a U.S. postage stamp in 2001,365 and was inducted into the Legacy Walk, an outdoor public display in Chicago that celebrates LGBT history and people, in 2012.366

Kahlo received several commemorations on the centenary of her birth in 2007, and some on the centenary of the birthyear she attested to, 2010. These included the Bank of Mexico releasing a new MXN$ 500-peso note, featuring Kahlo's painting titled Love's Embrace of the Universe, Earth, (Mexico), I, Diego, and Mr. Xólotl (1949) on the reverse of the note and Diego Rivera on the front.367 The largest retrospective of her works at Mexico City's Palacio de Bellas Artes attracted approximately 75,000 visitors.368

In addition to other tributes, Kahlo's life and art have inspired artists in various fields. In 1984, Paul Leduc released a biopic titled Frida, naturaleza viva, starring Ofelia Medina as Kahlo. She is the protagonist of three fictional novels, Barbara Mujica's Frida (2001),369 Slavenka Drakulic's Frida's Bed (2008), and Barbara Kingsolver's The Lacuna (2009).370 In 1994, American jazz flautist and composer James Newton released an album titled Suite for Frida Kahlo.371 Scottish singer/songwriter, Michael Marra, wrote a song in homage to Kahlo titled "Frida Kahlo's Visit to the Taybridge Bar".372 In 2017, author Monica Brown and illustrator John Parra published a children's book on Kahlo, Frida Kahlo and her Animalitos, which focuses primarily on the animals and pets in Kahlo's life and art.373 In the visual arts, Kahlo's influence has reached wide and far: In 1996, and again in 2005, the Mexican Cultural Institute in Washington, DC coordinated an "Homage to Frida Kahlo" exhibition which showcased Kahlo-related artwork by artists from all over the world in Washington's Fraser Gallery.374375 Additionally, notable artists such as Marina Abramovic,376 Alana Archer,377 Gabriela Gonzalez Dellosso,378 Yasumasa Morimura,379 Cris Melo,380 Rupert Garcia,381 and others have used or appropriated Kahlo's imagery into their own works.

Kahlo has also been the subject of several stage performances. Annabelle Lopez Ochoa choreographed a one-act ballet titled Broken Wings for the English National Ballet, which debuted in 2016, Tamara Rojo originated Kahlo in the ballet.382 Dutch National Ballet then commissioned Lopez Ochoa to create a full-length version of the ballet, Frida, which premiered in 2020, with Maia Makhateli as Kahlo.383 She also inspired three operas: Robert Xavier Rodriguez's Frida, which premiered at the American Music Theater Festival in Philadelphia in 1991;384 Kalevi Aho's Frida y Diego, which premiered at the Helsinki Music Centre in Helsinki, Finland in 2014;385 and Gabriela Lena Frank's El último sueño de Frida y Diego, which premiered at the San Diego Opera in 2022.386

Kahlo was the main character in several plays, including Dolores C. Sendler's Goodbye, My Friduchita (1999),387 Robert Lepage and Sophie Faucher's La Casa Azul (2002),388 Humberto Robles' Frida Kahlo: Viva la vida! (2009),389 and Rita Ortez Provost's Tree of Hope (2014).390

In 2018, Mattel unveiled seventeen new Barbie dolls in celebration of International Women's Day, including one of Kahlo. Critics objected to the doll's slim waist and noticeably missing unibrow.391

In 2014 Kahlo was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighborhood noting LGBTQ people who have "made significant contributions in their fields".392393394

In 2018, San Francisco Board of Supervisors unanimously voted to rename Phelan Avenue to Frida Kahlo Way. Frida Kahlo Way is the home of City College of San Francisco and Archbishop Riordan High School.395

In 2019, Frida was featured on a mural painted by Rafael Blanco in downtown Reno, Nevada.

In 2019, Frida's “Fantasmones Siniestros” (“Sinister Ghosts”) was burned to ashes, publicizing an Ethereum NFT.396

In 2022, as part of a collaboration with Centre Pompidou, Swatch released a watch based on The Frame.397398

Solo exhibitions

  • 18 August 2024–23 February 2025: Frida: Beyond the Myth at Dallas Museum of Art consisted of more than 60 pieces including paintings, drawings, prints, and photos, intends to provide a fresh interpretation of the artist's persona.399
  • 4 January 2022–present: Frida Kahlo: The Life of an Icon at Barangaroo Reserve, Sydney. Audio visual exhibition created by the Frida Kahlo Corporation.400401
  • 8 February–12 May 2019: Frida Kahlo: Appearances Can Be Deceiving at the Brooklyn Museum. This was the largest U.S. exhibition in a decade devoted solely to the painter and the only U.S. show to feature her Tehuana clothing, hand-painted corsets and other never-before-seen items that had been locked away after the artist's death and rediscovered in 2004.
  • 16 June–18 November 2018: Frida Kahlo: Making Her Self Up at the Victoria and Albert Museum in London.402 The basis for the later Brooklyn Museum exhibit.
  • 3 February–30 April 2016: Frida Kahlo: Paintings and Graphic Art From Mexican Collections at the Faberge Museum, St. Petersburg. Russia's first retrospective of Kahlo's work.
  • 27 October 2007–20 January 2008: Frida Kahlo an exhibition at the Walker Art Center, Minneapolis, Philadelphia Museum of Art, 20 February–18 May 2008; and the San Francisco Museum of Modern Art, 16 June–28 September 2008.
  • 1–15 November 1938: Frida's first solo exhibit and New York debut at the Museum of Modern Art. Georgia O'Keeffe, Isamu Noguchi, and other prominent American artists attended the opening; approximately half of the paintings were sold.

See also

Notes

Informational notes

Citations

Bibliography

Wikinews has related news:
  • Doctor diagnoses Mexican artist Frida Kahlo's infertility

References

  1. In this Spanish name, the first or paternal surname is Kahlo and the second or maternal family name is Calderón. /wiki/Spanish_name ↩

  2. Zelazko, Alicja (2019). "Frida Kahlo | Biography, Paintings, & Facts". Encyclopædia Britannica. Archived from the original on 8 April 2020. Retrieved 7 April 2020. https://www.britannica.com/biography/Frida-Kahlo ↩

  3. Weidemann, Christiane (2008). 50 women artists you should know. Larass, Petra., Klier, Melanie. Munich: Prestel. ISBN 978-3-7913-3956-6. OCLC 195744889. 978-3-7913-3956-6 ↩

  4. Rosenthal, Mark (2015). Diego and Frida: High Drama in Detroit. Detroit, MI: Detroit Institute of Arts, [2015] New Haven; London: Yale University Press, [2015]. p. 117. ISBN 978-0895581778. 978-0895581778 ↩

  5. Courtney, Carol (23 January 2017). "Frida Kahlo's life of chronic pain". Oxford University Press's Academic Insights for the Thinking World. Oxford University Press. Archived from the original on 27 November 2021. Retrieved 6 December 2020. https://blog.oup.com/2017/01/frida-kahlos-life-of-chronic-pain/ ↩

  6. "An indigenous perspective of Frida Kahlo". 4 July 2021. https://hyperallergic.com/660471/indigenous-perspective-frida-kahlo/ ↩

  7. Zelazko, Alicja (2019). "Frida Kahlo | Biography, Paintings, & Facts". Encyclopædia Britannica. Archived from the original on 8 April 2020. Retrieved 7 April 2020. https://www.britannica.com/biography/Frida-Kahlo ↩

  8. Zelazko, Alicja (2019). "Frida Kahlo | Biography, Paintings, & Facts". Encyclopædia Britannica. Archived from the original on 8 April 2020. Retrieved 7 April 2020. https://www.britannica.com/biography/Frida-Kahlo ↩

  9. "Frida Kahlo". Biography. Archived from the original on 15 March 2020. Retrieved 7 April 2020. https://www.biography.com/artist/frida-kahlo ↩

  10. Zelazko, Alicja (2019). "Frida Kahlo | Biography, Paintings, & Facts". Encyclopædia Britannica. Archived from the original on 8 April 2020. Retrieved 7 April 2020. https://www.britannica.com/biography/Frida-Kahlo ↩

  11. Broude, Norma; Garrard, Mary D., eds. (1992). The Expanding Discourse: Feminism and Art History. p. 399. /wiki/Norma_Broude ↩

  12. Ankori 2002, p. 20; Burrus 2005, p. 200. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  13. Zamora 1990, p. 20. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  14. Zamora 1990, p. 21. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  15. Herrera 2002, pp. 26–40. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  16. Kettenmann 2003, p. 12. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  17. Zamora 1990, p. 20. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  18. "Frida Kahlo Biography | Life, Paintings, Influence on Art | frida-kahlo-foundation.org". www.frida-kahlo-foundation.org. Archived from the original on 7 April 2022. Retrieved 6 July 2020. https://www.frida-kahlo-foundation.org/biography.html ↩

  19. Kettenmann 2003, pp. 17–18; Herrera 2002, p. 62–63; Burrus 2005. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  20. "Frida Kahlo Biography | Life, Paintings, Influence on Art | frida-kahlo-foundation.org". www.frida-kahlo-foundation.org. Archived from the original on 7 April 2022. Retrieved 6 July 2020. https://www.frida-kahlo-foundation.org/biography.html ↩

  21. Burrus 2005, p. 201; Ankori 2002, pp. 101–102. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  22. "Frida Kahlo Biography | Life, Paintings, Influence on Art | frida-kahlo-foundation.org". www.frida-kahlo-foundation.org. Archived from the original on 7 April 2022. Retrieved 6 July 2020. https://www.frida-kahlo-foundation.org/biography.html ↩

  23. Herrera 2002, p. 75. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  24. Kettenmann 2003, p. 21; Herrera 2002, p. 64. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  25. Dexter 2005, p. 14; Barson 2005, p. 58. - Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  26. Ankori 2002, pp. 105–108; Burrus 2005, p. 69. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  27. Udall 2003, p. 11. - Udall, Sharyn (Autumn 2003). "Frida Kahlo's Mexican Body: History, Identity, and Artistic Aspiration" (PDF). Woman's Art Journal. 24 (2): 10–14. doi:10.2307/1358781. JSTOR 1358781. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706155636/http://www.dalestory.org/LATINAMERICA/Mexico/KahloAndRivera/Kahlo,Frida,ArtisticAspiration,byUdall,2004.pdf ↩

  28. Dexter 2005, pp. 15–17; Kettenmann 2003, pp. 20–25. - Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  29. Kettenmann 2003, pp. 24–25. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  30. Herrera 2002, pp. 109–113; Zamora 1990, pp. 78–80; Ankori 2002, pp. 144–145. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  31. Herrera 2002, pp. 117–125; Zamora 1990, pp. 42–43; Block & Hoffman-Jeep 1998–1999, p. 8. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  32. Herrera 2002, pp. 117–125; Zamora 1990, pp. 42–43; Kettenmann 2003, p. 32. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  33. Burrus 2005, p. 203. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  34. Herrera 2002, pp. 118–125; Kettenmann 2003, p. 27. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  35. Herrera 2002, pp. 124–127; Kettenmann 2003, p. 31; Ankori 2002, pp. 140–145. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  36. Herrera 2002, pp. 123–125. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  37. Herrera 2002, pp. 117–125; Marnham 1998, pp. 234–235. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  38. "SFWA History Timeline" (PDF). San Francisco Women Artists. Archived from the original (PDF) on 4 August 2014. Retrieved 20 July 2016. https://web.archive.org/web/20140804210151/http://www.sfwomenartists.org/SFWAArchives2014.pdf ↩

  39. "Timeline". Public Broadcasting Service. March 2005. Archived from the original on 19 August 2016. Retrieved 20 July 2016. https://www.pbs.org/weta/fridakahlo/life/timeline_1930.html ↩

  40. Herrera 2002, pp. 133–160; Burrus 2005, pp. 201; Zamora 1990, p. 46; Kettenmann 2003, p. 32; Ankori 2013, p. 87–94. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  41. Kettenmann 2003, p. 36 for quote. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  42. Zamora 1990, p. 46. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  43. Tuchman, Phyllis (November 2002). "Frida Kahlo". Smithsonian Institution. Archived from the original on 10 July 2016. Retrieved 20 July 2016. http://www.smithsonianmag.com/arts-culture/frida-kahlo-70745811/ ↩

  44. Zamora 1990, p. 46. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  45. Burrus 2005, p. 202; Kettenmann 2003, pp. 35–36. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  46. Zamora 1990, p. 46. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  47. Bilek 2012, p. 14. - Bilek, Suzanne (2012). Great female artists of Detroit. Charleston. ISBN 978-1-60949-671-5. OCLC 806018780. https://www.worldcat.org/oclc/806018780 ↩

  48. Ankori 2002, p. 160. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  49. Herrera 2002, p. 215 for quote; Zamora 1990, p. 56; Kettenmann 2003, p. 45. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  50. Herrera 2002, p. 226. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  51. Herrera 2002, p. 226. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  52. Mahon 2011, pp. 33–34. - Mahon, Alyce (2011). "The Lost Secret: Frida Kahlo and The Surrealist Imaginary" (PDF). Journal of Surrealism and the Americas. 5 (1–2): 33–54. Archived from the original (PDF) on 18 April 2018. https://web.archive.org/web/20180418093138/https://repository.asu.edu/attachments/107983/content/JSA_VOL5_NO1_Pages33-54_Mahon.pdf ↩

  53. Kettenmann 2003, p. 45; Mahon 2011, pp. 33–34. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  54. Mahon 2011, pp. 33–34. - Mahon, Alyce (2011). "The Lost Secret: Frida Kahlo and The Surrealist Imaginary" (PDF). Journal of Surrealism and the Americas. 5 (1–2): 33–54. Archived from the original (PDF) on 18 April 2018. https://web.archive.org/web/20180418093138/https://repository.asu.edu/attachments/107983/content/JSA_VOL5_NO1_Pages33-54_Mahon.pdf ↩

  55. Herrera 2002, pp. 230–232; Mahon 2011, pp. 34–35. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  56. Herrera 2002, pp. 230–232. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  57. Burrus 2005, p. 204. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  58. Herrera 2002, pp. 230–235. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  59. Herrera 2002, pp. 230–240. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  60. Herrera 2002, pp. 230–240; Ankori 2002, p. 193. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  61. Kettenmann 2003, pp. 51–52; Herrera 2002, pp. 241–243. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  62. Kettenmann 2003, pp. 51–52; Herrera 2002, pp. 241–245. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  63. Kettenmann 2003, pp. 51–52; Herrera 2002, pp. 241–245. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  64. Herrera 2002, pp. 241–245. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  65. Mahon 2011, p. 45. - Mahon, Alyce (2011). "The Lost Secret: Frida Kahlo and The Surrealist Imaginary" (PDF). Journal of Surrealism and the Americas. 5 (1–2): 33–54. Archived from the original (PDF) on 18 April 2018. https://web.archive.org/web/20180418093138/https://repository.asu.edu/attachments/107983/content/JSA_VOL5_NO1_Pages33-54_Mahon.pdf ↩

  66. Kettenmann 2003, pp. 51–52; Herrera 2002, pp. 241–250. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  67. Kettenmann 2003, pp. 51–52; Herrera 2002, pp. 241–250; Mahon 2011, p. 45. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  68. Mahon 2011, p. 45. - Mahon, Alyce (2011). "The Lost Secret: Frida Kahlo and The Surrealist Imaginary" (PDF). Journal of Surrealism and the Americas. 5 (1–2): 33–54. Archived from the original (PDF) on 18 April 2018. https://web.archive.org/web/20180418093138/https://repository.asu.edu/attachments/107983/content/JSA_VOL5_NO1_Pages33-54_Mahon.pdf ↩

  69. Kettenmann 2003, pp. 51–52; Herrera 2002, pp. 241–250. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  70. Mahon 2011, p. 45. - Mahon, Alyce (2011). "The Lost Secret: Frida Kahlo and The Surrealist Imaginary" (PDF). Journal of Surrealism and the Americas. 5 (1–2): 33–54. Archived from the original (PDF) on 18 April 2018. https://web.archive.org/web/20180418093138/https://repository.asu.edu/attachments/107983/content/JSA_VOL5_NO1_Pages33-54_Mahon.pdf ↩

  71. Kettenmann 2003, p. 51. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  72. Burrus 2005, pp. 220–221. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  73. Herrera 2002, pp. 316–318; Zamora 1990, p. 137; Burrus 2005, pp. 220–221. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  74. Kettenmann 2003, pp. 61–62; Herrera 2002, pp. 321–322. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  75. Kettenmann 2003, pp. 61–62. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  76. Herrera 2002, pp. 316–320. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  77. Burrus 2005, p. 221; Herrera 2002, pp. 321–322. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  78. Zamora 1990, pp. 95–96. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  79. Zamora 1990, pp. 95–96; Kettenmann 2003, pp. 63–67; Herrera 2002, pp. 330–332; Burrus 2005, p. 205. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  80. Zamora 1990, pp. 95–96; Kettenmann 2003, pp. 63–68. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  81. Zamora 1990, pp. 95–97; Kettenmann 2003, pp. 63–68. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  82. Herrera 2002, pp. 335–343. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  83. Herrera 2002, pp. 316–334. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  84. Herrera 2002, pp. 316–334. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  85. Herrera 2002, pp. 316–334. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  86. Herrera 2002, pp. 320–322. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  87. Zamora 1990, p. 100; Kettenmann 2003, p. 62. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  88. Herrera 2002, pp. 344–359. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  89. Herrera 2002, pp. 344–359. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  90. Kettenmann 2003, p. 79; Herrera 2002, p. 389–400. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  91. Kettenmann 2003, pp. 79–80; Herrera 2002, pp. 397–398. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  92. Kettenmann 2003, p. 80. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  93. Galicia, Fernando (22 November 2018). "Frida Kahlo Pinturas, autorretratos y sus significados". La Hoja de Arena. Archived from the original on 9 March 2021. Retrieved 13 May 2019. https://web.archive.org/web/20210309001601/https://www.lahojadearena.com/frida-kahlo-pinturas-autorretrato-las-dos-fridas/ ↩

  94. Kettenmann 2003; Herrera 2002, pp. 398–399. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  95. Zamora 1990, p. 138; Herrera 2002, pp. 405–410; Burrus 2005, p. 206. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  96. Zamora 1990, p. 138; Herrera 2002, pp. 405–410; Burrus 2005, p. 206. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  97. Herrera 2002, pp. 405–410. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  98. Burrus 2005, p. 223. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  99. Zamora 1990, p. 138. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  100. Herrera 2002, pp. 412–430. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  101. Zamora 1990, p. 130; Kettenmann 2003, pp. 80–82. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  102. Dexter 2005, p. 11. - Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  103. Deffebach 2006, p. 174; Cooey 1994, p. 95. - Deffebach, Nancy (2006). "Frida Kahlo: Heroism of Private Life". In Brunk, Samuel; Fallow, Ben (eds.). Heroes and Hero Cults in Latin America. University of Texas Press. ISBN 978-0-292-71481-6. ↩

  104. Herrera, Hayden. "Frida Kahlo". Oxford Art Online. Oxford University Press. Archived from the original on 16 October 2015. Retrieved 4 March 2021. http://www.oxfordartonline.com/subscriber/article/grove/art/T045455?q=frida+kahlo&search=quick&pos=1&_start=1 ↩

  105. Dexter 2005, p. 14; Barson 2005, p. 58; Kettenmann 2003, p. 22. - Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  106. Friis 2004, pp. 54. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  107. Herrera, Hayden. "Frida Kahlo". Oxford Art Online. Oxford University Press. Archived from the original on 16 October 2015. Retrieved 4 March 2021. http://www.oxfordartonline.com/subscriber/article/grove/art/T045455?q=frida+kahlo&search=quick&pos=1&_start=1 ↩

  108. "La Visión Femenina del Surrealismo". Hispánica Saber (in Spanish). Editorial Planeta. 2014.[permanent dead link] http://worldbook.planetasaber.com/encyclopedia/default.asp?idreg=121563&ruta=Buscador ↩

  109. Ankori 2002, p. 2. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  110. Mahon 2011, p. 33. - Mahon, Alyce (2011). "The Lost Secret: Frida Kahlo and The Surrealist Imaginary" (PDF). Journal of Surrealism and the Americas. 5 (1–2): 33–54. Archived from the original (PDF) on 18 April 2018. https://web.archive.org/web/20180418093138/https://repository.asu.edu/attachments/107983/content/JSA_VOL5_NO1_Pages33-54_Mahon.pdf ↩

  111. Mahon 2011, pp. 33–49; Dexter 2005, pp. 20–22. - Mahon, Alyce (2011). "The Lost Secret: Frida Kahlo and The Surrealist Imaginary" (PDF). Journal of Surrealism and the Americas. 5 (1–2): 33–54. Archived from the original (PDF) on 18 April 2018. https://web.archive.org/web/20180418093138/https://repository.asu.edu/attachments/107983/content/JSA_VOL5_NO1_Pages33-54_Mahon.pdf ↩

  112. Durozoi, Gerard (2002). History of the Surrealist Movement. Chicago and London: University of Chicago Press. p. 356. ISBN 978-0-226-17412-9. 978-0-226-17412-9 ↩

  113. Helland 1990–1991, p. 12. - Helland, Janice (1990–1991). "Aztec Imagery in Frida Kahlo's Paintings: Indigenity and Political Commitment" (PDF). Woman's Art Journal. 11 (5): 8–13. JSTOR 3690692. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154926/http://eccwhp.org/research/154w4g.pdf ↩

  114. Kettenmann 2003, p. 70. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  115. Dexter 2005, pp. 21–22. - Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  116. Kettenmann 2003, pp. 24–28; Helland 1990–1991, pp. 8–13; Bakewell 1993, pp. 167–169. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  117. Herrera, Hayden. "Frida Kahlo". Oxford Art Online. Oxford University Press. Archived from the original on 16 October 2015. Retrieved 4 March 2021. http://www.oxfordartonline.com/subscriber/article/grove/art/T045455?q=frida+kahlo&search=quick&pos=1&_start=1 ↩

  118. Bakewell 1993, pp. 167–168; Cooey 1994, p. 95; Dexter 2005, pp. 20–21. - Bakewell, Elizabeth (1993). "Frida Kahlo: A Contemporary Feminist Reading" (PDF). Frontiers: A Journal of Women Studies. XIII (3): 165–189, illustrations, 139–151. doi:10.2307/3346753. JSTOR 3346753. Archived from the original (PDF) on 9 August 2017. https://web.archive.org/web/20170809095503/https://www.gen2.ca/DBHS/Art/3346753.pdf ↩

  119. Anderson 2009, p. 119. - Anderson, Corrine (Fall 2009). "Remembrance of an Open Wound: Frida Kahlo and Post-revolutionary Mexican Identity" (PDF). South Atlantic Review. 74 (4): 119–130. JSTOR 41337719. Archived from the original (PDF) on 17 June 2019. https://web.archive.org/web/20190617063534/http://eccwhp.org/research/154w4b.pdf ↩

  120. Helland 1990–1991, p. 12. - Helland, Janice (1990–1991). "Aztec Imagery in Frida Kahlo's Paintings: Indigenity and Political Commitment" (PDF). Woman's Art Journal. 11 (5): 8–13. JSTOR 3690692. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154926/http://eccwhp.org/research/154w4g.pdf ↩

  121. Barson 2005, p. 76. - Barson, Tanya (2005). "'All Art is At Once Surface and Symbol': A Frida Kahlo Glossary". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  122. Bakewell 2001, p. 316; Deffebach 2006, p. 171. - Bakewell, Elizabeth (2001). "Frida Kahlo". In Werner, Michael S. (ed.). The Concise Encyclopedia of Mexico. Routledge. pp. 315–318. ISBN 978-1-57958-337-8. https://books.google.com/books?id=VeI4CQAAQBAJ&pg=PA315 ↩

  123. Bakewell 2001, pp. 316–317. - Bakewell, Elizabeth (2001). "Frida Kahlo". In Werner, Michael S. (ed.). The Concise Encyclopedia of Mexico. Routledge. pp. 315–318. ISBN 978-1-57958-337-8. https://books.google.com/books?id=VeI4CQAAQBAJ&pg=PA315 ↩

  124. Herrera, Hayden. "Frida Kahlo". Oxford Art Online. Oxford University Press. Archived from the original on 16 October 2015. Retrieved 4 March 2021. http://www.oxfordartonline.com/subscriber/article/grove/art/T045455?q=frida+kahlo&search=quick&pos=1&_start=1 ↩

  125. Bakewell 1993, pp. 168–169; Castro-Sethness 2004–2005, p. 21; Deffebach 2006, pp. 176–177; Dexter 2005, p. 16. - Bakewell, Elizabeth (1993). "Frida Kahlo: A Contemporary Feminist Reading" (PDF). Frontiers: A Journal of Women Studies. XIII (3): 165–189, illustrations, 139–151. doi:10.2307/3346753. JSTOR 3346753. Archived from the original (PDF) on 9 August 2017. https://web.archive.org/web/20170809095503/https://www.gen2.ca/DBHS/Art/3346753.pdf ↩

  126. Castro-Sethness 2004–2005, p. 21; Kettenmann 2003, p. 35. - Castro-Sethness, María A. (2004–2005). "Frida Kahlo's Spiritual World: The Influence of Mexican Retablo and Ex-Voto Paintings on Her Art" (PDF). Woman's Art Journal. 25 (2): 21–24. doi:10.2307/3566513. JSTOR 3566513. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154100/https://www.gen2.ca/DBHS/Art/3566513.pdf ↩

  127. Kettenmann 2003, p. 35. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  128. Castro-Sethness 2004–2005, p. 21; Barson 2005, p. 65; Bakewell 1993, pp. 173–174; Cooey 1994, pp. 96–97. - Castro-Sethness, María A. (2004–2005). "Frida Kahlo's Spiritual World: The Influence of Mexican Retablo and Ex-Voto Paintings on Her Art" (PDF). Woman's Art Journal. 25 (2): 21–24. doi:10.2307/3566513. JSTOR 3566513. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154100/https://www.gen2.ca/DBHS/Art/3566513.pdf ↩

  129. Bakewell 1993, p. 173, quotes Mulvey & Wollen's 1982 catalogue essay. - Bakewell, Elizabeth (1993). "Frida Kahlo: A Contemporary Feminist Reading" (PDF). Frontiers: A Journal of Women Studies. XIII (3): 165–189, illustrations, 139–151. doi:10.2307/3346753. JSTOR 3346753. Archived from the original (PDF) on 9 August 2017. https://web.archive.org/web/20170809095503/https://www.gen2.ca/DBHS/Art/3346753.pdf ↩

  130. Bakewell 1993, pp. 168–169; Castro-Sethness 2004–2005, p. 21; Deffebach 2006, pp. 176–177. - Bakewell, Elizabeth (1993). "Frida Kahlo: A Contemporary Feminist Reading" (PDF). Frontiers: A Journal of Women Studies. XIII (3): 165–189, illustrations, 139–151. doi:10.2307/3346753. JSTOR 3346753. Archived from the original (PDF) on 9 August 2017. https://web.archive.org/web/20170809095503/https://www.gen2.ca/DBHS/Art/3346753.pdf ↩

  131. Dexter 2005, p. 17. - Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  132. Dexter 2005, p. 17. - Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  133. Dexter 2005, p. 17. - Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  134. Deffebach 2006, pp. 177–178. - Deffebach, Nancy (2006). "Frida Kahlo: Heroism of Private Life". In Brunk, Samuel; Fallow, Ben (eds.). Heroes and Hero Cults in Latin America. University of Texas Press. ISBN 978-0-292-71481-6. ↩

  135. Barson 2005, pp. 59, 73; Cooey 1994, p. 98. - Barson, Tanya (2005). "'All Art is At Once Surface and Symbol': A Frida Kahlo Glossary". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  136. Barson 2005, pp. 58–59. - Barson, Tanya (2005). "'All Art is At Once Surface and Symbol': A Frida Kahlo Glossary". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  137. Friis 2004, pp. 54. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  138. Friis 2004, pp. 55. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  139. Friis 2004, pp. 57. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  140. Friis 2004, pp. 58. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  141. Friis 2004, pp. 55–56. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  142. Friis 2004, pp. 56. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  143. Friis 2004, pp. 56. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  144. Friis 2004, pp. 56. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  145. Friis 2004, pp. 57. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  146. Friis 2004, pp. 57. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  147. Friis 2004, pp. 58. - Friis, Ronald (March 2004). ""The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos" (PDF). Hispania. 87 (1): 53–61. doi:10.2307/20062973. JSTOR 20062973. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154301/https://gen2.ca/DBHS/Art/20062973.pdf ↩

  148. Cooey 1994, pp. 98–99. - Cooey, Paula M. (1994). Religious Imagination and the Body: A Feminist Analysis. Oxford University Press. ↩

  149. Bakewell 1993, pp. 168–170; Ankori 2005, p. 31. - Bakewell, Elizabeth (1993). "Frida Kahlo: A Contemporary Feminist Reading" (PDF). Frontiers: A Journal of Women Studies. XIII (3): 165–189, illustrations, 139–151. doi:10.2307/3346753. JSTOR 3346753. Archived from the original (PDF) on 9 August 2017. https://web.archive.org/web/20170809095503/https://www.gen2.ca/DBHS/Art/3346753.pdf ↩

  150. Bakewell 1993, p. 169. - Bakewell, Elizabeth (1993). "Frida Kahlo: A Contemporary Feminist Reading" (PDF). Frontiers: A Journal of Women Studies. XIII (3): 165–189, illustrations, 139–151. doi:10.2307/3346753. JSTOR 3346753. Archived from the original (PDF) on 9 August 2017. https://web.archive.org/web/20170809095503/https://www.gen2.ca/DBHS/Art/3346753.pdf ↩

  151. Helland 1990–1991, pp. 8–13. - Helland, Janice (1990–1991). "Aztec Imagery in Frida Kahlo's Paintings: Indigenity and Political Commitment" (PDF). Woman's Art Journal. 11 (5): 8–13. JSTOR 3690692. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154926/http://eccwhp.org/research/154w4g.pdf ↩

  152. Helland 1990–1991, pp. 8–13; Barson 2005, pp. 56–79. - Helland, Janice (1990–1991). "Aztec Imagery in Frida Kahlo's Paintings: Indigenity and Political Commitment" (PDF). Woman's Art Journal. 11 (5): 8–13. JSTOR 3690692. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154926/http://eccwhp.org/research/154w4g.pdf ↩

  153. Helland 1990–1991, pp. 8–13; Dexter 2005, pp. 12–13; Barson 2005, p. 64. - Helland, Janice (1990–1991). "Aztec Imagery in Frida Kahlo's Paintings: Indigenity and Political Commitment" (PDF). Woman's Art Journal. 11 (5): 8–13. JSTOR 3690692. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154926/http://eccwhp.org/research/154w4g.pdf ↩

  154. Helland 1990–1991, pp. 8–13. - Helland, Janice (1990–1991). "Aztec Imagery in Frida Kahlo's Paintings: Indigenity and Political Commitment" (PDF). Woman's Art Journal. 11 (5): 8–13. JSTOR 3690692. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706154926/http://eccwhp.org/research/154w4g.pdf ↩

  155. Ankori 2005, pp. 31–43; Barson 2005, pp. 69–70. - Ankori, Gannit (2005). "Frida Kahlo: The Fabric of Her Art". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  156. Barson 2005, pp. 60. - Barson, Tanya (2005). "'All Art is At Once Surface and Symbol': A Frida Kahlo Glossary". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  157. Ankori 2002, pp. 149–163. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  158. Cooey 1994, pp. 95–108; Dexter 2005, p. 12; Barson 2005, p. 58. - Cooey, Paula M. (1994). Religious Imagination and the Body: A Feminist Analysis. Oxford University Press. ↩

  159. Cooey 1994, pp. 95–108; Dexter 2005, p. 12. - Cooey, Paula M. (1994). Religious Imagination and the Body: A Feminist Analysis. Oxford University Press. ↩

  160. Cooey 1994, p. 102; Helland 1990–1991, p. 10; Deffebach 2006, p. 176; Barson 2005, p. 58. - Cooey, Paula M. (1994). Religious Imagination and the Body: A Feminist Analysis. Oxford University Press. ↩

  161. Cooey 1994, p. 108. - Cooey, Paula M. (1994). Religious Imagination and the Body: A Feminist Analysis. Oxford University Press. ↩

  162. Cooey 1994, p. 99. - Cooey, Paula M. (1994). Religious Imagination and the Body: A Feminist Analysis. Oxford University Press. ↩

  163. Deffebach 2006, pp. 172–178. - Deffebach, Nancy (2006). "Frida Kahlo: Heroism of Private Life". In Brunk, Samuel; Fallow, Ben (eds.). Heroes and Hero Cults in Latin America. University of Texas Press. ISBN 978-0-292-71481-6. ↩

  164. Ankori 2002, pp. 1–3; Cooey 1994, p. 102; Helland 1990–1991, pp. 8–13. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  165. Dexter 2005, p. 11. - Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  166. Kahlo was given her first two names so that she could be baptized according to Catholic traditions, but was always called Frida. She preferred to spell her name "Frieda" until the late 1930s, when she dropped the 'e' as she did not wish to be associated with Germany during Hitler's rule.[133] /wiki/Hitler ↩

  167. Burrus 2005, p. 199; Herrera 2002, pp. 3–4; Ankori 2002, p. 17. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  168. "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. 9780199899913 ↩

  169. Zamora 1990, p. 15. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  170. Tibol, Raquel. (1993). Frida Kahlo : an open life. Albuquerque: University of New Mexico Press. ISBN 0585211388. OCLC 44965043. 0585211388 ↩

  171. Herrera 2002, pp. 4–9; Ankori 2002, p. 17. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  172. "Making herself up: Was Frida Kahlo Jewish?". The Jewish Chronicle. 7 June 2018. Archived from the original on 19 March 2022. Retrieved 5 October 2021. https://www.thejc.com/culture/features/making-herself-up-was-frida-kahlo-jewish-1.465240 ↩

  173. Deffebach 2015, p. 52. - Deffebach, Nancy (2015). María Izquierdo and Frida Kahlo: Challenging Visions in Modern Mexican Art. University of Texas Press. ISBN 978-0-292-77242-7. ↩

  174. Ronnen, Meir (20 April 2006). "Frida Kahlo's father wasn't Jewish after all". The Jerusalem Post. Archived from the original on 15 April 2022. Retrieved 7 July 2018. https://www.jpost.com/Arts-and-Culture/Books/Frida-Kahlos-father-wasnt-Jewish-after-all ↩

  175. Herrera 2002, pp. 4–9; Ankori 2002, pp. 17–18; Burrus 2005, p. 199. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  176. Herrera 2002, pp. 10–11; Ankori 2002, p. 18. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  177. Herrera 2002, pp. 10–11; Ankori 2002, p. 18; Zamora 1990, pp. 15–16. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  178. Ankori 2002, p. 18. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  179. Ankori 2002, p. 18; Herrera 2002, pp. 10–12. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  180. Beck 2006, p. 57. - Beck, Evelyn Torton (Spring 2006). "Kahlo's World Split Open" (PDF). Feminist Studies. 32 (1): 54–81. doi:10.2307/20459065. JSTOR 20459065. Archived from the original (PDF) on 20 August 2018. https://web.archive.org/web/20180820082644/http://www.evibeck.com/uploads/Kahlo_s_World_Split_Open.pdf ↩

  181. Kettenmann 2003, pp. 8–10; Zamora 1990, p. 16; Ankori 2002, p. 18; Burrus 2005, p. 199. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  182. Kettenmann 2003, pp. 8–10; Zamora 1990, p. 16; Ankori 2002, p. 18; Burrus 2005, p. 199. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  183. Ankori 2002, p. 18; Herrera 2002, pp. 10–12. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  184. Herrera 2002, pp. 10–20; Ankori 2013, p. 44. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  185. Given Kahlo's later problems with scoliosis and with her hips and limbs, neurologist Budrys Valmantas has argued that she had a congenital condition, spina bifida, which was diagnosed by Dr. Leo Eloesser when she was a young adult.[150] Psychologist and art historian Dr. Salomon Grimberg disagrees, stating that Kahlo's problems were instead the result of not wearing an orthopedic shoe on her affected right leg, which led to damage to her hips and spine.[151] /wiki/Scoliosis ↩

  186. Herrera 2002, pp. 10–20; Ankori 2013, pp. 44–47. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  187. Ankori 2002, p. 18. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  188. Burrus 2008, pp. 13–15; Herrera 2002, pp. 10–21. - Burrus, Christina (2008). Frida Kahlo: 'I Paint my Reality'. 'New Horizons' series. London: Thames & Hudson. ISBN 978-0-500-30123-4. ↩

  189. Herrera 2002, pp. 10–20; Burrus 2005, p. 199; Ankori 2013, p. 45; Burrus 2008, p. 16. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  190. Herrera 2002, pp. 10–20; Burrus 2005, p. 199; Zamora 1990, p. 18. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  191. Zamora 1990, p. 18. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  192. Ankori 2013, p. 58. - Ankori, Gannit (2013). Frida Kahlo. Reaktion Books. ISBN 978-1-78023-198-3. ↩

  193. Ankori 2002, p. 19. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  194. Ankori 2013, p. 58. - Ankori, Gannit (2013). Frida Kahlo. Reaktion Books. ISBN 978-1-78023-198-3. ↩

  195. Ankori 2013, p. 58. - Ankori, Gannit (2013). Frida Kahlo. Reaktion Books. ISBN 978-1-78023-198-3. ↩

  196. Kettenmann 2003, p. 11; Herrera 2002, pp. 22–27; Ankori 2002, p. 19. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  197. Kettenmann 2003, p. 11; Herrera 2002, pp. 22–27. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  198. Herrera 2002, pp. 26–40. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  199. Ankori 2013, pp. 60–62. - Ankori, Gannit (2013). Frida Kahlo. Reaktion Books. ISBN 978-1-78023-198-3. ↩

  200. Anderson 2009, p. 120. - Anderson, Corrine (Fall 2009). "Remembrance of an Open Wound: Frida Kahlo and Post-revolutionary Mexican Identity" (PDF). South Atlantic Review. 74 (4): 119–130. JSTOR 41337719. Archived from the original (PDF) on 17 June 2019. https://web.archive.org/web/20190617063534/http://eccwhp.org/research/154w4b.pdf ↩

  201. Herrera 2002, pp. 26–40; Barson 2005, p. 59; Burrus 2005, p. 199; Ankori 2002, p. 19. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  202. Herrera 2002, pp. 26–40; Barson 2005, p. 59; Burrus 2005, p. 199; Ankori 2002, p. 19. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  203. Herrera 2002, p. 5; Dexter 2005, p. 13; Zamora 1990, pp. 19–20. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  204. "Frida Kahlo Biography | Life, Paintings, Influence on Art | frida-kahlo-foundation.org". www.frida-kahlo-foundation.org. Archived from the original on 7 April 2022. Retrieved 6 July 2020. https://www.frida-kahlo-foundation.org/biography.html ↩

  205. Maranzani, Barbara (17 June 2020). "How a Horrific Bus Accident Changed Frida Kahlo's Life". Biography. Archived from the original on 22 April 2022. Retrieved 6 July 2020. https://www.biography.com/news/frida-kahlo-bus-accident ↩

  206. Maranzani, Barbara (17 June 2020). "How a Horrific Bus Accident Changed Frida Kahlo's Life". Biography. Archived from the original on 22 April 2022. Retrieved 6 July 2020. https://www.biography.com/news/frida-kahlo-bus-accident ↩

  207. Kettenmann 2003, pp. 17–18. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  208. Herrera 2002, pp. 57–60; Burrus 2005, p. 201; Ankori 2002, pp. 20–21. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  209. Maranzani, Barbara (17 June 2020). "How a Horrific Bus Accident Changed Frida Kahlo's Life". Biography. Archived from the original on 22 April 2022. Retrieved 6 July 2020. https://www.biography.com/news/frida-kahlo-bus-accident ↩

  210. "The accident that changed Frida's life forever: "Life begins tomorrow"". Frida Kahlo in Baden-Baden – Ihr Gesamtwerk (in German). Retrieved 6 July 2020. http://www.fridakahlostory.com/1/post/2014/09/the-accident-that-changed-fridas-life-forever-life-begins-tomorrow.html ↩

  211. Kettenmann 2003, pp. 17–18. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  212. Herrera 2002, pp. 57–60; Burrus 2005, p. 201; Ankori 2002, pp. 20–21. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  213. "Frida Kahlo Facts". www.uky.edu. Archived from the original on 24 February 2021. Retrieved 6 July 2020. https://web.archive.org/web/20210224202654/http://www.uky.edu/~lbarr2/gws201fall10_files/Page1034.htm ↩

  214. Kettenmann 2003, pp. 17–18; Herrera 2002, pp. 62–63. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  215. Kettenmann 2003, pp. 17–18; Herrera 2002, pp. 62–63. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  216. Ankori 2002, p. 101; Ankori 2013, p. 51. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  217. Kettenmann 2003, pp. 20–22; Herrera 2002, pp. 78–81; Burrus 2005, p. 201; Zamora 1990, p. 31. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  218. Marnham 1998, p. 220; Zamora 1990, pp. 33–34; Ankori 2002, p. 20, 139. - Marnham, Patrick (1998). Dreaming with His Eyes Open: A Life of Diego Rivera. University of California Press. ISBN 978-0-520-22408-7. https://archive.org/details/dreamingwithhise00marn_0 ↩

  219. Marnham 1998, p. 220; Zamora 1990, pp. 33–34; Ankori 2002, p. 20. - Marnham, Patrick (1998). Dreaming with His Eyes Open: A Life of Diego Rivera. University of California Press. ISBN 978-0-520-22408-7. https://archive.org/details/dreamingwithhise00marn_0 ↩

  220. Zamora 1990, pp. 33–35; Burrus 2005, p. 201; Ankori 2002, p. 20. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  221. Herrera 2002, pp. 86–87. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  222. Herrera 2002, pp. 79–80, 87–93; Ankori 2002, pp. 20–21; Zamora 1990, p. 37. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  223. Zamora 1990, p. 35. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  224. Herrera 2002, pp. 93–100; Ankori 2013, pp. 70–73. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  225. Herrera 2002, pp. 93–100. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  226. Zamora 1990, p. 40; Herrera 2002, p. Preface xi. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  227. Herrera 2002, pp. Preface xi. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  228. Zamora 1990, p. 42; Herrera 2002, pp. 101–105; Burrus 2005, p. 201. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  229. Burrus 2005, p. 201; Herrera 2002, pp. 101–105; Tibol 2005, p. 191 for time for Rivera's expulsion. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  230. Udall 2003, p. 11. - Udall, Sharyn (Autumn 2003). "Frida Kahlo's Mexican Body: History, Identity, and Artistic Aspiration" (PDF). Woman's Art Journal. 24 (2): 10–14. doi:10.2307/1358781. JSTOR 1358781. Archived from the original (PDF) on 6 July 2019. https://web.archive.org/web/20190706155636/http://www.dalestory.org/LATINAMERICA/Mexico/KahloAndRivera/Kahlo,Frida,ArtisticAspiration,byUdall,2004.pdf ↩

  231. Kettenmann 2003, pp. 26–27; Albers 1999, p. 223; Block & Hoffman-Jeep 1998–1999, pp. 8–10; Ankori 2002, p. 144. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  232. Herrera 2002, pp. 109–113; Zamora 1990, pp. 78–80. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  233. Herrera 2002, pp. 101–113; Marnham 1998, p. 228; Block & Hoffman-Jeep 1998–1999, pp. 8–10; Dexter 2005, pp. 12–13; Baddeley 1991, pp. 12–13. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  234. Baddeley 1991, pp. 13–14. - Baddeley, Oriana (1991). "'Her Dress Hangs Here': De-Frocking the Kahlo Cult" (PDF). Oxford Art Journal. 14. Oxford University Press: 10–17. doi:10.1093/oxartj/14.1.10. ISSN 0142-6540. Archived from the original (PDF) on 10 August 2017. https://web.archive.org/web/20170810221534/https://gen2.ca/DBHS/Art/1360274.pdf ↩

  235. Herrera 2002, pp. 114–116; Kettenmann 2003, p. 31; Marnham 1998, pp. 231–232. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  236. Herrera 2002, pp. 117–125; Zamora 1990, pp. 42–43; Block & Hoffman-Jeep 1998–1999, p. 8. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  237. 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. - Panzer, Mary (2004). "The Essential Tact of Nickolas Muray". In Heinzelman, Kurt (ed.). The Covarrubias Circle: Nickolas Muray's Collection of Twentieth-Century Mexican Art. University of Texas Press. ISBN 978-0-292-70588-3. ↩

  238. Herrera 2002, pp. 125–130; Zamora 1990, p. 43. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  239. Herrera 2002, pp. 133–160. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  240. Davies, Florence (2 February 1933). "Wife of Master Mural Painter Gleefully Dabbles in Works of Art". Detroit News. Archived from the original on 31 July 2020. Retrieved 22 November 2019. https://www.detroitnews.com/story/entertainment/arts/2017/02/02/frida-kahlo-iconic-artist-detroit-news/97386432/ ↩

  241. Herrera 2002, pp. 117–125; Zamora 1990, pp. 42–43; Burrus 2005, pp. 202–203; Kettenmann 2003, p. 36 for quote. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  242. Burrus 2005, p. 202; Herrera 2002, pp. 133–160. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  243. Kettenmann 2003, p. 36 for quote. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  244. Ankori 2013, pp. 87–94. - Ankori, Gannit (2013). Frida Kahlo. Reaktion Books. ISBN 978-1-78023-198-3. ↩

  245. Ankori 2013, pp. 87–94. - Ankori, Gannit (2013). Frida Kahlo. Reaktion Books. ISBN 978-1-78023-198-3. ↩

  246. Herrera 2002, pp. 133–160; Burrus 2005, pp. 201; Zamora 1990, p. 46; Kettenmann 2003, p. 32; Ankori 2013, p. 87–94. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  247. Herrera 2002, pp. 133–160; Zamora 1990, p. 46. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  248. Herrera 2002, pp. 161–178. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  249. Herrera 2002, pp. 161–178. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  250. Herrera 2002, pp. 161–178. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  251. Zamora 1990, p. 46; Herrera 2002, pp. 161–178; Kettenmann 2003, p. 38. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  252. Herrera 2002, pp. 161–178. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  253. Kettenmann 2003, p. 38; Herrera 2002, pp. 161–178. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  254. Herrera 2002, pp. 179–180; Zamora 1990, pp. 46–47; Burrus 2005, p. 203. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  255. Herrera 2002, pp. 179–180; Zamora 1990, pp. 46–47; Kettenmann 2003, p. 38. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  256. Burrus 2005, p. 203; Herrera 2002, pp. 192–196. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  257. Herrera 2002, pp. 180–190; Kettenmann 2003, pp. 38–39; Burrus 2005, p. 219. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  258. Collins, Amy Fine (3 September 2013). "Diary of a Mad Artist". Vanity Fair. Archived from the original on 26 July 2016. Retrieved 17 July 2016. https://www.vanityfair.com/culture/1995/09/frida-kahlo-diego-rivera-art-diary ↩

  259. Herrera 2002, pp. 180–182; Zamora 1990, pp. 46–47. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  260. Herrera 2002, pp. 180–182; Zamora 1990, pp. 46–47; Burrus 2005, p. 203; Ankori 2002, pp. 159–160. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  261. Burrus 2005, p. 203; Herrera 2002, pp. 180–190; Kettenmann 2003, p. 39. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  262. Herrera 2002, pp. 180–190; Kettenmann 2003, pp. 38–40; Zamora 1990, pp. 50–53; Burrus 2005, p. 203; Ankori 2002, p. 193. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  263. Burrus 2005, p. 203; Herrera 2002, pp. 190–191; Zamora 1990, p. 50. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  264. Herrera 2002, pp. 192–196. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  265. Herrera 2002, pp. 192–201; Zamora 1990, pp. 50–53; Kettenmann 2003, p. 40. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  266. Kettenmann 2003, pp. 40–41; Burrus 2005, p. 203. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  267. Herrera 2002, pp. 192–215; Zamora 1990, pp. 52–54; Kettenmann 2003, pp. 40–41; Burrus 2005, p. 203. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  268. Herrera 2002, pp. 192–215; Zamora 1990, pp. 52–54; Kettenmann 2003, pp. 40–41. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  269. "Self-Portrait Dedicated to Leon Trotsky". NMWA. National Museum of Women in the Arts. Archived from the original on 1 November 2023. Retrieved 29 October 2023. https://nmwa.org/art/collection/self-portrait-dedicated-leon-trotsky/ ↩

  270. Herrera 2002, pp. 250–252. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  271. Herrera 2002, pp. 250–252; Marnham 1998, p. 290. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  272. Zamora 1990, p. 62. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  273. Herrera 2002, pp. 250–252, 273–27; Zamora 1990, pp. 62–64; Marnham 1998, p. 290. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  274. Herrera 2002, pp. 250–252, 273–277. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  275. Herrera 2002, pp. 280–294; Zamora 1990, p. 64; Kettenmann 2003, p. 52. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  276. Kettenmann 2003, p. 62; Herrera 2002, p. 315. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  277. Herrera 2002, p. 315. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  278. Zamora 1990, pp. 136–137; Burrus 2005, p. 220. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  279. "Twenty Centuries of Mexican Art Opens at Museum of Modern Art" (PDF). Museum of Modern Art. 15 May 1940. Archived (PDF) from the original on 3 November 2016. Retrieved 25 July 2016. https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/608/releases/MOMA_1940_0039_1940-05-11_40511-34.pdf?2010 ↩

  280. Herrera 2002, pp. 295–315. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  281. Herrera 2002, pp. 295–315; Burrus 2005, p. 220. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  282. Herrera 2002, pp. 276–277, 295–315; Kettenmann 2003, pp. 52, 56; Zamora 1990, pp. 64, 70; Burrus 2005, p. 205. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  283. Herrera 2002, pp. 276–277, 295–315; Kettenmann 2003, pp. 52, 56; Zamora 1990, pp. 64; Burrus 2005, p. 205. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  284. Herrera 2002, pp. 295–315 for fleeing; Zamora 1990, p. 70; Kettenmann 2003, p. 56. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  285. Marnham 1998, p. 296; Ankori 2002, p. 193. - Marnham, Patrick (1998). Dreaming with His Eyes Open: A Life of Diego Rivera. University of California Press. ISBN 978-0-520-22408-7. https://archive.org/details/dreamingwithhise00marn_0 ↩

  286. Kettenmann 2003, pp. 56–57; Burrus 2005, p. 205; Zamora 1990, p. 70. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  287. Kettenmann 2003, pp. 56–57; Burrus 2005, p. 205; Zamora 1990, p. 70; Herrera 2002, pp. 295–315. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  288. Zamora 1990, p. 86. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  289. Herrera 2002, pp. 295–315; Zamora 1990, p. 70. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  290. Kettenmann 2003, p. 57. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  291. Herrera 2002, pp. 295–315; Zamora 1990, p. 70. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  292. "glbtq >> arts >> Kahlo, Frida". 10 November 2013. Archived from the original on 10 November 2013. Retrieved 24 February 2020. https://web.archive.org/web/20131110030622/http://www.glbtq.com/arts/kahlo_f.html ↩

  293. Herrera 2002, pp. 344–346. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  294. Herrera 2002, pp. 344–346; Zamora 1990, p. 86. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  295. Zamora 1990, p. 86. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  296. Herrera 2002, pp. 295–315; Zamora 1990, pp. 73–78; Kettenmann 2003, p. 61. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  297. Kettenmann 2003, p. 79; Herrera 2002, p. 383; Burrus 2005, p. 205. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  298. Herrera 2002, pp. 344–359; Burrus 2005, p. 205. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  299. Herrera 2002, pp. 344–359. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  300. Herrera 2002, pp. 344–359. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  301. Herrera 2002, pp. 344–359. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  302. Zamora 1990, p. 122; Herrera 2002, pp. 383–389; Burrus 2005, p. 205. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  303. Kettenmann 2003, p. 79; Herrera 2002, p. 389–400. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  304. Kettenmann 2003, p. 79; Herrera 2002, p. 389–400. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  305. Kettenmann 2003, p. 80. - Kettenmann, Andrea (2003). Kahlo. Taschen. ISBN 978-3-8228-5983-4. ↩

  306. Burrus 2005, p. 206. - Burrus, Christina (2005). "The Life of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. ↩

  307. Herrera 2002, pp. 412–430. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  308. Herrera 2002, pp. 412–430. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  309. Herrera 2002, pp. 412–430. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  310. Zamora 1990, p. 130. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  311. Herrera 2002, pp. 425–433; Zamora 1990, p. 138. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  312. Herrera 2002, pp. 425–433. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  313. Herrera 2002, pp. 425–433. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  314. Herrera 2002, pp. 425–433. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  315. Herrera 2002, pp. 425–433. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  316. Herrera, pp. 425–433; Zamora 1990, p. 12. - Herrera, Hayden. "Frida Kahlo". Oxford Art Online. Oxford University Press. Archived from the original on 16 October 2015. Retrieved 4 March 2021. http://www.oxfordartonline.com/subscriber/article/grove/art/T045455?q=frida+kahlo&search=quick&pos=1&_start=1 ↩

  317. Herrera 2002, pp. 425–433. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  318. Herrera, Hayden. "Frida Kahlo". Oxford Art Online. Oxford University Press. Archived from the original on 16 October 2015. Retrieved 4 March 2021. http://www.oxfordartonline.com/subscriber/article/grove/art/T045455?q=frida+kahlo&search=quick&pos=1&_start=1 ↩

  319. Herrera 2002, pp. 425–433. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  320. Zamora 1990, p. 12. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  321. Zamora 1990, p. 12. - Zamora, Martha (1990). Frida Kahlo: The Brush of Anguish. Chronicle Books. ISBN 978-0-87701-746-2. https://archive.org/details/fridakahlobrusho0000zamo ↩

  322. Herrera 2002, pp. 433–440. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  323. Herrera 2002, pp. 433–440. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  324. Herrera 2002, pp. 433–440. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  325. Herrera 2002, pp. 433–440. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  326. Herrera 2002, pp. 433–440. - Herrera, Hayden (2002). Frida: A Biography of Frida Kahlo. Harper Perennial. ISBN 9780060085896. https://archive.org/details/frida00hayd ↩

  327. "Frida Kahlo". Tate Modern. 2005. Archived from the original on 30 July 2016. Retrieved 16 August 2016. http://www.tate.org.uk/whats-on/tate-modern/exhibition/frida-kahlo ↩

  328. Bakewell 2001, p. 315. - Bakewell, Elizabeth (2001). "Frida Kahlo". In Werner, Michael S. (ed.). The Concise Encyclopedia of Mexico. Routledge. pp. 315–318. ISBN 978-1-57958-337-8. https://books.google.com/books?id=VeI4CQAAQBAJ&pg=PA315 ↩

  329. Ankori 2002, pp. 3–5; Deffebach 2006, p. 189; Pankl & Blake 2012, p. 2; Baddeley 1991, p. 10. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  330. Ankori 2002, pp. 3–5; Deffebach 2006, p. 189; Pankl & Blake 2012, p. 1. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  331. "Frida Kahlo: Feminist and Chicana Icon". San Francisco Museum of Modern Art. Archived from the original on 2 December 2016. Retrieved 6 August 2016. https://www.sfmoma.org/watch/frida-kahlo-feminist-and-chicana-icon/ ↩

  332. Ankori 2002, pp. 4–5. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  333. Theran 1999, p. 6. - Theran, Susan (1999). Leonard's Price Index of Latin American Art at Auction. Auction Index, Inc. ISBN 978-1-349-15086-1. ↩

  334. Ankori 2002, pp. 4–5. - Ankori, Gannit (2002). Imaging Her Selves: Frida Kahlo's Poetics of Identity and Fragmentation. Greenwood Press. ISBN 978-0-313-31565-7. ↩

  335. Wollen 2004, pp. 235–236; Pankl & Blake 2012, p. 1; Baddeley 1991, p. 10. - Wollen, Peter (2004). Paris/Manhattan: Writings on Art. Verso. ↩

  336. Wollen 2004, p. 236. - Wollen, Peter (2004). Paris/Manhattan: Writings on Art. Verso. ↩

  337. Pankl & Blake 2012, p. 1; Wollen 2004, p. 236; Baddeley 1991, p. 10. - Pankl, Lis; Blake, Kevin (2012). "Made in Her Image: Frida Kahlo as Material Culture". Material Culture. 44 (2): 1–20. S2CID 34207297. https://api.semanticscholar.org/CorpusID:34207297 ↩

  338. Knight, Christopher (6 September 2009). "Fighting over Frida Kahlo". Los Angeles Times. Archived from the original on 18 November 2015. Retrieved 17 November 2015. https://www.latimes.com/archives/la-xpm-2009-sep-06-ca-kahlo6-story.html ↩

  339. Theran 1999, p. 6. - Theran, Susan (1999). Leonard's Price Index of Latin American Art at Auction. Auction Index, Inc. ISBN 978-1-349-15086-1. ↩

  340. Kinsella, Eileen (25 May 2015). "Frida Kahlo Market Booming Despite Tough Mexican Export Restrictions". ArtNet News. Archived from the original on 2 December 2016. Retrieved 1 December 2016. https://news.artnet.com/market/frida-kahlo-market-scarcity-284667 ↩

  341. Kinsella, Eileen (25 May 2015). "Frida Kahlo Market Booming Despite Tough Mexican Export Restrictions". ArtNet News. Archived from the original on 2 December 2016. Retrieved 1 December 2016. https://news.artnet.com/market/frida-kahlo-market-scarcity-284667 ↩

  342. Theran 1999, p. 6. - Theran, Susan (1999). Leonard's Price Index of Latin American Art at Auction. Auction Index, Inc. ISBN 978-1-349-15086-1. ↩

  343. "Roots Sets $5.6 Million Record at Sotheby's". Art Knowledge News. 2006. Archived from the original on 27 August 2011. Retrieved 23 August 2011. https://web.archive.org/web/20110827065411/http://www.artknowledgenews.com/Frida_Kahlo_Roots_$5.6_Million_Record_at_Sothebys.html ↩

  344. "The Journey of "Two Nudes in a Forest" by Frida Kahlo 1939". 25 April 2016. Archived from the original on 24 April 2017. Retrieved 23 April 2017. http://www.asharpeye.com/journey-two-nudes-forest-frida-kahlo-1939-2/ ↩

  345. Pankl & Blake 2012, p. 1; Baddeley 1991, p. 10–11; Lindauer 1999, p. 2. - Pankl, Lis; Blake, Kevin (2012). "Made in Her Image: Frida Kahlo as Material Culture". Material Culture. 44 (2): 1–20. S2CID 34207297. https://api.semanticscholar.org/CorpusID:34207297 ↩

  346. Wollen 2004, p. 236. - Wollen, Peter (2004). Paris/Manhattan: Writings on Art. Verso. ↩

  347. Baddeley 2005, p. 49. - 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. ↩

  348. Pankl & Blake 2012, p. 1; Baddeley 1991, p. 10–11; Lindauer 1999, p. 2. - Pankl, Lis; Blake, Kevin (2012). "Made in Her Image: Frida Kahlo as Material Culture". Material Culture. 44 (2): 1–20. S2CID 34207297. https://api.semanticscholar.org/CorpusID:34207297 ↩

  349. Trebay, Guy (8 May 2015). "Frida Kahlo Is Having a Moment". The New York Times. Archived from the original on 10 May 2015. Retrieved 30 November 2016. https://www.nytimes.com/2015/05/10/style/frida-kahlo-is-having-a-moment.html ↩

  350. Mencimer, Stephanie (June 2002). "The Trouble with Frida Kahlo" (PDF). Washington Monthly. Archived (PDF) from the original on 22 February 2016. Retrieved 20 August 2016. http://www.dalestory.org/LATINAMERICA/Mexico/KahloAndRivera/Kahlo,FridaTheTroubleWithFridaKahlobyStephanie%20Mencimer.pdf ↩

  351. "Understanding Frida Today". PBS. Archived from the original on 10 October 2016. Retrieved 16 November 2016. https://www.pbs.org/weta/fridakahlo/today/ ↩

  352. "Frida (2002)". Box Office Mojo. Archived from the original on 5 December 2016. Retrieved 21 November 2016. https://boxofficemojo.com/movies/?id=frida.htm ↩

  353. N'Duka, Amanda (24 October 2017). "Nolan Gerard Funk Joins 'Berlin, I Love You'; Natalia Cordova-Buckley Set In 'Coco'". Deadline. Archived from the original on 25 October 2017. Retrieved 25 October 2017. https://deadline.com/2017/10/nolan-gerard-funk-berlin-i-love-you-natalia-cordova-buckley-coco-1202194115/ ↩

  354. Baddeley 2005, pp. 47–49. - 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. ↩

  355. Lindauer 1999, pp. 1–2. - Lindauer, Margaret A. (1999). Devouring Frida: The Art History and Popular Celebrity of Frida Kahlo. University Press of New England. ↩

  356. Berger 2001, pp. 155–165. - Berger, John (2001). The Shape of a Pocket. Bloomsbury. ISBN 978-0-7475-5810-1. ↩

  357. Collins, Amy Fine (3 September 2013). "Diary of a Mad Artist". Vanity Fair. Archived from the original on 26 July 2016. Retrieved 17 July 2016. https://www.vanityfair.com/culture/1995/09/frida-kahlo-diego-rivera-art-diary ↩

  358. Lindauer 1999, pp. 3–12; Dexter 2005, p. 11; Ankori 2005, p. 31; Baddeley 2005, pp. 47–53. - Lindauer, Margaret A. (1999). Devouring Frida: The Art History and Popular Celebrity of Frida Kahlo. University Press of New England. ↩

  359. Mencimer, Stephanie (June 2002). "The Trouble with Frida Kahlo" (PDF). Washington Monthly. Archived (PDF) from the original on 22 February 2016. Retrieved 20 August 2016. http://www.dalestory.org/LATINAMERICA/Mexico/KahloAndRivera/Kahlo,FridaTheTroubleWithFridaKahlobyStephanie%20Mencimer.pdf ↩

  360. Baddeley 1991, p. 11. - Baddeley, Oriana (1991). "'Her Dress Hangs Here': De-Frocking the Kahlo Cult" (PDF). Oxford Art Journal. 14. Oxford University Press: 10–17. doi:10.1093/oxartj/14.1.10. ISSN 0142-6540. Archived from the original (PDF) on 10 August 2017. https://web.archive.org/web/20170810221534/https://gen2.ca/DBHS/Art/1360274.pdf ↩

  361. Wollen 2004, p. 240. - Wollen, Peter (2004). Paris/Manhattan: Writings on Art. Verso. ↩

  362. "La Casa Azul". Museo Frida Kahlo. Archived from the original on 19 November 2016. Retrieved 15 November 2016. https://web.archive.org/web/20161119141243/http://www.museofridakahlo.org.mx/esp/1/el-museo/la-casa/la-casa-azul ↩

  363. Delsol, Christine (16 September 2015). "Frida Kahlo and Diego Rivera's Mexico City". SFGate. Archived from the original on 15 November 2016. Retrieved 15 November 2016. http://www.sfgate.com/mexico/mexicomix/article/Frida-Kahlo-and-Diego-Rivera-s-Mexico-City-6496626.php ↩

  364. Delsol, Christine (16 September 2015). "Frida Kahlo and Diego Rivera's Mexico City". SFGate. Archived from the original on 15 November 2016. Retrieved 15 November 2016. http://www.sfgate.com/mexico/mexicomix/article/Frida-Kahlo-and-Diego-Rivera-s-Mexico-City-6496626.php ↩

  365. "Stamp Release No. 01-048 – Postal Service Continues Its Celebration of Fine Arts With Frida Kahlo Stamp". USPS. Archived from the original on 17 July 2011. Retrieved 29 October 2010. https://web.archive.org/web/20110717182928/http://www.usps.com/news/2001/philatelic/sr01_048.htm ↩

  366. Salvo, Victor. "Legacy Project Chicago". legacyprojectchicago.org. Archived from the original on 8 October 2019. Retrieved 29 November 2014. https://legacyprojectchicago.org/legacy-walk ↩

  367. "Presentación del nuevo billete de quinientos pesos" (PDF). Bank of Mexico. Archived from the original (PDF) on 23 September 2010. Retrieved 11 September 2010. https://web.archive.org/web/20100923004604/http://www.banxico.org.mx/billetes-y-monedas/informacion-general/billetes-y-monedas-de-fabricacion-actual/billete-de-500-pesos/material-educativo/%7B601FEB0F-63F6-A3AF-C803-A064AC6BEE74%7D.pdf ↩

  368. "Se cumplen 100 años del nacimiento de Frida Kahlo" [100 years since the birth of Frida Kahlo]. elconfidencial.com (in Spanish). 6 July 2007. Archived from the original on 25 November 2021. Retrieved 25 November 2021. https://www.elconfidencial.com/cultura/2007-07-06/se-cumplen-100-anos-del-nacimiento-de-frida-kahlo_739544/ ↩

  369. "Frida". Publishers Weekly. January 2001. Archived from the original on 2 December 2016. Retrieved 16 November 2016. http://www.publishersweekly.com/978-1-58567-074-1 ↩

  370. Alice O'Keeffe (8 November 2009). "The Lacuna by Barbara Kingsolver (book review)". The Guardian. theguardian.com. Archived from the original on 9 July 2015. Retrieved 4 June 2015. https://www.theguardian.com/books/2009/nov/08/the-lacuna-barbara-kingsolver ↩

  371. "Suite for Frida Kahlo". Valley Entertainment. Archived from the original on 11 September 2012. Retrieved 6 July 2010. http://www.valley-entertainment.com/suite-for-frida-kahlo-2.html ↩

  372. "Michael Marra sings Frida Kahlo's visit to the Taybridge Bar". YouTube. 20 May 2018. Archived from the original on 27 October 2021. Retrieved 24 July 2021. https://ghostarchive.org/varchive/youtube/20211027/xTJSc8N6uNQ ↩

  373. Brown, Monica and Parra, John (Illustrator). 2017. Frida Kahlo and Her Animalitos. New York: NorthSouth. ↩

  374. O'Sullivan, Michael (2 December 1996). "Putting the Best Face on Frida Kahlo". The Washington Post. ISSN 0190-8286. Archived from the original on 18 August 2020. Retrieved 21 July 2020. https://www.washingtonpost.com/archive/lifestyle/1996/12/02/putting-the-best-face-on-frida-kahlo/84e82b79-f55d-4fa0-b247-c32fff109791/ ↩

  375. "News 2004 – 2003". www.fridakahlo.it. 31 December 2004. Archived from the original on 31 July 2020. Retrieved 21 July 2020. http://www.fridakahlo.it/en/scheda-news.php?id=15 ↩

  376. "Homage to Frida Kahlo Portrait with Scorpion par Marina Abramović sur artnet". www.artnet.fr. Archived from the original on 22 July 2020. Retrieved 21 July 2020. http://www.artnet.fr/artistes/marina-abramovic/homage-to-frida-kahlo-portrait-with-scorpion-a-Fpe-5ZyKShA_V0yCRNt8mg2 ↩

  377. "Famous paintings come to life in these quarantine works of art". PBS NewsHour. 15 April 2020. Archived from the original on 21 July 2020. Retrieved 21 July 2020. https://www.pbs.org/newshour/arts/in-these-quarantine-tableaus-household-items-turn-into-art-history-props ↩

  378. "Homage to Frida Kahlo (self-portrait) by Gabriela Gonzalez Dellosso". Art Renewal Center. Archived from the original on 21 July 2020. Retrieved 21 July 2020. https://www.artrenewal.org/artworks/homage-to-frida-kahlo-self-portrait/gabriela-gonzalez-dellosso/68054 ↩

  379. "An Inner Dialogue with Frida Kahlo | PAMM | Pérez Art Museum Miami". www.pamm.org. Archived from the original on 9 August 2020. Retrieved 13 August 2020. https://www.pamm.org/photography/photograph/inner-dialogue-frida-kahlo ↩

  380. "Why a California Artist Is Taking the Frida Kahlo Corporation to Court". KQED. 17 January 2020. Archived from the original on 21 July 2020. Retrieved 21 July 2020. https://www.kqed.org/news/11793388/why-a-california-artist-is-taking-the-frida-kahlo-corporation-to-court ↩

  381. "Frida Kahlo / Rupert Garcia '75". Library of Congress. Archived from the original on 28 September 2020. Retrieved 13 August 2020. https://www.loc.gov/item/2014645245/ ↩

  382. Mackrell, Judith (22 March 2016). "Frida Kahlo's brush with ballet: Tamara Rojo dances the artist's life". The Guardian. Archived from the original on 14 November 2016. Retrieved 16 November 2016. https://www.theguardian.com/stage/2016/mar/22/frida-kahlo-tamara-rojo-she-said-sadlers-wells-english-national-ballet ↩

  383. "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. https://www.nytimes.com/2020/01/17/arts/dance/frida-dutch-national-ballet.html ↩

  384. Rothstein, Edward (16 October 1992). "Venerating Frida Kahlo". New York Times. Archived from the original on 27 August 2019. Retrieved 17 November 2015. https://www.nytimes.com/1992/10/16/theater/review-music-venerating-frida-kahlo.html ↩

  385. "p. 3" (PDF). fennicagehrman.fi. Archived from the original (PDF) on 2 May 2013. https://web.archive.org/web/20130502002124/http://www.fennicagehrman.fi/fileadmin/tiedostot/highlights/Highlights_4-2012_koko_lehti.pdf ↩

  386. Crawford, Caroline (20 June 2023). "Review: San Francisco Opera's 'El Último Sueño De Frida Y Diego' A Riveting New Spanish Language Work". SFGate. Archived from the original on 23 June 2023. Retrieved 22 June 2023. https://www.sfgate.com/news/bayarea/article/review-san-francisco-opera-s-el-ltimo-18160625.php ↩

  387. Gates, Anita (13 July 1999). "Theater Review: Sympathetic, but Don't Make Her Angry". The New York Times. Archived from the original on 2 December 2016. Retrieved 16 November 2016. https://www.nytimes.com/1999/07/13/theater/theater-review-sympathetic-but-don-t-make-her-angry.html ↩

  388. Gardner, Lyn (14 October 2002). "She was a big, vulgar woman with missing teeth who drank, had an affair with Trotsky and gobbled up life". The Guardian. Archived from the original on 2 December 2016. Retrieved 16 November 2016. https://www.theguardian.com/stage/2002/oct/14/theatre.artsfeatures ↩

  389. "Gael Le Cornec Press". 2011. Archived from the original on 18 November 2015. Retrieved 17 November 2015. http://www.gaellecornec.com/press/ ↩

  390. "Tree of Hope: The Frida Kahlo Musical". Backstage. 16 March 2014. Archived from the original on 18 November 2015. Retrieved 17 November 2015. http://www.backstage.com/casting/tree-of-hope-the-frida-kahlo-musical-25776/ ↩

  391. Moynihan, Colin (9 March 2018). "Frida Kahlo Is a Barbie Doll Now. (Signature Unibrow Not Included.)". The New York Times. Archived from the original on 9 March 2018. Retrieved 10 March 2018. https://www.nytimes.com/2018/03/09/arts/design/frida-kahlo-barbie-mattel.html ↩

  392. Shelter, Scott (14 March 2016). "The Rainbow Honor Walk: San Francisco's LGBT Walk of Fame". Quirky Travel Guy. Archived from the original on 28 July 2019. Retrieved 28 July 2019. https://quirkytravelguy.com/lgbt-walk-fame-rainbow-honor-san-francisco/ ↩

  393. "Castro's Rainbow Honor Walk Dedicated Today: SFist". SFist – San Francisco News, Restaurants, Events, & Sports. 2 September 2014. Archived from the original on 10 August 2019. Retrieved 13 August 2019. https://web.archive.org/web/20190810075052/https://sfist.com/2014/09/02/castros_rainbow_honor_walk_dedicate/ ↩

  394. Carnivele, Gary (2 July 2016). "Second LGBT Honorees Selected for San Francisco's Rainbow Honor Walk". We The People. Archived from the original on 12 August 2019. Retrieved 12 August 2019. http://www.gaysonoma.com/2016/07/second-lgbt-honorees-selected-for-san-franciscos-rainbow-honor-walk/ ↩

  395. Fracessa, Dominic (20 June 2018). "Citing racist connection, SF changes Phelan Avenue to Frida Kahlo Way". San Francisco Chronicle. Archived from the original on 16 May 2019. Retrieved 16 August 2018. https://www.sfchronicle.com/bayarea/article/Citing-racist-connection-SF-changes-Phelan-13008868.php ↩

  396. Small, Zachary (8 November 2022). "Setting a Kahlo Drawing Aflame in Search of an NFT Spark". The New York Times. Archived from the original on 8 November 2022. Retrieved 8 November 2022. https://www.nytimes.com/2022/11/08/arts/design/frida-kahlo-nft-martin-mobarak.html ↩

  397. "These New Swatches Are Actual Wearable Art". Esquire. 17 March 2022. Archived from the original on 3 January 2023. Retrieved 3 January 2023. https://www.esquire.com/style/mens-fashion/a39465501/swatch-centre-pompidou-collaboration-collection/ ↩

  398. Snell, Zoe (12 April 2022). "Watch Out: The Latest Swatch Collaboration". The Market Herald Fancy. Archived from the original on 3 January 2023. Retrieved 3 January 2023. https://web.archive.org/web/20230103075614/https://themarketherald.com.au/fancy/watch-out-the-latest-swatch-collaboration/ ↩

  399. Smee, Sebastian (18 October 2024). "Why Frida Kahlo painted with such scalding intensity". The Washington Post. https://www.washingtonpost.com/entertainment/art/2024/10/18/frida-kahlo-beyond-the-myth-dallas/ ↩

  400. Shand, John (2 January 2023). "'Improbable as a hummingbird': The extraordinary life of Frida Kahlo". The Sydney Morning Herald. Archived from the original on 3 January 2023. Retrieved 3 January 2023. https://www.smh.com.au/culture/art-and-design/improbable-as-a-hummingbird-the-extraordinary-life-of-frida-kahlo-20221222-p5c894.html ↩

  401. Review: Shand, John (4 January 2023). "This Frida Kahlo 'biography' is magical and moving". The Sydney Morning Herald. Archived from the original on 5 January 2023. Retrieved 5 January 2023. https://www.smh.com.au/culture/art-and-design/this-frida-kahlo-biography-is-magical-and-moving-20230104-p5cad0.html ↩

  402. "V&A · Frida Kahlo: Making Her Self Up". Victoria and Albert Museum. Archived from the original on 12 April 2019. Retrieved 12 April 2019. https://www.vam.ac.uk/exhibitions/frida-kahlo-making-her-self-up ↩