Mitrafinal2013 by The Harker School Libraries

2012-13 Mitra FAMILY GRANT Recipient Frida Kahlo, An Authentic Artist: Challenging Gender Roles and Sexuality Norms through Art and Identity Evolution Shivani Mitra, Class of 2013

Frida Kahlo, An Authentic Artist; Challenging Gender Roles and Sexuality Norms through Art and Identity Evolution

Shivani Mitra

Mitra Scholar Paper Donna Gilbert, Pilar Aguero-Esparza, Susan Smith, Mentors April 12, 2013

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Frida Kahlo de Rivera, the enigmatic painter and female icon, challenged gender and sexuality norms in an effort to affirm her identity of “…personal and aesthetic strength and courage…”1 Frida’s identity evolved throughout her life, growing from an outspoken teenager who joined the Young Communist Party at the age of thirteen to caring wife of Diego Rivera to an independent, unique artist at her prime.2 At every stage in her gender identity transformation, Frida defied the social norms of women during her time not only through her artwork, but also through her persona and her choices. The role of women in Mexico during the 1900s, especially during the Mexican Revolution, was constricted: wife, mother, or both. A subservient relation to men was unquestioned in Mexico as it was in most of the world at the time.3 However, due to social upheaval with the communist party clashing with the contemporary Mexican government, starting in the 1910s women increasingly took on roles with political and social value, ignored by male critics who were focused on the revolution.4 The domestically driven woman predominated, but the politically driven woman also existed, especially in the world Frida observed as a teenager. Her father, Guillermo Calderon, a photographer by profession, encouraged Frida to choose what she wanted to become without regard to her mother’s conservative wishes. 5 Frida had an “openness that characterized everything she did in her life,” choosing first to go into medicine then into artistry after her body was left broken from a bus accident that left her pelvis chattered.6 As a female artist, Frida changed what many believed female painters were capable of by creating fascinating, imaginative pieces of the subconscious. Meeting and marrying Diego Rivera morphed Frida once again, suppressing her rebellious spirit and placing her into the role of the wife to a famous politician. Nevertheless, as a wife, she overcame her engendered position by differentiating herself from Diego with independent artistic success. The most prominent example where Frida disputed a woman’s position in Mexico was when she choose to dress as a

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man; becoming a man by appearance allowed Frida to transcend feminine stereotypes of weakness in times where she doubted her own strength. The deeper, subtler commentary found in her paintings on the gender roles she felt confined by often slipped past the viewers’ eyes, only to be articulated in private diary and journal entries. The most important of these was her bisexuality. Hints of Frida’s sexual relationships with women were found in her paintings, but more prominently in her personal life. Frida refused to suppress her sexuality and wrote that she decided to “[sleep] with whomever [she] liked.”7 Thus, even though Frida’s gender identity and sexuality evolved at every stage in her life, she always remained true to her feelings and desires regardless of what society stereotyped for her gender. Evidenced by archival photography and paintings of a similar nature, Frida Kahlo challenged gender norms and sexual expectations of early twentieth century Mexican women throughout her life so as to remain authentic to an identity she believed was genderless. Frida’s growing artistic confidence during her marriage, divorce, and remarriage to Diego helped her become a partner to her husband, equal in skill and in authority, at a time when the norm was for females to be dependent and subservient to their husbands. When Frida and Diego initially married, their relationship was unconventional because of their twenty-year age difference, but the dynamic of their marriage seemed typical of gender roles in a marriage. He was a famous political figure and Frida quickly became known by her marital status as Diego Rivera’s wife rather than as an artisan. Lindauer furthers, “Clearly, in the first years of their marriage, Kahlo did not pursue employment opportunities as she accompanied Rivera from one mural site to another.”8 She also postponed and ultimately declined a teaching appointment by the Department of Fine Arts in Mexico City.9 According to biographer Raquel Tibol, after their second marriage, Frida finally immersed herself into the art world and became an artist of her

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own fame in Europe rather than of Diego’s.10 Her work was exhibited in galleries organized by prominent figures like Andre Breton and in art museums like Museum National.11 She became known as one of the best female artists of Mexico, no longer confined to a private life while her husband pursued public endeavors. More importantly, Frida stepped away from a dutiful role in their first marriage to an equal role in her second marriage; one not defined by gender. The result of confidence in her own ability she abandoned femininity in her role as wife. By comparing two photographs that are similar in composition and subject matter to Frida’s painting Frida and Diego Rivera from 1931, one can observe a shift in Frida’s role in her relationship to Diego before and after their divorce. Painted during the third year of their marriage, Frida visually captured the dynamics of her relationship with Diego in this portrait of the couple (fig. 1). At the time, Diego and Frida were traveling in the United States where Diego had been commissioned by various patrons to paint murals.12 Her role as wife was most highlighted at this time when he was working and she was staying at home, trying to rest her body so her baby, whom she ultimately miscarried, could grow to full term.13 Compositionally, the painting captures the largeness of Diego both in personality and in size compared to the smallness of Frida. Only he holds the paintbrushes even though she painted the portrait, a symbol of how Frida struggled being distinguished by her marital association rather than her artistic skills. For society, it was only right that Diego was holding the tools of his trade and not Frida, even though she painted the piece. She played the role of an adoring wife as her head was slightly cocked towards him, looking to him rather than, as she typically did, straight at the viewer. The painting was not just about the relationship of Frida and Diego, however, as Herrera said “…the painting depicts the artist and her husband in order to produce a painting about binary definition of gendered social positions.”14 Her attitude

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in this painting was so atypical of her usually self-reflective work that it asked the viewer to question Frida’s true message behind the mundaneness of a portrait of the couple. Without the “courage to portray her own self as an artist,” Frida instead stresses in words that she was the artist, and she made this portrait with text at the top that reads, “I painted these portraits.”15 Similarly, in this photo taken in 1929, Diego and Frida strike a similar pose to the portrait with Frida lower and noticeably shrunken compared to Diego (fig. 2). The passivity of Frida, as evidenced by her eyes darted off to the side, suggested that Frida felt shadowed by Diego. Diego changed Frida’s gender identity and influenced her appearance to become more feminine and more Mexican; Tibol wrote, “Playfully affectionate and not without some roguery, he convinced Frida to change her man’s clothing for mestizo or native dress.”16 A similar photo of the couple confirmed that Frida’s visual representation of her confinement in a gender position was authentic. After Frida and Diego reconciled and married again, Frida noticeably changed her demeanor and confidence when photographed with her husband. In the photograph titled Frida y Diego con Sombreros, the couple were equal in stature and Frida’s original passivity was replaced by an expression of independence and defiance (fig. 3). Frida challenged the traditional feminine appearance of women clothed like a typical male, working class public servant. During that period in Mexico, despite women’s political and military involvement in the revolution, the constituent of the congress had decided, “Women have no political consciousness and do not feel the need to participate in public life… “17 Frida, who was a supporter of the communist party with Diego, wore the clothing that symbolized communist allegiance without acknowledgement to the social norm for women to never be involved in politics. In addition to challenging the political position of females, Frida refused to take on the feminine attitude that wives were

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supposed to in her second marriage. In a personal essay about Diego for an exhibition of Diego’s work in 1940 Frida wrote, “Some people may expect me to paint a very personal, ‘feminine,’ anecdotal entertaining portrait of Diego, filled with complaints and even a certain amount of gossip…”18 Her definition of “feminine” in this passage was derogatory: nagging, complaining, almost like a child. Frida distanced herself from these feminine stereotypes by dressing like a man next to her husband, becoming equal in stature and in gender to Diego. Her aggressive stare to us in the photograph also indicated a shift from her original passive stare away from the viewer. Her hand propped on his shoulder also portrayed the equality and her role of partner rather than escort in their second marriage. As a wife and as a female artist, Frida was able to defy her engendered position of marriage. Dressing as a political servant and in more masculine clothing next to her husband helped Frida regain the masculine identity she sacrificed in her first marriage and distance herself from feminine qualities. At the age of nineteen, Frida dressed in male attire for a family portrait (fig. 5). Tibol wrote, “She would challenge her fate by dressing as a man to reaffirm her strength and hide her physical defects and orthopedic appliances.”19 The physical defect she referred to was the right leg which had a large device intended to support it as the result of a damaged heel from polio she contracted at the age of six.20 Frida’s means to overcome her physical defect were unusual for a young woman of her age; she did not demonstrate the shyness or the concealment of her body typical of those with handicaps. Rather, her defiant expression at the camera and provocative stature illustrated the confidence with which she carried her appearance as a man. Her gender identity, even at such a young age, was fluid as she carried male attire in front of her family without regard for the respected norms she may be defying. Cross-dressing in private, for a family portrait and not just for her own art, demonstrated that the “masculinized femininity” seen

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in the self-portraits she later painted was authentic to her identity of personal courage and selfassurance and not just for artistic statement. Fourteen years later, in her painting titled Self-portrait with Cropped Hair, Frida again dressed as a man (fig. 4). This time, however, she expressed a grave sadness from her divorce combined with an attitude of strength that she portrayed as a cross-dressing teenager. She had just cut off the long hair that Diego had admired so much; the scissors she held symbolized her physical separation from everything that Diego wanted her to be.21 She also sat alone; in an expanse of space surrounded cut up pieces of what she had loved, suggesting the depth and the vastness of her despair. A verse of a Mexican song along the top of the canvas states, “Look, if I loved you it was because of your hair. Now that you are without hair, I don’t love you anymore.”22 Frida may have quoted what she believed Diego would have said or quoted him exactly. Regardless, the statement demonstrated that long hair was a metaphor for Frida’s femininity; Diego may have only loved the feminine side and those qualities of Frida. For Frida, Diego rejected her qualities that were more masculine, her stubbornness and strength, and she dressed as a man to prove that he should have loved both parts of her. Frida’s despair was offset by her male attire, in this situation allowing her to renounce the feminine image Diego demanded of her and embracing what she believed was the male part of her identity.23 There was a juxtaposition of emotion within the imagery; she appeared masculine to imply her newfound strength and authority, yet she sat in a defeated position that implied her profound sadness at the end of the relationship. As a piece of social commentary, Frida may have chosen to sit down to show that even if she felt strong like a man on the inside, she would still remain lower than a man simply because she had the appearance of a woman. Baddley correctly stated there was an “…inter-relationship of body and dress so self-consciously referred to in many of Kahlo's most

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polemical works…”24 Dress defined the person and the body for Frida who reclaimed the genderless identity from her teenage years that she had lost during her marriage by crossdressing in this portrait. A change of clothing allowed her to abandon the stereotypes of a woman, and therefore question Diego and the viewer’s understanding of her identity. Interestingly, after marrying Diego a second time, Frida never painted herself as a man again.25 By her own account, she appeared in very traditional Mexican clothing in her paintings and in photographs to emphasize her Mexican heritage.26 However, Frida continued to show her genderless identity, this time not by dressing as the opposite gender, but by emphasizing her attraction to both genders. She wrote, “Being Bisexual is not a sin, it is simple, being free of all prejudice, because one gives the body what it asks for what is needs. And I enjoy it that way, he who criticizes me, he should go to hell.”27 The expectation at the time was that every woman was attracted to a man and every man to a woman. Frida’s bisexuality was never publicly confirmed, but journal entries like the one above validate her genderless attractions. While the anger found in her journal entry towards society’s disapproval of lesbians did not show in her artwork, Frida still found a way to challenge the accepted norms of intimacy and sexuality between two women in her pieces. Frida’s piece titled Two Nudes in the Jungle portrayed two embracing women, who were not performing a sexual act, but were nude and tender towards each other (fig. 6). An image of a naked same-sex, mixed race couple, was groundbreaking. But for Frida, it was a representation of her determination to be true to her own self-image in the face of a world that would have her be otherwise. Frida could be have painted a darker skinned Mexican woman and white English woman to visually illustrate the foreplay of her two ethnic backgrounds, however, the nudity and closeness of the females suggest a more intimate and physical relationship than just the

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metaphorical. In addition, Frida hints that one of the women was her by draping the sitting figure with the same red cloth she wore in her portrait with Diego (fig.1). She suggested that, like male and female partners, same-sex couples were equally passionate for one another. It was likely Frida choose not to portray the women sexually active to allow other messages in the work to be conveyed and not overpowered.28 The lush forest and flowing waters emphasized the fertility and the natural beauty of the women. Frida may have meant to prove that a woman falling in love with another woman was as natural as plants growing. Frida also placed these exact two women in her piece What the Water Gave Me in the lower right hand corner (fig.7). This piece represented all of her thoughts and feelings via images that illustrated different facets of her identity. The two women, a miniaturized drawing of the two women in Two Nudes in a Jungle, spoke for her gender identity that was equally attracted to males as to females. The women were also next to green plants and water, again a combination of sexuality and fertility that symbolized the femininity she embraced. Frida celebrated the female form and its power in her artwork to demonstrate that the feelings she had for women were natural and perfectly human desires. Boldly, Frida wrote to a female lover named Doroti, “Erotic fruit, that you resemble with your form, the pleasure of having been yours for one moment.”29 Accompanied by an image of the inside of fruit resembling the female reproductive organ, Frida described how she found the sexuality of a woman similar to the beauty of a ripe fruit (fig. 8). While no one was intended to read her diary, it gave an insightful look into Frida’s sexual identity and how she concealed her relationships. Further pages in her journal showed that Frida had a deep attraction for Doroti even if they only had a physical relationship.30 Frida may never have outwardly declared her sexuality to the world, but she still silently protested society’s restriction on her freedom to have a same-sex relationship via her paintings. Lindauer wrote that uproar never occurred because “In

Mitra 10 the context of Two Nudes in the Jungle, the nudity and proximity of the two women would not be offensive to Latin American morality because neither of the women is portrayed as sexually aggressive.”31 Frida’s journal entry demonstrated that imagery of two women physically intimate was not a political or cultural statement, but an authentic expression of her sexuality. Frida challenged gender norms for female artists and for women in Mexican society by creating paintings that both made social critiques and personal observations. Archival photography similar to her paintings evidenced the authenticity of her message, specifically the reasons behind her masculinity and genderless sexuality. Tibol correctly identified what made Frida Kahlo unique, “It’s the first time in the history of art that a woman has expressed with absolute frankness, unadorned and we could say calmly ferocious, those general and particular events of exclusive concern to a woman.”32 Frida’s paintings allowed the viewer to see not only the struggles of a woman assigned to her gender by society, but also the inner psyche of a woman as she fulfilled both the role of wife and artist during her life. Archival photography and journal entries of the artist similarly portrayed the specific events associated with Frida’s engendered position as a female. Crossing gender roles as a wife and as a professional woman differentiated Frida Kahlo from her contemporaries and allowed her to express the identity she believed was genderless publicly and privately without fear.

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Margaret Lindauer, Devouring Frida: The Art History and Popular Celebrity of Frida Kahlo (Hanover, NH: Wesleyan Univeristy, 1999), Page 20, accessed December 31, 2012, http://books.google.com/books?hl=en&lr=&id=Iz1eltAo44C&oi=fnd&pg=PP2&dq=henry+ford+hospital+frida+kahlo&ots=SY0DUaIT8O&sig=Aqbc6 ahXn8c9jGc2kFK8cU_u_M#v=onepage&q=frida%20as%20a%20wife%2Fartist%20in%20mexico&f=false. 2 Tibol, Raquel, Frida Kahlo: An Open Life, trans. Elinor Randall (Albequerque, NM: University of New Mexico, 1993), [Page #], originally published as Frida Kahlo: Una Vida Abierta (n.p.: Editorial Oasis, 1983). 3 Lindauer, Devouring Frida: The Art History, Page 34 4 Tereza Jandura, "Revolutionary Mexican Women," Women in the Mexican Revolution, accessed April 6, 2013, http://www.ic.arizona.edu/ic/mcbride/ws200/mex-jand.htm. 5 Isolda P. Kahlo, Intimate Frida, trans. Jacques Sagot (Bogotá, Columbia: Cangrejo, 2006), originally published as Frida íntima (Buenos Aires, Argentina: Gato Azul, 2004). 6 Kahlo, Intimate Frida, Page 60 7 Levine and Jaycox, Finding Frida Kahlo, Page H5. 8 Lindauer, Devouring Frida: The Art History, Page 13 9 Lindauer, Devouring Frida: The Art History, Page 13 10 Tibol. Frida Kahlo: An Open, Page 94 11 Tibol. Frida Kahlo: An Open, Page 95 12 Tibol. Frida Kahlo: An Open, Page 130 13 Lindauer, Devouring Frida: The Art History, Page 36 14 Hayden Herrera, Frida: A Biography of Frida Kahlo (2002; repr., New York, NY: HarperCollins, 2002). 15 Lindauer, Margaret (16). Frida Kahlo, Freida and Diego Rivera, 1931, San Francisco Museum of Modern Art, San Francisco, CA, accessed April 6, 2013, http://library.artstor.org/library/secure/ViewImages?q=hzNHcjIm&userId=gzJDdDIr&igName= 9wVbeTBsURYuKSE8bA%3D%3D. 16 Tibol. Frida Kahlo: An Open, Page 25 17 Lindauer, Devouring Frida: The Art History, Page 18. 18 Tibol. Frida Kahlo: An Open, Page 140 19 Tibol, Frida Kahlo: An Open, Page 24 20 Hayden Herrera Page 100 21 Tibol, Frida Kahlo: An Open, Page 110. 22 Frida Kahlo. Self-portrait with Cropped Hair. 1940. Museum of Modern Art. 23 Refer to quote in Diego Essay (Tibol 160) 24 Oriana Baddeley, "'Her Dress Hangs Here': De-Frocking the Kahlo Cult," Oxford Art Journal 14, no. 1 (1991): Page 30 accessed April 6, 2013, http://puffin.harker.org:2076/stable/1360274?seq=7&Search=yes&searchText=Cult&searchText =Dress&searchText=Kahlo&searchText=Hangs&searchText=Here%27&searchText=DeFrocking&searchText=%27Her&list=hide&searchUri=%2Faction%2FdoBasicSearch%3FQuery %3D%2527Her%2BDress%2BHangs%2BHere%2527%253A%2BDeFrocking%2Bthe%2BKahlo%2BCult%26acc%3Don%26wc%3Don%26fc%3Doff&prevSearch= &item=1&ttl=1&returnArticleService=showFullText&resultsServiceName=null.

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Lindauer, Devouring Frida: The Art History, Page 32 Kahlo, Intimate Frida Page 100 27 Levine and Jaycox, Finding Frida Kahlo, Page 150 28 Lindauer, Devouring Frida: The Art History, Page 60 29 Levine and Jaycox, Finding Frida Kahlo, Page 151 30 Levine and Jaycox, Finding Frida Kahlo, 31 Lindauer, Devouring Frida: The Art History, Page 72 32 Tibol. Frida Kahlo: An Open, Page 160 26

Mitra 13 Bibliography Baddeley, Oriana. "'Her Dress Hangs Here': De-Frocking the Kahlo Cult." Oxford Art Journal 14, no. 1 (1991): 10-17. Accessed April 6, 2013. http://puffin.harker.org:2076/stable/1360274?seq=7&Search=yes&searchText=Cult&sear chText=Dress&searchText=Kahlo&searchText=Hangs&searchText=Here%27&searchTe xt=DeFrocking&searchText=%27Her&list=hide&searchUri=%2Faction%2FdoBasicSearch%3 FQuery%3D%2527Her%2BDress%2BHangs%2BHere%2527%253A%2BDeFrocking%2Bthe%2BKahlo%2BCult%26acc%3Don%26wc%3Don%26fc%3Doff&prev Search=&item=1&ttl=1&returnArticleService=showFullText&resultsServiceName=null. Frida and Diego Rivera. Photograph. University of California, San Diego, San Diego, CA. Accessed April 8, 2013. http://library.artstor.org/library/secure/ViewImages?q=hzNHcjIm&userId=gzJDdDIr&ig Name=9wVbeTBsURYuKSE8bA%3D%3D. Herrera, Hayden. Frida: A Biography of Frida Kahlo. 2002. Reprint, New York, NY: HarperCollins, 2002. Jandura, Tereza. "Revolutionary Mexican Women." Women in the Mexican Revolution. Accessed April 6, 2013. http://www.ic.arizona.edu/ic/mcbride/ws200/mex-jand.htm. Kahlo, Frida. The Diary of Frida Kahlo: An Intimate Self-portrait. Compiled by Sarah M. Lowe. New York: H.N Abrams, 1995. ———. Freida and Diego Rivera. 1931. San Francisco Museum of Modern Art, San Francisco, CA. Accessed April 6, 2013. http://library.artstor.org/library/secure/ViewImages?q=hzNHcjIm&userId=gzJDdDIr&ig Name=9wVbeTBsURYuKSE8bA%3D%3D. ———. Self-Portrait. 1926. San Diego, CA. Accessed April 6, 2013. http://library.artstor.org/library/secure/ViewImages?q=hzNHcjIm&userId=gzJDdDIr&ig Name=9wVbeTBsURYuKSE8bA%3D%3D. ———. Self-portrait with Cropped Hair. 1940. Museum of Modern Art, New York, NY. Accessed April 8, 2013. http://library.artstor.org/library/secure/ViewImages?q=hzNHcjIm&userId=gzJDdDIr&ig Name=9wVbeTBsURYuKSE8bA%3D%3D. ———. Two Nudes in a Forest. 1939. Accessed April 6, 2013. http://library.artstor.org/library/secure/ViewImages?id=8CJGczI9NzldLS1WEDhzTnkrX 3kic11%2BfyM%3D&userId=gzJDdDIr&zoomparams=.

Mitra 14 ———. What the Water Gave Me. 1938. Private collection. Accessed April 8, 2013. http://library.artstor.org/library/secure/ViewImages?q=hzNHcjIm&userId=gzJDdDIr&ig Name=9wVbeTBsURYuKSE8bA%3D%3D. Kahlo, Guillermo. Artist (Center) with Her Family. Photograph. 1926. University of California, San Diego. Accessed April 6, 2013. http://library.artstor.org/library/secure/ViewImages?q=hzNHcjIm&userId=gzJDdDIr&ig Name=9wVbeTBsURYuKSE8bA%3D%3D. Kahlo, Isolda P. Intimate Frida. Translated by Jacques Sagot. Bogotá, Columbia: Cangrejo, 2006. Originally published as Frida íntima (Buenos Aires, Argentina: Gato Azul, 2004). Kahlo and Diego Rivera on Their Wedding Day. Photograph. 1929. University of California, San Diego, San Diego, CA. Accessed April 8, 2013. http://library.artstor.org/library/secure/ViewImages?q=hzNHcjIm&userId=gzJDdDIr&ig Name=9wVbeTBsURYuKSE8bA%3D%3D. Levine, Barbara, and Stephen Jaycox. Finding Frida Kahlo. New Jersey: Princeton Architectural Press, 2009. Lindauer, Margaret. Devouring Frida: The Art History and Popular Celebrity of Frida Kahlo. Hanover, NH: Wesleyan Univeristy, 1999. Accessed December 31, 2012. http://books.google.com/books?hl=en&lr=&id=Iz1eltAo44C&oi=fnd&pg=PP2&dq=henry+ford+hospital+frida+kahlo&ots=SY0DUaIT8O&sig =Aqbc6ahXn8c9jGc2kFK8cU_u_M#v=onepage&q=frida%20as%20a%20wife%2Fartist%20in%20mexico&f =false. Tibol, Raquel. Frida Kahlo: An Open Life. Translated by Elinor Randall. Albuquerque, NM: University of New Mexico, 1993. Originally published as Frida Kahlo: Una Vida Abierta (n.p.: Editorial Oasis, 1983). Need Publisher city

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Fig. 1. Frrida Kahlo, Freida F y Dieego Rivera. 1931, 1 Paintinng, 100.01 x 78.74 cm. S San Franciscco Museum of Modern Art, A San Fraancisco, Caliifornia. Avaiilable from: ARTstor, http://www w.artstor.org (accessed April A 8. 2013 ).

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Fig. 2. Frrida Kahlo, Kahlo K and Diego D Riveraa on Their W Wedding Dayy. 1929, Phottograph. Universitty of Califorrnia, San Dieego. Availab ble from: AR RTstor, http:///www.artstoor.org (accesssed April 8. 2013). 2

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F and Diiego Rivera. 1939, Photoograph. Univversity of Caalifornia, Sann Fig. 3. Frrida Kahlo, Frida Diego. Available A from m: ARTstor, http://www w.artstor.org (accessed A April 8. 20133).

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S t with Cropped Hair. 19440, Painting,, 40 x 27.9 cm. Museum m of Fig. 4. Frrida Kahlo, Self-Portrait Modern Art, A New Yo ork, New Yo ork. Availablle from: AR RTstor, http:///www.artstoor.org (accesssed April 8. 2013). 2

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Fig. 5. Guillermo G Kaahlo, Artist (C Center) with h Her Familyy. 1926, Phootograph. Unniversity of Californiia, San Diego o. Availablee from: ARTstor, http://w www.artstor..org (accesseed April 8. 2013).

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Figure 6

T Nudes in i a Forest. 1939, Paintinng, 22.8 x 30.4 cm Avaiilable from: Fig. 6. Frrida Kahlo, Two ARTstor, http://www w.artstor.org (accessed April A 8. 2013 ).

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Fig. 7. Frrida Kahlo,W What the Waater Gave Mee. 1938, Painnting, 90 x 771 cm, Digitaal Library Federatio on Academicc Image Coo operative. Av vailable from m: ARTstor, http://www w.artstor.org (accessed April A 8. 2013 )

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Fig. 8. Frrida Kahlo Journal. 20.3 x 34.5 cm. From: Finding Frida Kaahlo. New Jeersey: Barbarra Levine. 2009. 2

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