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