ALL 123 FRIDA KAHLO PAINTINGS IN THE COLLECTION AND ON THIS WEB-SITE ARE LICENSED REPLICAS: BY © BANCO DE MÉXICO DIEGO RIVERA & FRIDA KAHLO MUSEUMS TRUST / VG BILD-KUNST, BONN 2008.
These and 200 more photos are part of our exhibition. We are happy to share them with our Kunstmuseum Gehrke-Remund visitors, all the Frida Kahlo fans, with our friends and with you.
Nickolas Muray (15 February 1892 -
2 November 1965) was a Hungarian-born American photographer and Olympic fencer.
Muray attended a graphic arts school in Budapest, where he studied lithography, photoengraving, and photography. In 1913, with the threat of war in Europe, Muray sailed to New York City.
Muray quickly became recognized as an important portrait photographer, and his subjects included most of the celebrities of New York City. In 1926, Vanity Fair sent Muray to London, Paris, and Berlin to photograph celebrities, and in 1929 hired him to photograph movie stars in Hollywood. He also did fashion and advertising work. Muray's images were published in many other publications, including Vogue, Ladies' Home Journal, and The New York Times.
Between 1920 and 1940, Nickolas Muray made over 10,000 portraits. His 1938's portrait of Frida Kaho, made while Kahlo sojourned in New York, attending her exhibit at the Julien Levy Gallery, became the best known and loved portrait made by Muray.
“My Bartolí…I don’t know how to write love letters. But I wanted to tell you that my whole being opened for you. Since I fell in love with you everything is transformed and is full of beauty…. love is like an aroma, like a current, like rain. You know, my sky, you rain on me and I, like the earth, receive you.
Mara” — Frida Kahlo, October 1946
Read more at http://observer.com/2015/04/passion-penned-frida-kahlos-intimate-love-letters-of-an-illicit-affair-up-for-sale/#ixzz3YG4hFCq7
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Josep Bartolí, the last love of Frida Kahlo. In 1946 Frida Kahlo wrote a letter to her friend Ella Wolfe, in which she asked, "not to talk to anyone about this topic".
This referred to her last great love, Josep Bartolíi (1910 - 1995), a Catalan painter. Frida Kahlo wrote about Josep Bartolí:
"He's the only reason that gives me the desire to live."
From 1946 to 1952 an intense love relationship grew between Frida Kahlo and Josep Bartolí, this love was known only to a few friends and accomplices.
Painting: Self portrait miniature, 1946, Oval Miniature on wood, 4,1 x 3,8 cm, Original: Private Collection, New York, USA; Licensed replica: ©Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust/VG Bild-Kunst, Bonn 2008
Photo: Josep Bartolí. Un creador a l'exili - DVD original que realiza la función de catálogo; Caricaturista político, dibujante, ilustrador, pintor, escritor…; DVD original que realiza la función de catálogo de una exposición propiciada por el Ayuntamiento de Barcelona durante los meses de diciembre de 2003 y enero de 2004. Producido por MetrònomLab
Josep Bartolí was a quiet man who kept the secret known only to few of his friends while Frida wrote to her friend Ella Wolfe in New York:
"No one here knows anything, only Cristi (Cristina, Frida´s sister), Enrique (Frida driver), you and I know the person who is at stake."
To further hide their relationship, she wrote to Ella:
"If you want to ask about him in your letters, ask for the name Sonja.''
At the end of the letter, Frida wrote:
"Don't forget to destroy this letter in order to avoid future misunderstandings. Will you promise that? ".
"Frida is the love of my life." Josep said of Frida; she is very sweet, loving, romantic. She is very intelligent and a great artist.
" You may say that I really love him " Frida wrote in her letter to Ella. Josep Bartolí kept all 40 letters of Frida throughout his life, one was able to recognize the letters of Frida by their perfume, and Josep Bartolí could repeat every word, every line of the letters by heart, as they were imprinted in his memory.
As Josep Bartolí died in 1995, his family found a chest with his memories of Frida: her hair ribbons, scarves, letters, sketches and a small medallion that Frida had painted and given to him.
On the back of the miniature Frida Kahlo wrote in red: CON AMOR PARA BARTOLI - MARA "For Bartoli, with love. Mara ". Mara was the secrete name Frida signed her love letters to Bartoli. Mara as "Maravilla" (Wonderful in Spanish).
When Frida Kahlo died in 1954, Diego Rivera (her husband) established that the room with her wardrobe should remain locked for 50 years.
In April 2004 this room was opened and many pieces of her wardrobe were found, this allowed the Frida Kahlo Museum in Mexico to recreate and partly to repair Frida Kahlo dresses and underwear.
The opening of the room and the process of identifying her clothes was described in a book: “Self Portrait in a Velvet Dress. The Fashion of Frida Kahlo”. 2008.
The famous blouses of Frida are called “Huipile” (= blouse). The Huipile is a garment worn by the Maya women in southern Mexico, Guatemala, El Salvador and Western Honduras. Today it is still worn in the area of the isthmus of Tehuantapec, Southern Mexico
The Isthmus of Tehuantepec provides the shortest route over land between the Gulf of Mexico and the Pacific Ocean.
Before the construction of the Panama Canal this was the main traffic artery, and it was known as the Tehuantepec route. Geographically, the isthmus separates North - from Central America.
The Huipile is a garment with great personal and communication power. The pattern of the Huipile reveals the location, the social and family status, the religious background of the woman who wears it. It also makes statements about faith and prosperity. The Huipile is a testimony of the highest Mayan weaving art.
Huipiles are usually made of two or three layers of fabric connected with decorative embroidery. They are then folded and sewn together, with an opening left in the middle for the head. Each Huipile (blouse) and Falta (skirt) is unique. Flower motifs are embroidered by hand. The geometric patterns are hand-woven.
If a woman is lucky, she owns one or two Huipiles to wear daily. Often she owns another Huipile for special occasions such as weddings, festivals and religious ceremonies.
A woman has only a very limited number of Huipiles throughout her life. A well woven Huipile can be worn for 20 to 30 years. Then, when the Huipile can no longer be worn, it is divided into small pieces of cloth and used as a carpet or sown into a quilt.
The Maya art of weaving went almost lost in recent years. Today, however, weaving cooperatives have been founded to revive the Mayan art again. Moreover studies are conducted to preserve the knowledge of the old methods of weaving and colouring the textiles. The use of specific patterns is sacred, as they are related to the "holy dreams of the girls”. For the Mayas, dreams were of great importance, they believed that dreams conveyed messages from the spiritual world.
The Huipiles (blouses) in the exhibition of the Kunstmuseum Gehrke-Remund are original from Mexico. They are exactly in the style as Frida Kahlo used to wear and to paint.
The black and gold Huipile in the exhibition is original from Oaxaca, a rare piece from the period 1920-1930.
Source: from the lecture: "The Dresses of Frida: Meaning, History and Secrets."
Dr. M.C. Remund, Kunstmuseum Gehrke-Remund, Baden-Baden, 2009.
Frida Kahlo and Diego Rivera
25 years of passion of two artists larger than life Frida Kahlo and Diego Rivera were married from 1929 to 1939 for the first time, and a second time from 1940 till Frida Kahlo’s death in 1954.
The years together were marked by passion and pain that these two great artists felt for each other. The influence of Diego on Frida’s life is indisputable:
He influenced her paintings, her way of dressing and presenting herself as an Aztec Queen.
Frida was eventually Diego’s soul mate, but he realized it only after her death.
Frida wrote in her diary:
“Diego is the name of Love”.
Diego wrote in his autobiography:
“July 13th 1954 was the saddest day of my life. I lost forever my beloved Frida… too late I realized that my love for her was the most wonderful part of my life”.
Painting: # 27: Frieda and Diego Rivera, 1931; licensed replica: ©Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust/VG Bild-Kunst, Bonn 2008
Frida Kahlo painted " A few small Nips" in 1935 to illustrate her feelings towards her husband affair with her sister Cristina.
The painting in essence illustrates how easily and lightly Diego mortally hurt her. In the painting the injuries are physically deadly, in Frida's case the mortal pain is emotional (“I have been murdered by life” wrote Frida in one of her letters.)
The painting also shows how this deadly pain inflicted is considered, by the perpetrator (i.e. Diego) irrelevant, not important, just “a few small nips”.
We know that Frida Kahlo often worked on her paintings over the years, adding items and always strengthening her statement. “A Few Small Nips” is an example of this development which we can follow from the photos taken between 1935 and 1948 since she kept this painting in her Blue House.
Painting: Frida Kahlo, A few small Nips, 1935; Licensed replica: ©Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust/VG Bild-Kunst, Bonn 2008.
Originally the painting had a normal wooden frame in brown colour and few blood spots; over time she added a small bamboo bird cage on the top left, to match exactly the white dove, which now is inside the cage. As we see from the photo and the reconstruction we made of the cage in the painting, the door of the cage is slightly open but not enough to allow the dove to fly away and be free.
This imagery of being prisoner of her love for Diego can be also found in the Painting Nr. 87: “Diego in my thoughts”.
She also planted a knife on the frame of the painting, a reminder of how much Diego hurt her.
Over the years she kept adding blood on the painting, she painted the frame in red-blood, and added blood-coloured spots on the frame as well.
She also stabbed and damaged the frame with the knife; every knife mark was a reminder of the pain Diego inflicted her with his “irrelevant” affairs.
The painting “A few small Nips” must be shown in its completeness, as Frida had it in display in her studio: with the cage and the knife, to be able to understand the full meaning Frida gave this painting.