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Raquel Tibol - Frida Kahlo: An Open Life

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Frida Kahlo is probably the most idolized artist of her time. At the root of the scholarly speculation and pop-culture paraphernalia lies Frida Kahlo: An Open Life, first published in Mexico in 1983 and now available in an English-language paperback for the first time. This irreplaceable, eclectic collection reveals the complexities, profound sadness, and immutable creative spirit of the famed Mexican painter. The intimate picture of the often enigmatic Kahlo presented in this book has become an invaluable source for scholars. The author, a prominent Mexican art critic and historian, befriended Diego Rivera, Kahlos husband, in Chile and in 1953 came with him to Mexico City, where she met and interviewed Frida Kahlo a year before Kahlos death. She lived with Kahlo for a while in Coyoac?n in Mexico City and then for a time at Riveras San Angel Inn home. Frida Kahlo: An Open Life uses medical records, journals, letters, interviews, and personal recollections to bring us closer than ever to the Mexican artist and her milieu.

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title Frida Kahlo An Open Life author Tibol Raquel - photo 1

title:Frida Kahlo : An Open Life
author:Tibol, Raquel.
publisher:University of New Mexico
isbn10 | asin:0826321887
print isbn13:9780826321886
ebook isbn13:9780585211381
language:English
subjectKahlo, Frida, Painters--Mexico--Biography.
publication date:1993
lcc:ND259.K33T513 1993eb
ddc:759.972
subject:Kahlo, Frida, Painters--Mexico--Biography.
Page iii
Frida Kahlo
An Open Life
Raquel Tibol
Translated by Elinor Randall
University of New Mexico Press
Albuquerque
Page iv
Originally published as
Frida Kahlo: Una Vida Abierta, 1983 Editorial Oasis.
Translation 1993 by the University of New Mexico Press.
All rights reserved.
First paperbound printing, 2000
Library of Congress Cataloging-in-Publication Data
Tibol, Raquel,
[Frida Kahlo. English]
Frida Kahlo: an open life / Raquel Tibol; translated by
Elinor Randall.
p. cm.
Includes bibliographical references and index.
ISBN o-8263-1418-X (cloth) ISBN 0-8263-2188-7 (pbk.)
1. Kahlo, Frida. 2. PaintersMexicoBiography. I. Title.
ND259.K33T513 1993
759.972-dc20
[B]
92-34145
CIP
Page v
Contents
1. Introduction
1
2. Approximations
9
3. Frida by Frida
29
4. Her Years in the Art World
89
5. Her House, Her Things
157
6. Teacher of the Young
177
7. After Her Death
205
Source Note
209
Index
213

Page vii
I am grateful for the photographs and letters most
generously given to me by Isabel Campos, Alejandro
G6mez Arias, Henriette Begun, Marco Antonio Campos,
Luis Mario Schneider, Ana Maria Montero de Snchez,
the Coyoacn delegation, and Rolando Arjona, principal
of the National School of Painting, Sculpture and
Engraving under the Secretariat of Public Education, as
well as for the special collaboration of Rodrigo Tinoco,
head of photography at this school.
Raquel Tibol
Page 1
One
Introduction
In the short, unusual, and productive life of Frida Kahlo, the following events stand out as most important. She was born in the town of Coyoacn on 6 July 1907, the same year in which the notable portrait painter Hermenegildo Bustos had died in Purisima del Rincn, Guanajuato. Her grandmother, Isabel Caldern Gonzlez, entered her in the civil registry, giving her the name Magdalena Carmen Frida. Her father, Guillermo Kahlo, was then thirty-six and her mother, Matilde Caldern, was thirty. By that time her paternal grandparents, Jacobo Enrique Kahlo and Enriqueta Kaufmann, were dead, as was her maternal grandfather, Antonio Caldern, a photographer like her father.
Page 2
At the age of eleven, polio slightly crippled Frida's right leg, leaving it a bit shorter and thinner than the left. She was studying at the National Preparatory School when the first stage of Mexican mural painting was developing. At the age of eighteen, she suffered an extremely serious accident that left her with a profound impairment of the backbone, pelvis, and uterus. She married Diego Rivera at the age of twenty-two when he was forty-two, and from 1930 to 1933 she lived in both the eastern and western parts of the United States. Some time between the Spanish Civil War and the Second World War she met Andr Breton. The first of her one-woman shows were in New York and Paris, not Mexico. Frida taught at the National School of Painting and Sculpture in the Mexican public school system, and in the cold-war years she was involved as actively as possible in the worldwide contingent of fighters for peace.
The poet Miguel Guardia once wrote of Frida Kahlo that "little could be said; surrealist or not, invalid or not, Frida walked and amused herself like you or me, even if she were suffering at times; she is one of the typical women of our art." Miguel Guardia was correct in observing a vague ambivalence in her person and in her work, but he was mistaken in minimizing her value because of that ambivalence. In addition to being a "typical woman" of Mexican art, Frida Kahlo is a singular human being in the history of culture; her personality could hardly be called simple. Franz Kafka could also be called a ''typical man" of Euro-
Page 3
pean literature, although perhaps it is more useful to consider him as being deeply introspective.
In Frida's work oil paint mixes with the blood of her inner monologue. Her problems, too personal in spite of herself, are framed in an atmosphere like the "court of miracles" Diego Rivera invented to be able to endure himself and to aid others in enduring themselves in the whole breadth of their vitality.
It has been said that Frida Kahlo owes nothing to Diego Rivera, because she never painted the way he did, never thought like him, never talked like him. In a court of miracles no one owes anything to anybody, because one enjoys the privilege of full identity in it. After both met for the first time in the office of the secretary of public education in 1928, Rivera said that Frida made him come down from his scaffold to consult with her about seeing if he thought the paintings she had been doing for about two years were basically salable. She asked him that question more than once. "I'm simply a girl who needs work in order to live." In 1947 a short while after the National Institute of Fine Arts was established, the Department of Creative Artsof which the painter Julio Castellanos was director at the timemounted an exhibition of forty-five self-portraits by Mexican painters of the eighteenth to the twentieth centuries, in which Frida participated. For the handsome catalog designed by Gabriel Fernndez Ledesma, she wrote with her characteristic sincerity: "I haven't painted
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