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Frida Kahlo: Ancestry Bloodline
Frida Kahlo was a famous Mexican painter who transported her feelings to her audience through her art. One of her most famous painting is My grandparents, My parents, and I. In this wonderful art piece, she presents her family to her viewer in an authentic family tree. She, like many Mexicans, is a proud inheritor of the mestisaje bloodline. Since the colonization era, when the Europeans and Spanish came to the Americas in 1493, many new biological crossings occurred (Flyover History 26). In Kahlo’s painting, we can appreciate the impact that the Colombian exchange had on genealogical history.
Artist, Frida Kahlo enlights her audience with a unique painting of her family tree. In the center of this masterpiece, she carefully places herself as a child holding a red lace. This lace directs the viewers to focus their attention on both, maternal and paternal grandparents. Falling to the lower center of them, her parents are placed. As to signal the unity of two cultures. Below Kahlo’s parents, the view falls back to her child portrait, giving the audience the result of a unity, herself, a meztisaje.
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In this meztisaje painting, Kahlo proudly presents her origins to her audience.
In the center of the painting is her as a child. To the right is her father, a “German-born Jewish and a photographer” (moma.org p1 ). Above him are her grandparents drawn above the water. With this she symbolizes that her paternal origins are from overseas, European and Jewish heritage. Her mother Matilde at the left is “half Amerindian and half Spanish” (FK.org). Above Matilde are Kahlo’s grandparents which are located above land. Cactus and mountains symbolize that the origins of her maternal grandparents have inhabited Mexican land for generations. These cultural points are very important to Kahlo although an important part of her heritage is left out of this
painting. Kahlo has a very clear view of her family decendency. This, she has transmitted to her viewers through her paintings and the clothing she gives her protagonist. In this masterpiece she focused so much on her family that she didn’t proclaim her religious cultural. The viewers are not clear if Frida Kahlo had a religious inclement or if she even had a religious belief. Frida Kahlo painted her family tree because she was proud of her origins. As a viewer, I feel a connection between her heritage and mine. Just as she has a meztisaje heritage, so do I, and many of those who have viewed this painting. America is composed of an ethnicity exchange that still and will forever reflect our generations. For this reason and the respect I have of our culture, I can affirm that the content of My Grandparents, My parents and I, is a piece of history placed into art.
Ester Hernandez is a Chicana artist, best known for her works of Chicana women. Ester’s goal is to recreate women’s lives to produce positive images of women’s lifestyle and to create icons. Her piece, Frida y Yo, contains the iconic painter Frida Kahlo. Frida, after being in multiple accidents causing long-term pain and suffering, began painting, mostly self-portraits, to portray her reality and glorify the pain. Similar to how Hernandez's goals are a juxtaposition to Frida’s artwork, the art piece Frida y Yo creates a juxtaposition between life and suffering and death and fortune.
Traditionally history of the Americas and American population has been taught in a direction heading west from Europe to the California frontier. In Recovering History, Constructing Race, Martha Mencahca locates the origins of the history of the Americas in a floral pattern where migration from Asia, Europe, and Africa both voluntary and forced converge magnetically in Mexico then spreads out again to the north and northeast. By creating this patters she complicates the idea of race, history, and nationality. The term Mexican, which today refers to a specific nationality in Central America, is instead used as a shared historic and cultural identity of a people who spread from Mexico across the southwest United States. To create this shared identity Menchaca carefully constructs the Mexican race from prehistoric records to current battles for Civil Rights. What emerges is a story in which Anglo-Americans become the illegal immigrants crossing the border into Texas and mestizo Mexicans can earn an upgrade in class distinction through heroic military acts. In short what emerges is a sometimes upside down always creative reinvention of history and the creation of the Mexican "race (?)".
Through the voice of Palo Alto, a mesquite tree, Elena Zamora O’Shea relates the story of one Spanish-Mexican family’s history, spanning over two hundred years, in South Texas, the area encompassing between the Nueces and the Rio Grande. As the narration of the Garcia’s family history progresses through the different generations, becoming more Mexican-American, or Tejano, peoples and things indigenous gradually grow faint. In her account of South Texas history, Elena devalues the importance and impact of Indians, placing a greater precedence on the Spanish settlers.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
In the years following the Spanish conquests, the southwest region of the United States developed into Spanish colonial territory. Indians, Spaniards, and blacks occupied this territory in which the shortage of Spanish women led to the miscegenation of these cultures. The result of mixing these races was a homogenization of the people of various cultures that came to be called mestizos and mulattos who, like present day Mexican Americans, inherited two distinct cultures that would make their culture rich, yet somewhat confusi...
Frida Kahlo is known for the most influential Latin American female artist. She is also known as a rebellious feminist. Kahlo was inspired to paint after her near-death bus incident when she was 17. After this horrendous incident that scarred her for life, she went under 35 different operations. These operations caused her extreme pain and she was no longer able to have kids. Kahlo’s art includes self portraits of her emotions, pain, and representations of her life. Frida Kahlo was an original individual, not only in her artwork but also in her
I chose to analyze the The Family, 1941 portray and The Family, 1975 portray, both from Romare Bearden, for this essay because they are very similar paintings but at the same time very different. To write a critical analyzes it was necessary to choose two different paintings that had similar characteristics. The text about critical comparison said that to compare things they have to be similar, yet different, and that’s what these paintings look to me. As I had already written an analysis of The Family, 1941 portray I chose to analyze and compare The Family, 1975 this time. Both works have a lot of color in it and through the people’s faces in the pictures we can feel the different emotions that the paintings are conveying.
Art and literature work independently of each other, however, they can be linked together to help a reader or observer understand in new ways and create new possibilities. Within this context, the perspective of Jacob Lawrence and the authors address that it takes work to build the ideal society and family. However, the authors give the stark reality of both society and family demonstrating that our reality is nothing like the ideal.
Symbolizing liberty and freedom, the woman’s head - protruding off the canvas - represents resistance to gender norms as well as the racial discrimination, an “out of the box” challenge. Besides, imitating a great figure such as the Statue of Liberty proves to signify a new movement while referring back to the foundations of the work. Additionally, McCannon includes outlines all around her figure that separating the figure from the ground, which gives the work a more prominent valiant impression. Yet, despite the dauntless image, the figure of the woman encompasses curvilinear shapes that emphasize the femininity of the work; reminding the audience who exactly is defying and resisting gender and racial stereotypes are becoming the symbol of independence. The revolutionary sister also indicates a directional line from the bottom of her left leg to the top of her headdress. Therefore, this slightly diagonal directional line signifies the erect posture of the revolutionary sister as well as to imply a feeling of movement; representing the revolutionary movement behind the
In this work, and many, Kollwitz uses lithography to produce very dark yet sharp images. The use of color itself gives the audience a doleful view of her works. When first looking at this work, a deep sadness and sorrow is perceived. The expressions on the mothers’ faces give it away almost immediately. Viewing this piece from left to right, the first mother seems as if she has lost a loved one or is reminded of one. The way that she hides her face in her hands not wanting anyone to see her pain, shows the audience how devastating it is to lose a loved one. The other two mothers seem more collect about their thoughts but at the same time thankful. They seem thankful by clutching tightly to their young, firmly holding their infants and keeping the children close by their side as if the kids are the only loved ones that the mothers’ have left.
Williams, Norma. (2009). The Mexican American family: tradition and change. New York: General Hall. (Primary)
I will begin to examine the Mexican American ethnic group, probing the historical circumstances that impelled them to come to America, focusing on the structure and functioning of their family life to determine or, at least, to raise clues about how and why they have been able or unable to maintain an ethnic identification over the generations, and take a brief look ahead to being to speculate what the future endeavors are for this ethnic group and their constitutive families.
Art is a very important part of humanity’s history, and it can be found anywhere from the walls of caves to the halls of museums. The artists that created these works of art were influenced by a multitude of factors including personal issues, politics, and other art movements. Frida Kahlo and Vincent van Gogh, two wildly popular artists, have left behind artwork, that to this day, influences and fascinates people around the world. Their painting styles and personal lives are vastly different, but both artists managed to capture the emotions that they were feeling and used them to create artwork.
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
To begin to know the artist, one must start at the artist’s beginning. Mucha was born in 1860 and raised in a Moravian village in Ivančice (Chilvers, 390). His family was at the bottom of respectability due to his father’s position as a court usher. Mucha was familiar with poverty and suffering, and saw it at a daily basis because his family lived in the same building as the local jail. He also saw the loss of three of his siblings to tuberculosis. Mucha was raised in a highly religious household and often found solace in the church; spending hours knelt in front of a crucifixion to absorb the chanting and the atmosphere of the Catholic mass. (Mataev)