Pelo Corto Analysis

641 Words2 Pages
bulb-icon

Recommended: Comparing diego rivera and frida kahlo art work

As viewers, we often don’t consider the three-dimensionality of objects when evaluating their authenticity. In terms of paintings, for instance, a public portrait is seen as more authentic from the painter’s point of view, while self-portraits are seen as authentic images of the subject and the painter. Considering one more authentic than the other seems ludicrous as they each illustrate divergent types of authenticity. However, as John Berger argues in Ways of Seeing, self-portraits are less stiff and rigid, and more personal, “They are there in all their particularity and we can study them, but it is impossible to imagine them considering us in a similar way” (98). One painting in particular, Autorretrato con Pelo Corto by Frida Kahlo, manages to capture what a public portrait of Kahlo would not; it, among many things, clues in her divorce, sexual identity and orientation, and health issues. Autorretarato con Pelo Corto was Kahlo’s first painting after her divorce with another Mexican artist, Diego Rivera. While strands of her hair are all over the dark orange floor, Kahlo is sitting on a bright yellow, wooden chair, holding onto scissors, implying that a part of her does not want to stop. A strand of hair is also tied to the visible part of the bright yellow chair, signifying that a part of her old self will always be with her. Furthermore, Kahlo is also wearing an over-sized suit, which probably belonged to Diego. Whether it was a result of her divorce or not, Kahlo majorly stopped dressing in feminine outfits and started dressing in the perceiving manly outfits after her divorce. However, many feminists view this transformation as Kahlo having the opportunity to be more open about her sexual …show more content…

Frida Kahlo Fans. Web. 19 Oct. 2015. . Autorretrato Con Pelo Corto. Frida Kahlo. 1940. Painting. Berger, John. Ways of Seeing. London: British Broadcasting :, 1972. 166.

Show More
Related

  • Yo Sola Aprendi Analysis

    537 Words  | 2 Pages

    Genaro Padilla, author of the article Yo Sola Aprendi: Mexican Women’s Personal Narratives from Nineteenth-Century California, expands upon a discussion first chronicled by the historian, H. H. Bancroft and his assistants, who collected oral histories from Spanish Mexican women in the 1870’s American West. Bancroft’s collection, however, did not come from this time period, but closer to the 1840s, a time where Mexican heritage still played a strong presence throughout most of California. These accounts, collected from many different women, in many various positions and lifestyles, shows just how muted the Mexican female voice could be during this era.

    Read More

  • Compare And Contrast Frida Kahlo And Barbara Kruger

    1090 Words  | 3 Pages

    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

    Read More

  • Alice Neel Nude Analysis

    155 Words  | 1 Pages

    Alice Neel's most talked about painting, a Self-Portrait of herself, shocked the world when she painted herself in the nude at the age of 80-years-old. Neel, a 20th Century American Portrait Artist, painted models for over 50 years before turning the attention to herself (Tamara Garb). Neel wasn't a pinup girl and had depicted herself as the complete opposite (Jeremy Lewison). Unlike Neel, women avoided self-portraits of themselves, and nude self-portraits barely made it to canvas (Tamara Garb). Because of these reasons alone, Neel's Self-Portrait attracted scrutiny (Jeremy Lewison). Though Neel declared the painting to be frightful and indecent (Ibid), it still directed its focus on femininity, and the challenges women had to endure in our

    Read More

  • Analysis Of How You See Yourself By Nicholas Mirzoeff

    1054 Words  | 3 Pages

    The essay How You See Yourself by Nicholas Mirzoeff discusses the evolution of art. The author discusses the use of art to represent changing identities over the years including cultural practices and societal expectations. The selfie, according to Nicholas Mirzoeff’s essay, is the equivalent of a self-portrait in the previous centuries preceding the technological development required for the present day selfie. The essay explores the different periods and the significance of art, particularly self-portraits, the selfies of the time, and their development over time. The author focuses on different themes including heroism, gender definition, and the focus of an image. Mirzoeff effectively provides examples illustrating and reinforcing the themes he highlights in his essay.

    Read More

  • Frida Kahlo Thesis

    711 Words  | 2 Pages

    Attention Material: There is ongoing speculation that Frida Kahlo would have never came to be as well known if it wasn’t for the marriage to another Famous Mexican painter under the name of Diego Rivera. Although both had different styles of painting, Frida Kahlo was being rediscovered by many particular women because a lot of herself inflicting paintings connected to a big audience of feminists. After living under the shadow of her husband she was becoming even more famous than Diego Rivera.

    Read More

  • A Too Perfect Picture By Teju Cole Analysis

    970 Words  | 2 Pages

    Though people can look into color and composition, others can still even look into the source of the art itself. Cole goes deeper, delving into the source of the art, looking in particular into the idea of cultural appropriation and the view a person can give others. Though it is good for people to be exposed to different opinions of a group or an object, sometimes people can find it difficult to tell the difference between the reality and the art itself. Sometimes art can be so powerful that its message stays and impacts its audience to the point where the viewer’s image of the subject of the art changes entirely. Cole brings up an important question about art, however. Art has become some kind of media for spreading awareness and even wisdom at times, but in reality, “there is also the question of what the photograph is for, what role it plays within the economic circulation of images” (973). Cole might even be implying that Nussbaum’s advertisement can sometimes be the point of some media, and that sometimes the different genres of art can just be to make someone with a particular interest happy. One more point that Cole makes is that “[a]rt is always difficult, but it is especially difficult when it comes to telling other people’s stories.” (974) Truthfully, awareness and other like-concepts are difficult to keep going when a person or a group is not directly involved.

    Read More

  • The Work of Cindy Sherman

    2829 Words  | 6 Pages

    No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Sherman’s photography is part of the culture and investigation of sexual and racial identity within the visual arts since the 1970’s. It has been said that, “The bulk of her work…has been constructed as a theater of femininity as it is formed and informed by mass culture…(her) pictures insist on the aporia of feminine identity tout court, represented in her pictures as a potentially limitless range of masquerades, roles, projections” (Sobieszek 229).

    Read More

  • Taking a Look at Frida Khalo and Cindy Sherman

    1278 Words  | 3 Pages

    Throughout history art has played a major role in society. It started out with paintings and went to photography and eventually to films. Artistic interpretation depended on whom the artist was and what he or she wanted to present to the audience. When it came to portraiture, whether it was paintings or photography, the idea of mimesis was very important. However important this may have been, the portraits were mostly products of the media and fashions during that time period. Whatever was popular during the time was used such as columns or curtains in the background. The face was the main focus in the painting and there was little focus on the body. Later on during photography the body was focused on more. Even though photography was used much later after paintings were used, it allowed the artist even more artistic interpretation because of the ability to play a different role and not having to be ones self. The artists that will be focused on are Frida Kahlo and Cindy Sherman. They lived during different periods and their artistic intentions varied because of that. They also had similarities in that they thought outside of the conventional roles. These women were both self-portraiture artists and although they were considered that their interpretations did not always make their portraits self-portraits. Traditionally the artist was an outsider, but when it came to self-portraiture they became the subject and the audience became the outsider. The similarities and differences of Frida Kahlo and Cindy Sherman’s art were tied into the strength and also vulnerability they had because of their roles as women. They wanted the audience to see a background story to the portraits and not just an image of a beautiful face.

    Read More

  • Event, Eventing, Eventuality: An Artistic Dialogue

    1186 Words  | 3 Pages

    Even though an individual’s response is subjective, hermeneutical aesthetics focuses on interpretive incompleteness as part of the way human, viewers of artworks included, are in the world. An artwork is always experienced in the present from a particular present point of view and its interpretation is the transmission of meanings across time. In this way the artworks discussed in this thesis bear witness to particular historical events and allow for possible projections of those past events into the future. Contemporary life is permeated with a diversity of visual information. In such an atmosphere the hermeneutic approach provides a way of understanding the applications of the meaning we make of visual input. In light of it, the responsibility of both artist and viewer is among the issues discussed in the last part ‘Beyond Horizons’. Here the perspective moves to weave together the threads of ideas and issues that have been identified in the ‘Fusion of Horizons’ section, and reflects on aspects that reverberate beyond the shifting possibilities within the

    Read More

  • Compare And Contrast Kahlo And Van Gogh

    1189 Words  | 3 Pages

    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.

    Read More

  • Physiognomy: The Sense Of Self, Identity, And Identity

    3267 Words  | 7 Pages

    This is a pseudoscience which assesses character and morality from outer appearance, applying the practice of “judging a book by its cover” to the human form. However, one could argue that facial expressions and gestures, as well as race and gender, are socially and culturally learned and not necessarily a reflection on the person’s inner self. The theories of Physiognomy have been discredited and this is one of the reasons why numerous contemporary photographers criticize the conventional portrait and dismiss the belief that the portrait can claim to reveal or capture the inner being, the soul; which they instead categorise as myth. They also refuse the idea that a portrait is believed to be believable and adequate complete resemblance, of the individual being photographed. (Ewing, 2004,

    Read More

  • Pipilotti Rist and Virtual Utopia

    1313 Words  | 3 Pages

    The camera is presented as a living eye in her work, capable of bending and twisting, contorting reality in its own light. It is at the same time a sensuous device, one that exp...

    Read More

  • Pemchint Analysis

    298 Words  | 1 Pages

    The author claims that the pemchint that is one of the music-related artifacts was being used by Dodecan hunters to repel dangerous wild aminals. The author basis his claim on various assumptions. However, closely scrutinizing each of the assumptions reveals that none of them lends credible support to the claim.

    Read More

  • Artemisia Gentileschi Art Analysis

    2030 Words  | 5 Pages

    Throughout history, women artists have had to face opposition from their male counterpart to be treated as equals in both society and in art. Men has enjoyed a level of personality in the depiction of male figures that have allowed for active roles while women were forced in roles deemed lesser. Their treatment in both society and in the representation of art, has limited female viewer in what types of female figures she would see. Her models were mostly passive and objects of beauty or femmes fatales.

    Read More

  • Confronting Images

    1639 Words  | 4 Pages

    Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.

    Read More

More about Pelo Corto Analysis

Open Document