Frida Kahlo

Studies in World Art, Book 29

De: Edward Lucie-Smith

Narrado por: Willis Miller

Duración: 7 m

Resumen del Editor

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

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

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

Disappointed

Disappointed in its brevity... expected
much more background about the artist and person, Friday Kahlo