Abstract
This paper provides an analysis of the life and art of Frida Kahlo through the psychoanalytic theory of Carl Jung. The paper examines how Kahlo's art and life are inseparable. The paper also looks at her early life and development. The author applies Jung's theory of the unsatisfied yearning of the artist to Kahlo's life and work.

From the Paper
"Only one solo exhibition of Frida Kahlo's work was held during her lifetime. This was near the end of her life and long after she had produced her best work. Today her art is revered and admired for its sheer accessibility and timelessness, held in high regard by women, Latin Americans, artists and other marginalized cultures alike. It is through her art that Kahlo expressed herself, and as such, the images that she painted during her lifetime exist not only as..."

Tags:frida kahlo, surrealism, carl jung

Abstract
This is a four page paper that recounts the tumultuous life of Frida Kahlo especially in reference to her surrealist painting and her relationship with her on-again, off-again husband, Diego Rivera. The paper posits that the film is a colorful, engaging portrayal of the painter and the impetus for her creative process- mostly by the changing currents of love in her life.

From the Paper
""Frida," the 2002 biopic film directed by Julie Taymor, recounts the tumultuous life of Frida Kahlo especially in reference to her surrealist painting and her relationship with her on-again, off-again husband, Diego Rivera. The film is a colorful, engaging portrayal of the painter and the impetus for her creative process- mostly by the changing currents of love in her life. It is clear through the film "Frida" that Frida Kahlo lived a bold and uncompromising life as a political, artistic, and sexual revolutionary. The film itself starts with Frida Kahlo's accident that begins her..."

Tags:frida, film, criticism

Abstract
This paper is a book review of Frida Khalo's biography. Khalo's life is described as a series of extreme challenges that she was able to endure and transcend through her work. Despite severe pain and illness, Khalo was able to be a productive and prolific writer, using creativity as an escape from her physical pain.

From the Paper
"Frida Kahlo lived from 1910-1954. Her existence was a continuous experience of pain and of enduring operations. Khalo's life was marked by ambiguity and duality since she had an "exterior persona constantly reinvented with costume and ornament, and an interior life nourished on the pain of a body crippled in a trolley accident" (Chadwick 313). Frida expressed her physical and mental torment in her work. Kahlo (227) wrote in her Diary that "I'll do what I can to escape from my world."

Tags:kahlo, problems, model

Abstract
This paper explains that Frida Kahlo's physical suffering definitely stimulated her spiritual side as images came into her mind and then appeared in her paintings, similar to many physically handicapped artists, such as Toulouse-Lautrec. The author claims that the biography of Frida Kahlo, as written by Hayden Herrera, is perhaps one of the most interesting and complete stories about someone's life that has ever been written. The paper contends that Kahlo is a type of traditional artist, called Mexicanism, which she embraced throughout her lifetime as a result of the Mexican Revolution of 1910 that resulted in a wave of nationalism throughout the country and prompted a new pride in traditional Mexican culture.

Table of Contents
Background Information: Biography and Reputation
Synopsis of Hayden Herrera's "Frida: A Biography of Frida Kahlo"
Objective Critique

From the Paper
"Frida Kahlo was born on the 6th of July 1907 in Ciudad de Mexico as the third daughter of William Kahlo and Matilda Calderon. Her complete name was Magdalena Carmen Frida Kahlo Calderon. Her life was struck by misery ever since the beginning: in 1913, when she was six years old, she contracted poliomyelitis and her right leg was affected, appearing much thinner than the other throughout her life. She entered high school at the National Preparatory School, where she soon turned out to be the leader of a prank-oriented group of rebel teenagers. It was here that she came in contact with her future husband and soul mate, Diego Rivera, perhaps the greatest Mexican muralist who, at that time, was commissioned to paint a mural in the school auditorium."

Tags:handicapped, spiritual, birth, biography, mexicanism

Abstract
The paper describes the painting "The Two Fridas" by Frida Kahlo that reveals two different images of the artist and discusses how it indicates Frida's sense of being torn and feeling like two women, one emotionally destroyed and one a survivor. The paper asserts that Frida's style of primitivism makes the work uniquely self-expressive. The paper further maintains that this work is powerful testimony to the fact that self-portraits of events in the artist's life can still be rendered relevant and timeless.

From the Paper
"Frida Kahlo's The Two Fridas is a startling and intriguing self-portrait. The flat texture of the work in the style of primitivism reveals two images of the artist, both of whom are holding hands, both of which have similar facial expressions (including Kahlo's signature unibrow and bun) yet are dressed entirely differently, in a different color palate. One of the Fridas wears a white gown with a high neck. The dress has the appearance of a highly conventional, almost Victorian traditional style of garb. The other Frida has a similarly impassive look upon her face and wears earthy, peasant clothing. Yet there is an immediate shock upon viewing the painting--the more conventional Frida holds a pair of surgical tools, and the skin above her heart is cut out. Tendons link the exposed heart connected to the heart of the other Frida. The work is striking symbolic, even on a first glance."

Tags:primitivism, self-portraits, symbolism, moods

Abstract
This paper compares and contrasts Frida Kahlo's exhibition: "Five Fridas" at the Bass Museum of Art and "Circling Around Abstraction" by Georgia O'Keefe. It attempts to show how a comparison of the works examined in these two exhibitions reveal a feminist iconography that uses vegetation and flowers to exude the beauty of female genitalia. It also discusses how these feminist iconographic images do not always coincide equally by the two artists, as Kahlo provides a contrasting dimension of Mexican nationalism and sensuality in her feminist approach in relation to O'Keefe.

From the Paper
"The exhibition at the Norton Museum of Art entitled "Circling Around Abstraction" by Georgia O'Keefe provides a variety of different vegetative or flowery representations through abstract stylization. One example of this is found within the work: Grey Blue & Black--Pink Circle (1929) where O'Keefe provides what appears to be a flower with its interior pistils and stamens extending into where horticulturists define the ovary at its center. This entry point of the flower was often depicted in O'Keefe's paintings, especially due to the nature of the flowers seemingly similar reproductive organs in relation to the human female (Hoffman 45). "

Tags:female, genitalia

Abstract
The paper discusses how the film "Frida" (2002) was directed by Julie Taymor and was adapted from the biographical research done in "Frida: A Biography of Frida Kahlo" by Hayden Herrera. The paper explains that the importance of the title suggests a more personal understanding of Frida's (Salma Hayek) life that existed not only through her husband Diego Rivera (Alfred Molina), but also through her own suffering as an artist struggling with illness. The paper describes how Taymor takes the experiences of Kahlo's own feminism to realize the deeper and more personal aspects of Frida's life that affected her art.

Tags:freda, melena, lukes

Abstract
The purpose of this essay is to show how Frida Kahlo was ahead of her time in the women?s movement, how she was politically active when most women had little to no voice in men?s politics, and how her role as a woman helped shape the history of Mexican art, while at the same time having a strong influence on the Communist movement in the struggling nation.

From the Paper
"When she was eighteen, Frida Kahlo was a victim in a very serious bus accident which left her bedridden because of a series of broken bones including her spinal column, collarbone, ribs, pelvis and more than ten separate fractures throughout her right leg. Her right foot had been completely crushed and her shoulders both were severely dislocated. For more than a month she had to be confined by wearing a heavy plaster casing to aid her body's healing. To stem off boredom, her family placed a large mirror at the top of her bed and provided her with her first paints."

Tags:women, rights, vote, mexico, paint, art, sexuality, gender

Abstract
The paper compares and contrasts the feminist iconography of Frida Kahlo and Georgia O'Keefe in relation to museum pieces currently on exhibit at the Norton Museum of Arts and the Bass Museum. The paper discusses how the five pieces selected from these exhibitions reveal a highly comparable feminist identity being represented through female sex organs-via the still life and abstract stylization. However, the paper notes that Kahlo's sense of feminist iconography takes on a far more personal and nationalistic platform in relation to her use of female sensuality.

Tags:feminism, painting, art

Abstract
This paper compares Rembrandt's 1659 self-portrait, "Self Portrait" to Frida Kahlo's 1940 self-portraint, "Self Portrait with Thorn Necklace and Hummingbird". The paper notes that Rembrandt's painting is characteristic of the unadorned, spare style of portraiture that defined this Dutch artist's realistic style, whereas Kahlo's painting is a surrealist flight of fancy that aims to create a psychic, rather than a literal self-portrait. The paper compares the two portraits with respect to iconography, symbolism, composition, subject matter, complexity, realism and shading.

From the Paper
"The two paintings may be self-portraits, but ultimately their iconography and subject matter is quite different. Rembrandt's expression, although difficult to interpret, is the showcase of the painting, and there is little else to focus on other than the artist, his face, and his craftsman's hands. Kahlo likewise looks somewhat distracted, as if in a state of psychic pain or remembrance, but her unrelenting, unembarrassed, unyielding gaze and fierce determination is not simply reflected in the face that forms the center of Rembrandt's self-portrait, rather her expression fans out to every leaf and animal in her creation, all of which are pregnant with meaning."

Tags:unrelenting, unembarrassed, images, deemphasize, transcend, the, physical