The Learn Tracker
...life-long learning: structured, organized, searchable...
920
Lectures Watched
Since January 1, 2014
Hundreds of free, self-paced university courses available:
my recommendations here
Peruse my collection of 275
influential people of the past.
View My Class Notes via:
Receive My Class Notes via E-Mail:

VIEW ARCHIVE

Contact Me via E-Mail:
edward [at] tanguay.info
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."
Tiepolo´s Cleopatra: Agency in Paint
The Political and Sexual Agency of Cleopatra
Gainesborough and 18th Century Effeminism
Soldiers, Chivalry, and Men of Feeling
Gainsborough's Portrait of Karl Friedrich Abel
The Ligoniers: The Tensions of Gender in Paint
Effeminacy and the Culture of Sensibility
Gainsborough's Cottage Door: Charity and Sensibility
Seduction in Boucher's pastoral paintings
Boucher's Madame de Pompadour: Controlling the Gaze
Rococo Eroticism in 18th Century Popular Culture
John Lavery in Morocco: Orientalism and the Academy
Hazel Lavery and the Politics of Display
Hilda Rix Nicholas in Morocco
The Dream by Henri Rousseau
Henri Rousseau's The Sleeping Gypsy
Restaging the Nude: Matisse's Dance
Cezanne’s Bather: Masculinity and Movement
Max Dupain (1911-1992): Australian Men on the Beach
Frida Kahlo's Fulang-Chang and I
Frida Kahlo: Self Portrait with Cropped Hair
Myth and Sexuality: Glyn Philpot's Oedipus
Australian Indigenous Visual Culture