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MY FAMILY (UNFINISHED) (1949), WORK THAT ILLUSTRATES FRIDA’S GERMAN AND INDIGENOUS HERITAGE

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MY FAMILY (UNFINISHED) (1949), WORK THAT ILLUSTRATES FRIDA’S GERMAN AND INDIGENOUS HERITAGE

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In this portrait, Frida recreates her family tree and conveys her pride in the diversity of her ethnic origin. Love for Mexico is one of the artist’s distinctive features, expressed in both her physical appearance and her work.

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TOY CHEST, WHICH CONTAINS PIECES SUCH AS DOLLS AND MINIATURES

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TOY CHEST, WHICH CONTAINS PIECES SUCH AS DOLLS AND MINIATURES

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Frida collected all types of figures: from palm leaf to rag dolls, and those made of ceramic, ribbons, as well as miniatures: tiny animals, metal pitchers . . . Some of these pieces are illustrated in her paintings; others were part of her puppet theater; she shared several others with her niece and nephew. Frida kept these small treasures in this toy chest.

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METAL PROSTHESIS FOR HER RIGHT LEG THAT WAS INTERVENED BY FRIDA, 1954

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METAL PROSTHESIS FOR HER RIGHT LEG THAT WAS INTERVENED BY FRIDA, 1954

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Frida used this prosthesis since 1953, when her right leg had to be amputated when gangrene set in. Decorated to her tastes, the prosthesis has a very modern design for the times. Days before the surgery, Frida wrote in her diary:"Hopefully, once [I’m] walking, I can give it all I’ve got . . . ”

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EASEL, A GIFT FROM UNITED STATES MILLIONAIRE NELSON A. ROCKEFELLER

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EASEL, A GIFT FROM UNITED STATES MILLIONAIRE NELSON A. ROCKEFELLER

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In 1930, Diego and Frida lived in New York. While Rivera was designing the Rockefeller Center mural, the young Frida painted in her wheelchair. Nelson Rockefeller, son of John D. Rockefeller, the magnate who had commissioned the Rockefeller Center mural, decided to give Frida a special easel for artists with limited mobility.

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PUPPET THEATER, TOY CREATED BY FRIDA USING WOOD, FABRIC, AND WIRE

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PUPPET THEATER, TOY CREATED BY FRIDA USING WOOD, FABRIC, AND WIRE

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Ever creative, the artist played with this miniature theater during her convalescence after her multiple surgeries. Frida also invented tales that she performed to entertain her beloved niece and nephew, Isolda and Antonio, Cristina’s children, who often visited the painter.

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PORTRAIT OF MY FATHER, GUILLERMO KAHLO (1952), A WORK THAT FRIDA DID BASED ON A PHOTO OF HER FATHER AS A YOUNG MAN

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PORTRAIT OF MY FATHER, GUILLERMO KAHLO (1952), A WORK THAT FRIDA DID BASED ON A PHOTO OF HER FATHER AS A YOUNG MAN

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Frida’s father suffered from epilepsy. At that time, this nervous system disorder was a real disability. With Guillermo as her role model, Frida learned to cope with the hardship of physical difficulties. Years after her father’s death, the artist dedicated this portrait to him in tribute.

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BED WITH MIRROR THAT HER MOTHER HAD PLACED ON THE UNDERSIDE OF THE CANOPY AFTER THE ACCIDENT ALLOWING FRIDA TO PAINT HERSELF

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BED WITH MIRROR THAT HER MOTHER HAD PLACED ON THE UNDERSIDE OF THE CANOPY AFTER THE ACCIDENT ALLOWING FRIDA TO PAINT HERSELF

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Frida’s bed is one of the most important pieces in our collection in the Casa Azul. The artist spent key moments of her life in her bed: she recovered from polio in 1913; she convalesced after the bus accident in 1925; and she died in the early hours of July 13, 1954.

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PLASTER CORSET ON WHICH FRIDA DREW A GREEK COLUMN TO REPRESENT HER OWN SPINAL COLUMN

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PLASTER CORSET ON WHICH FRIDA DREW A GREEK COLUMN TO REPRESENT HER OWN SPINAL COLUMN

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Frida drew a shattered Ionic column on this corset, alluding to her physical frailty. This act reflects how the artist’s creativity, sense of humor, and honesty prevailed throughout her many bouts of convalescence and despite the pain she endured.

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La Casa Azul talks about the love of Frida and Diego, and their admiration for Mexican culture and art. In the "Artist's Bedroom", you will find her bed with the mirror that her mother had placed after the accident. There Frida, immobile for nine months, began to paint. In the "Studio" you will discover the easel that Nelson Rockefeller gave to the artist. The crutches, corsets and medicines bear witness to the surgeries and physical ailments suffered by the painter. The ex-votos, toys, dresses and jewelry speak of a Frida who is a collector and a lover of beauty. "La Cocina" -typical of the old Mexican constructions-, reflects the daily life in the house.

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Frida and Diego wanted to leave their house as a museum for the enjoyment of all Mexicans. On the painter's death, the couple's friend, the museographer and poet Carlos Pellicer, planned the museography. The administration was entrusted to the Trust of the Diego Rivera and Frida Kahlo Museums, attached to the Bank of Mexico and established by Rivera himself in 1957.

Since its inauguration in July 1958, the Blue House and its gardens have exhibited personal objects and paintings by both artists, popular art, pre-Columbian sculptures, photographs, documents, books and furniture that formed the environment in which Frida was inspired to to create.

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The Blue House is the intimate universe of Frida Kahlo. She spent most of her life here, first with her family and, years later, with Diego Rivera. Interesting national and foreign characters stayed in this place, attracted by the magnetism of both painters.

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LONG LIVE LIFE, (1954), THE LAST CANVAS FRIDA WAS WORKING ON BEFORE SHE DIED.

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LONG LIVE LIFE, (1954), THE LAST CANVAS FRIDA WAS WORKING ON BEFORE SHE DIED.

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Frida painted these iconic watermelons around 1950. Years later and a few days before her death, she added the phrase by which she wished to be remembered: Long Live Life.

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A few nibbles. 1935. Oil on metal. 48 x 38cm. Dolores Olmedo Museum, Mexico City.

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Diego Rivera's infidelities had reached the height when he decided to take Frida's sister for his lover. A piece of news about a femicide at that time shocked Frida: a man had stabbed his wife to death. When he was caught by the authorities, he declared: "I only gave him a few bites."
Frida represented this crime as an allegory of her emotional suffering in the face of double betrayal, as a spiritual death. Above the characters, a phylactery immortalizes the sentence of the criminal. An important feature of the painting is that the blood leaves the pictorial context and spreads around the frame, as if wanting to reach the reality in which the spectator finds himself.

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The two Fridas. 1931. Oil. 173 x 173 cm. Museum of Modern Art in Mexico City.

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In this painting, Frida seems to have been inspired by the memory of an imaginary friend that she had at the age of 6, a kind of alter ego. Both are connected by blood, by the arteries of the exposed heart. On the one hand, an image of the heart of Christ, on the other, a memory of the religious sacrifices of the pre-Columbian past.
Each of the "Fridas" carries different attributes: the European Frida holds in her right hand a pair of scissors that has cut an artery that drips on her lap, dressed in a white suit.

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Frida and the cesarean section (unfinished). 1931. Oil canvas. 73 x 62cm. Dolores Olmedo CollectionMexico City.

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In 1930, one year after her marriage, Frida had to face the first of her three miscarriages. The one in 1930 required surgical intervention, since the development of the baby in the womb was absolutely impossible, due to the mother's health complications.

Deeply in pain, since Frida intensely wanted to be a mother, the following year she painted this tragedy in the painting called Frida and the C-section. The subject must have represented a great difficulty for her, since the painting was left unfinished.

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some of the history behind the artist...

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some of the history behind the artist...

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Cataloged as a surrealist, Kahlo preferred to think of herself as someone who represented her ultimate reality, which made her feel far removed from the concerns for the unconscious, typical of surrealism. Several elements would mark his work: on the one hand, the investigation of popular and indigenous Mexican art; on the other, the exploration of his own pain, both physical and emotional, derived from his serious health problems and his stormy life alongside Diego Rivera, the Mexican muralist.

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Frida Kahlo was a Mexican painter from the first half of the 20th century, who has become a cultural symbol. Indeed, Hilda Trujillo, in a biography about the artist, comments: "Her personality has been adopted as one of the flags of feminism, disability, sexual freedom and Mexican culture."

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In 1926 Frida Kahlo painted her first self-portrait. She would have been 19 years old by then and was suffering the consequences of the serious accident that left her bedridden for a long time. During that time, Frida could only see the ceiling of her room. Her mother, moved, designed a special easel for her, which would allow her to paint lying down. To one side of the easel, he held up a mirror, so that Frida could at least see herself. It was thus that Frida Kahlo began to take self-portraits. This would be the picture that would start his personal inquiry.