The Two Fridas Analysis

To start the analysis, line is what is going to be observed first. The lines are shown to be softer and less crisp along the clothing and faces, but becomes much sharper with things that need more definition such as the tiles on the floor beside the woman and child and the wood planks that the, what seems to be store clerk, is standing on. The faces of the people in this scene also contain contour lines, seeing how contour lines are the lines

Throughout her career, Frida had shown many different themes of her life through her paintings. It seems clear, through analyzation of her paintings, that Frida lived something of a double life. Frida paints herself in distinctly different ways at times, sometimes she is a beautiful woman with strength like iron, and sometimes she is a frail damsel who has been broken already and will be broken again. Contrasting paintings include Self Portrait with Monkeys (Kahlo, 1) and Self-Portrait with Thorn Necklace, Diego and I (Kahlo, 1) and The Love Embrace of the Universe, the Earth (Mexico), Me, Diego, and Mr. Xolotl (Kahlo, 1). All of these paintings show that not only is there a contrast in her personality, in fact, Frida’s is actually two different people, as she paints it.

Frida's artwork has always interested me in many ways. Her paintings are so much more than self-portraits and surrealism. She illustrates her life and the struggles she goes through, even if most would like to ignore the darker aspects of life. The theme of suffering permeates Frida’s self-portraits and often explicitly comprises their subject matter. She visually depicts physical and psychological struggles through the distortions of her body, which is fragmented, doubled, turned inside-out, and merged with non-human elements. She shows me that I can be strong through life even when I'm hurting physically and emotionally. Frida challenged herself and her

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

In the painting of “The Two Fridas” you automatically notice two women sitting down in a bench, holding hands with hearts connected with each other. The background looks as if she was outside since it looks like clouds and the floor is light brown. The first Kahlo has her hair up, has light makeup on, (she is whiter than than second woman, her mustache is shaved, and she put some lipstick.), the dress is white and has two different designs on top (her chest is more vintage while the arms are layer of laces). The middle portion of her dress has blood stains dripping downwards. Then at the very bottom there seems to be flowers like roses and little birds, and the heart she has seems to be damaged with white and black inside. The second Kahlo also has her hair up, now she doesn’t seem to have any type of makeup (she is a bit tanner than the first woman and she actually has mustache) she has a more natural look, the dress she is wearing has color to it, the top of the dress is blue with some yellow around the neck, arms, and in the lower stomach area then on the bottom of the dress it is brown but the very bottom is simple with no flowers, it is white with frills, and the heart she has looks more of a realistic. For the first Kahlo the blood vessels are going around her arm, up her shoulder, and around her neck going towards the second Frida heart. Once the blood vessels reaches

Lots of thick and many thin lines that are connected with no division. The outline of objects and people are a lighter tone to represent the shadows. Many curvy lines to show the figures of the women in the room by their strong stands with the pool table waiting for their turns to go. There are many shapes in present but the one that was used the most was the rectangle and circle. I feel as if hatching played a huge role in the drawing just by looking real close at the characters’ clothes and the details on their arms. Nothing in the painting really stood out so they didn’t put the focus on one specific thing, which makes you get an eye full at one time. The use of color ranges from the primary to the secondary colors and that is also low in the saturation as well. The painting is polychromatic because there was a lot of different colors used throughout the painting. It’s hard for me to get a texture feel of this painting because it seems more symbolic than a statement or the people seem more like a documentation of people at a certain time and

Frida Kahlo was one of the most influential female artists in the twentieth century. Being a woman in a misogynistic career, Kahlo did not experience the fame she has today while she was still alive. Through her captivating paintings she reveals the dark side of life, relating to her own experiences. Many articles, bibliographies, movies, and even Frida Kahlo’s diary have been published for scholars, artists, and feminists to discuss the influence Kahlo had on art and society. Although the movie Frida was released forty-eight years after Frida Kahlo’s death, the movie accurately depicts her dismal life and her connection to her artwork.

The lines are thin and smooth just as a person’s skin would be. In this work of art you see nature and things that are more realistic. Happiness is defiantly shown in this work of art. This picture expresses how women sometimes have to take on the mother and father role. The woman and her son are still happy and full of joy. The material used for this work is paint which includes oil, acrylic, and watercolor. I see oily, metallic, smooth, and coarse textures in the painting.

In particular, the vivid green coat of the subject juxtaposes the blood red background directly behind the subject. The clash of these varied hues enhances the sense of tension and anxiety of the image. The use of color between these artists differs in order to portray their different

One great example, April 13, 1953 at the “Galería de Arte Contemporáneo”, Frida's doctor told her she was not well enough to attend the opening and she was not to leave her bed. Frida determined to attend the opening, loaded her bed into the back of a truck, driven to the exhibition opening as Frida followed in an ambulance. Upon arrival, Frida was carried into the gallery on a stretcher by four men who carry her inside to greet her friends and was placed in the middle of the gallery in her bed. Unfortunately a year later, she took her last breath at the Casa Azul just days after her birthday. Since her death, Kahlo’s fame as an artist has only grown. Her beloved Blue House was opened as a museum in 1958. The feminist movement of the 1970’s led to a renewed interest in her life and work becoming an icon to many. More recently, her life was the subject of a 2002 film in which was nominated for six Academy Awards ("Frida Kahlo Biography”). Despite Frida fearing that after her death she would be forgotten, aside from her fascinating masterpieces immortalizing her throughout the years, she keeps living within the hearts of many Mexicans that know her back story because of being the true embodiment of a very important lesson she left behind, despite all of the challenges life throws at you, keep pushing forward

There is an obvious use of geometric shape of a circle on the sphere to form its whole shape and having organic shapes for the whole figure of the countess and especially the clouds in the background and foreground. The artist has also managed to develop the texture in this painting. He mainly used light and rough brushstrokes instead of thick layers of paint like impasto. Gentle and small brushstrokes build up the figure of Rachel de Ruvigny, from her hair to her gown. These brushstrokes do not appear loose or quick. The shine and the way the fabric flows create the texture of silk (see fig. 6). The application of oil paint has helped in achieving the production of this texture. For the clouds, the build up of paint through dabbing and swirling has made them look soft and fluffy. The sphere is also painted with reflective spots and a smooth surface to create the texture of a sleek fragile orb. Moving on to the colour harmony of this painting, Anthony van Dyck has used complementary colours two of which are blue and orange. The subject, Rachel de Ruvigny, is mainly wearing a blue/blue-green gown as where the background and other objects such as the sphere and skull are painted in this dark hue of orange that contrasts with the main subject. Van Dyck has also used different types of lines in this painting. Firstly, the folds and wrinkles in her clothes are created by soft and sensual lines that have made the fabric more realistic. Also, contour lines have been used to

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The work of Frida Kahlo often labeled and defined as feminist art continues to describe and establish what feminist art is. Wife of the well known and highly regarded Diego Rivera, Frida struggled to become an artist in her own right. Her extremely passionate love for and devotion to her husband manifested itself in an unusual manner in their already unconventional and unique marriage. However it is partly this obsession with Diego that helped motivate her own success as a feminist artist. Her passionate political and revolutionary spirit resonates in the subjects of her paintings as she herself states, "I want my work to be a contribution to the struggle of the people for peace and liberty." (Herrera p.263). She confronts her pain

4. Frida Kahlo essentially became an international cultural icon, honored by many people, especially in Mexico. Her artwork withholds visual symbolism of all kinds of emotional and physical pain and most importantly she incorporated indigenous culture and her depiction of the female experience. Including illustrating the feelings of death, loneliness, pain, including the pain of miscarriages, failed marriage, and the aftermath of tragic accidents. Through her imagery, she was able to portray her life experiences. She would include specific elements that symbolized something greater. Throughout the process of analyzing all different aspects of Frida Kahlo’s paintings, it provided a deeper understanding to each painting.

Frida Kahlo’s “The Two Fridas” is a manifestation of heartbreak, inner human pain, rejection of colonialism, and emotional journey. An oil on canvas made in 1939 in the midst of Frida Kahlo’s divorce from Diego Rivera, this painting embodied Frida Kahlo’s progression at this time in her life, dealing with what she is and what she wishes to be; as well as setting out how she wishes to do it. An ode to melancholy and overcoming adversity, “The Two Fridas” is a universal, eternal reminder of human capability.