920
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Since January 1, 2014
Since January 1, 2014
- A History of the World since 1300 (67)
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- L'avenir de la décision : connaître et agir en complexité (5)
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- L'art des structures 1 : Câbles et arcs (2)
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- Développement durable (1)
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Notes on video lecture:
Frida Kahlo's Fulang-Chang and I
Notes taken by Edward Tanguay on May 16, 2019 (go to class or lectures)


Choose from these words to fill the blanks below:
unease, gaze, hair, bomb, miscarriages, intense, femininity, mustache, Hummingbird, lust, eyebrows, bus, defiance, dissolve, sexualize, reality, Rivera, innocent, lavender, fawn, rejected, alone, honesty, cropped, divorce, femininity, surrealist, 55, spider, animals, death, mirror
Frida Kahlo (1907-1954)
two portraits
1. self portrait of hair of 1940
2. Fulang-Chang and I of 1937
aspects of
Mexican artist
married to the famous muralist Diego
140 works in which were self-portraits
"I paint myself because I am often and I am the subject that I know best"
had a serious accident as a young woman
paintings show her use of colors and use of line
her work is sometimes described as
but she the idea that she was a surrealist
but she painted her experiences as a woman with and directness
"I never painted dreams, I painted only my own "
1938, Breton described Kahlo's work as a ribbon around a
a number of her portraits depict her with a monkey
portrait with monkey
at first glance it seems and charming
formed an essential part of her world as an artist
the monkey represents a surrogate child, the one she was unable to conceive with her husband Diego
as a result of her 1925 bus accident, after which she had multiple
she paints her monkeys and other animals with respect and tenderness
she kept a large number of them
an eagle, parakeets, macaws, hens, a dog and even a
Kahlo had a very close relationship with animals
she did not use her art to define animals and humans as separate, but rather to the barrier
1937: Fulang Chang and I
we see a ribbon that links the two figures
in Mexican culture, the monkey symbolizes
but Kahlo painted them with affection
holds the monkey close to her body
the color of her long, dark hair and the color of her trademark are similar to the color of the monkey's fur
this painting is a reverent ode to
the hairy body of the monkey
Kahlo's monobrow and
the lightly painted background enclose the two figures as if in a forest
if the surrealists tried to break down the barriers between reality and dream, Frida did so through her artistic practice
gave her friend this painting with a framed , so that she could see herself together with them
linked subjects together
used ribbon to tie her body to that of the monkey
an emotional depth
steady and unfathomable
she looks at us as much as we look at her
her paintings cannot be fully understood and appreciated separately from her life
a slight sense of in the painting
go against traditional notions of what is called high art
1940: Thorn Necklace and
monkey on one shoulder, a black cat on the other
bird caught
the thorns dig into her skin shows her pain from her from Diego
in background we see tropical plants
symbolism
entanglement, pain and
animal companions
represented as an intricate and essential part of her world
1940: Self-Portrait with Cropped Hair
she does not use her art to herself
but to undermine conventional expectations of
she returns the gaze
emphasizes the of normal conventions of self-portraits
asks: what do you see, how do you see me?
and also: how do you see my spider monkey?
she asks: what do you think?
Ideas and Concepts:
Artistic honesty via tonight's Sexing the Canvas course: "Frida Kahlo (1907-1954), Mexican artist, producer of 140 works in which 55 were self-portraits, said:I paint myself because I am often alone and I am the subject that I know best."
