Word: kahlo
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Dates: during 1980-1989
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...light changes. But another wall, a mural of floating patio furniture and suburban houses, is more than a bit obvious--it suggests a rip-off of the Rolling Stones' "Still Life" album cover. A third wall features a mural of haunting faces in the style of Mexican painter Frida Kahlo...
Rivera was both Kahlo's hero and her baby, a relationship that endured through their marriage, divorce, remarriage and intervening separations. The 300-lb. painter can be summed up in a series of lingering images: a robust hulk on a scaffold, applying bright Marxist idealizations to the walls of public buildings; a blustery reveler brandishing a revolver to ensure attention; a celebrated philanderer openly displaying his conquests; and a monumental infant seated in a bathtub full of floating toys while Frida lathers his plump breasts...
...Kahlo was no passive victim of her husband's machismo. She was a tiny, tough-mouthed daughter of a photographer of Hungarian-Jewish descent and a strikingly attractive woman from Oaxaca. Frida herself had a gamy beauty that drew lovers of both sexes. There seem to have been dozens of them, including Sculptor Isamu Noguchi and Leon Trotsky, the exiled Russian revolutionary who died in Mexico shortly after a Stalinist agent put the point of an ice ax through his head. Frida initiated the affair with Trotsky, not because she found "Piochitas" (little goatee) attractive but because she thought...
...friends, Rivera and Kahlo were known as "sacred monsters," symbols of "the race" that would be reborn in Communism. Pistol-packing Diego trooped about in work shoes, and Frida in elaborate peasant skirts and blouses, her hair bound with ribbons, her fingers weighted with rings. But the finery hid terrible wounds. In 1925 a bus carrying Kahlo was struck by a trolley car. Rescuers found the 18-year-old girl impaled on an iron rod, her pelvis smashed, a foot mangled and her spine bent to nearly a right angle. Frida endured more than 30 operations in her lifetime. None...
Physical and emotional pain became Kahlo's principal subject. She painted herself skewered, split, trussed and as a deer bristling with arrows. She was no sentimentalist. In 1938 Clare Boothe Luce, then managing editor of Vanity Fair, asked Kahlo to paint a memorial portrait of a friend who had jumped from a New York hotel window. The artist complied with a depiction of the woman simultaneously leaping, falling and finally lying dead on the pavement...