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Notes on video lecture:
Frida Kahlo's Fulang-Chang and I
Choose from these words to fill the blanks below:
innocent, hair, spider, intense, Rivera, dissolve, mustache, Hummingbird, divorce, miscarriages, defiance, sexualize, animals, fawn, cropped, 55, gaze, unease, lavender, alone, honesty, mirror, bomb, surrealist, rejected, femininity, femininity, reality, eyebrows, lust, death, bus
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."
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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