|Birth Day:||July 6, 1907|
|Death Date:||Jul 13, 1954 (age 47)|
|Birth Place:||Coyoacan, Mexico|
|Height:||in centimeters - N/A|
|Weight:||in kg - N/A|
As per our current Database, Frida Kahlo died on Jul 13, 1954 (age 47).
She suffered from polio as a child and developed a slight physical deformity. In her teens, her health was further compromised by severe injuries sustained during a bus accident. She had one gallery showing in the United States: the Julien Levy Gallery in 1938.
Magdalena Carmen Frida Kahlo y Calderón was born on 6 July 1907 in Coyoacán, a village on the outskirts of Mexico City. Kahlo stated that she was born at the family home, La Casa Azul (The Blue House), but according to the official birth registry, the birth took place at the nearby home of her maternal grandmother. Kahlo's parents were photographer Guillermo Kahlo (1871–1941) and Matilde Calderón y González (1876–1932), and they were thirty-six and thirty, respectively, when they had her. Originally from Germany, Guillermo had immigrated to Mexico in 1891, after epilepsy caused by an accident ended his university studies. Although Kahlo claimed that her father was Jewish, he was in fact a Lutheran. Matilde was born in Oaxaca to an Indigenous father and a mother of Spanish descent. In addition to Kahlo, the marriage produced daughters Matilde (c. 1898–1951), Adriana (c. 1902–1968), and Cristina (c. 1908–1964). She had two half-sisters from Guillermo's first marriage, María Luisa and Margarita, but they were raised in a convent.
In 1922, Kahlo was accepted to the elite National Preparatory School, where she focused on natural sciences with the aim of becoming a doctor. The institution had only recently begun admitting women, with only 35 girls out of 2,000 students. She performed well academically, was a voracious reader, and became "deeply immersed and seriously committed to Mexican culture, political activism and issues of social justice". The school promoted indigenismo, a new sense of Mexican identity that took pride in the country's indigenous heritage and sought to rid itself of the colonial mindset of Europe as superior to Mexico. Particularly influential to Kahlo at this time were nine of her schoolmates, with whom she formed an informal group called the "Cachuchas" – many of them would become leading figures of the Mexican intellectual elite. They were rebellious and against everything conservative and pulled pranks, staged plays, and debated philosophy and Russian classics. To mask the fact that she was older and to declare herself a "daughter of the revolution", she began saying that she had been born on 7 July 1910, the year the Mexican Revolution began, which she continued throughout her life. She fell in love with Alejandro Gomez Arias, the leader of the group and her first love. Her parents did not approve of the relationship. Arias and Kahlo were often separated from each other, due to the political instability and violence of the period, so they exchanged passionate love letters.
Kahlo enjoyed art from an early age, receiving drawing instruction from printmaker Fernando Fernández (who was her father's friend) and filling notebooks with sketches. In 1925, she began to work outside of school to help her family. After briefly working as a stenographer, she became a paid engraving apprentice for Fernández. He was impressed by her talent, although she did not consider art as a career at this time.
After a bus accident in 1925 left Kahlo unable to walk for three months, Kahlo began to paint in order to pass the time. She started to consider a career as a medical illustrator, as well, which would combine her interests in science and art. Her mother provided her with a specially-made easel, which enabled her to paint in bed, and her father lent her some of his oil paints. She had a mirror placed above the easel, so that she could see herself. Painting became a way for Kahlo to explore questions of identity and existence. She explained, "I paint myself because I am often alone and I am the subject I know best." She later stated that the accident and the isolating recovery period made her desire "to begin again, painting things just as [she] saw them with [her] own eyes and nothing more."
On 17 September 1925, Kahlo and her boyfriend, Arias, were on their way home from school. They boarded one bus, but they got off the bus to look for an umbrella that Kahlo had left behind. They then boarded a second bus, which was crowded, and they sat in the back. The driver attempted to pass an oncoming electric streetcar. The streetcar crashed into the side of the wooden bus, dragging it a few feet. Several passengers were killed in the accident. While Arias suffered minor damages, Kahlo had been impaled with an iron handrail that went through her pelvis. She later described the injury as “the way a sword pierces a bull.” The handrail was removed by Arias and others, which was incredibly painful for Kahlo.
At one of Modotti's parties in June 1928, Kahlo was introduced to Diego Rivera. They had met briefly in 1922 when he was painting a mural at her school. Shortly after their introduction in 1928, Kahlo asked him to judge whether her paintings showed enough talent for her to pursue a career as an artist. Rivera recalled being impressed by her works, stating that they showed, "an unusual energy of expression, precise delineation of character, and true severity ... They had a fundamental plastic honesty, and an artistic personality of their own ... It was obvious to me that this girl was an authentic artist".
On moving to Morelos in 1929 with her husband Rivera, Kahlo was inspired by the city of Cuernavaca where they lived. She changed her artistic style and increasingly drew inspiration from Mexican folk art. Art historian Andrea Kettenmann states that she may have been influenced by Adolfo Best Maugard's treatise on the subject, for she incorporated many of the characteristics that he outlined – for example, the lack of perspective and the combining of elements from pre-Columbian and colonial periods of Mexican art. Her identification with La Raza, the people of Mexico, and her profound interest in its culture remained important facets of her art throughout the rest of her life.
Kahlo soon began a relationship with Rivera, who was 20 years her senior and had two common-law wives. Kahlo and Rivera were married in a civil ceremony at the town hall of Coyoacán on 21 August 1929. Her mother opposed the marriage, and both parents referred to it as a "marriage between an elephant and a dove", referring to the couple's differences in size; Rivera was tall and overweight while Kahlo was petite and fragile. Regardless, her father approved of Rivera, who was wealthy and therefore able to support Kahlo, who could not work and had to receive expensive medical treatment. The wedding was reported by the Mexican and international press, and the marriage was subject to constant media attention in Mexico in the following years, with articles referring to the couple as simply "Diego and Frida".
Soon after the marriage, in late 1929, Kahlo and Rivera moved to Cuernavaca in the rural state of Morelos, where he had been commissioned to paint murals for the Palace of Cortés. Around the same time, she resigned her membership of the PCM in support of Rivera, who had been expelled shortly before the marriage for his support of the leftist opposition movement within the Third International.
When Kahlo and Rivera moved to San Francisco in 1930, Kahlo was introduced to American artists such as Edward Weston, Ralph Stackpole, Timothy L. Pflueger, and Nickolas Muray. The six months spent in San Francisco were a productive period for Kahlo, who further developed the folk art style she had adopted in Cuernavaca. In addition to painting portraits of several new acquaintances, she made Frieda and Diego Rivera (1931), a double portrait based on their wedding photograph, and The Portrait of Luther Burbank (1931), which depicted the eponymous horticulturist as a hybrid between a human and a plant. Although she still publicly presented herself as simply Rivera's spouse rather than as an artist, she participated for the first time in an exhibition, when Frieda and Diego Rivera was included in the Sixth Annual Exhibition of the San Francisco Society of Women Artists in the Palace of the Legion of Honor.
After Rivera had completed the commission in Cuernavaca in late 1930, he and Kahlo moved to San Francisco, where he painted murals for the Luncheon Club of the San Francisco Stock Exchange and the California School of Fine Arts. The couple was "feted, lionized, [and] spoiled" by influential collectors and clients during their stay in the city. Her long love affair with Hungarian-American photographer Nickolas Muray most likely began around this time.
Kahlo and Rivera returned to Mexico for the summer of 1931, and in the fall traveled to New York City for the opening of Rivera's retrospective at the Museum of Modern Art (MoMA). In April 1932, they headed to Detroit, where Rivera had been commissioned to paint murals for the Detroit Institute of Arts. By this time, Kahlo had become bolder in her interactions with the press, impressing journalists with her fluency in English and stating on her arrival to the city that she was the greater artist of the two of them.
Kahlo and Rivera returned to New York in March 1933, for he had been commissioned to paint a mural for the Rockefeller Center. During this time, she only worked on one painting, My Dress Hangs There (1934). She also gave further interviews to the American press. In May, Rivera was fired from the Rockefeller Center project and was instead hired to paint a mural for the New Workers School. Although Rivera wished to continue their stay in the United States, Kahlo was homesick, and they returned to Mexico soon after the mural's unveiling in December 1933.
Upon returning to Mexico City in 1934 Kahlo made no new paintings, and only two in the following year, due to health complications. In 1937 and 1938, however, Kahlo's artistic career was extremely productive, following her divorce and then reconciliation with Rivera. She painted more "than she had done in all her eight previous years of marriage", creating such works as My Nurse and I (1937), Memory, the Heart (1937), Four Inhabitants of Mexico (1938), and What the Water Gave Me (1938). Although she was still unsure about her work, the National Autonomous University of Mexico exhibited some of her paintings in early 1938. She made her first significant sale in the summer of 1938 when film star and art collector Edward G. Robinson purchased four paintings at $200 each. Even greater recognition followed when French Surrealist André Breton visited Rivera in April 1938. He was impressed by Kahlo, immediately claiming her as a surrealist and describing her work as "a ribbon around a bomb". He not only promised to arrange for her paintings to be exhibited in Paris but also wrote to his friend and art dealer, Julien Levy, who invited her to hold her first solo exhibition at his gallery on the East 57th Street in Manhattan.
She was again experiencing health problems – undergoing an appendectomy, two abortions, and the amputation of gangrenous toes – and her marriage to Rivera had become strained. He was not happy to be back in Mexico and blamed Kahlo for their return. While he had been unfaithful to her before, he now embarked on an affair with her younger sister Cristina, which deeply hurt Kahlo's feelings. After discovering it in early 1935, she moved to an apartment in central Mexico City and considered divorcing him. She also had an affair of her own with American artist Isamu Noguchi.
Kahlo reconciled with Rivera and Cristina later in 1935 and moved back to San Ángel. She became a loving aunt to Cristina's children, Isolda and Antonio. Despite the reconciliation, both Rivera and Kahlo continued their infidelities. She also resumed her political activities in 1936, joining the Fourth International and becoming a founding member of a solidarity committee to provide aid to the Republicans in the Spanish Civil War. She and Rivera successfully petitioned the Mexican government to grant asylum to former Soviet leader Leon Trotsky and offered La Casa Azul for him and his wife Natalia Sedova as a residence. The couple lived there from January 1937 until April 1939, with Kahlo and Trotsky not only becoming good friends but also having a brief affair.
In January 1939, Kahlo sailed to Paris to follow up on André Breton's invitation to stage an exhibition of her work. When she arrived, she found that he had not cleared her paintings from the customs and no longer even owned a gallery. With the aid of Marcel Duchamp, she was able to arrange for an exhibition at the Renou et Colle Gallery. Further problems arose when the gallery refused to show all but two of Kahlo's paintings, considering them too shocking for audiences, and Breton insisted that they be shown alongside photographs by Manuel Alvarez Bravo, pre-Columbian sculptures, eighteenth- and nineteenth-century Mexican portraits, and what she considered "junk": sugar skulls, toys, and other items he had bought from Mexican markets.
After opening an exhibition in Paris, Kahlo sailed back to New York. She was eager to be reunited with Muray, but he decided to end their affair, as he had met another woman whom he was planning to marry. Kahlo traveled back to Mexico City, where Rivera requested a divorce from her. The exact reasons for his decision are unknown, but he stated publicly that it was merely a "matter of legal convenience in the style of modern times ... there are no sentimental, artistic, or economic reasons." According to their friends, the divorce was mainly caused by their mutual infidelities. He and Kahlo were granted a divorce in November 1939, but remained friendly; she continued to manage his finances and correspondence.
On 21 August 1940, Trotsky was assassinated in Coyoacán, where he had continued to live after leaving La Casa Azul. Kahlo was briefly suspected of being involved, as she knew the murderer, and was arrested and held for two days with her sister Cristina. The following month, Kahlo traveled to San Francisco for medical treatment for back pain and a fungal infection on her hand. Her continuously fragile health had increasingly declined since her divorce and was exacerbated by her heavy consumption of alcohol.
Rivera was also in San Francisco after he fled Mexico City following Trotsky's murder and accepted a commission. Although Kahlo had a relationship with art dealer Heinz Berggruen during her visit to San Francisco, she and Rivera reconciled. They remarried in a simple civil ceremony on 8 December 1940. Kahlo and Rivera returned to Mexico soon after their wedding. The union was less turbulent than before for its first five years. Both were more independent, and while La Casa Azul was their primary residence, Rivera retained the San Ángel house for use as his studio and second apartment. Both continued having extramarital affairs, Kahlo with both men and women, with evidence suggesting her male lovers were more important to Kahlo than her lesbian affairs.
In the United States, Kahlo's paintings continued to raise interest. In 1941, her works were featured at the Institute of Contemporary Art in Boston, and in the following year she participated in two high-profile exhibitions in New York, the Twentieth-Century Portraits exhibition at the MoMA and the Surrealists' First Papers of Surrealism exhibition. In 1943, she was included in the Mexican Art Today exhibition at the Philadelphia Museum of Art and Women Artists at Peggy Guggenheim's The Art of This Century gallery in New York.
Despite the medical treatment she had received in San Francisco, Kahlo's health problems continued throughout the 1940s. Due to her spinal problems, she wore twenty-eight separate supportive corsets, varying from steel and leather to plaster, between 1940 and 1954. She experienced pain in her legs, the infection on her hand had become chronic, and she was also treated for syphilis. The death of her father in April 1941 plunged her into a depression. Her ill health made her increasingly confined to La Casa Azul, which became the center of her world. She enjoyed taking care of the house and its garden, and was kept company by friends, servants, and various pets, including spider monkeys, Xoloitzcuintlis, and parrots.
Kahlo gained more appreciation for her art in Mexico as well. She became a founding member of the Seminario de Cultura Mexicana, a group of twenty-five artists commissioned by the Ministry of Public Education in 1942 to spread public knowledge of Mexican culture. As a member, she took part in planning exhibitions and attended a conference on art. In Mexico City, her paintings were featured in two exhibitions on Mexican art that were staged at the English-language Benjamin Franklin Library in 1943 and 1944. She was invited to participate in "Salon de la Flor", an exhibition presented at the annual flower exposition. An article by Rivera on Kahlo's art was also published in the journal published by the Seminario de Cultura Mexicana.
In 1943, Kahlo accepted a teaching position at the recently reformed, nationalistic Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda." She encouraged her students to treat her in an informal and non-hierarchical way and taught them to appreciate Mexican popular culture and folk art and to derive their subjects from the street. When her health problems made it difficult for her to commute to the school in Mexico City, she began to hold her lessons at La Casa Azul. Four of her students – Fanny Rabel, Arturo García Bustos, Guillermo Monroy, and Arturo Estrada – became devotees, and were referred to as "Los Fridos" for their enthusiasm. Kahlo secured three mural commissions for herself and her students. In 1944, they painted La Rosita, a pulqueria in Coyoacán. In 1945, the government commissioned them to paint murals for a Coyoacán launderette as part of a national scheme to help poor women who made their living as laundresses. The same year, the group created murals for Posada del Sol, a hotel in Mexico City. However, it was destroyed soon after completion as the hotel's owner did not like it.
While Kahlo was gaining recognition in her home country, her health continued to decline. By the mid-1940s, her back had worsened to the point that she could no longer sit or stand continuously. In June 1945, she traveled to New York for an operation which fused a bone graft and a steel support to her spine to straighten it. The difficult operation was a failure. According to Herrera, Kahlo also sabotaged her recovery by not resting as required and by once physically re-opening her wounds in a fit of anger. Her paintings from this period, such as Broken Column (1944), Without Hope (1945), Tree of Hope, Stand Fast (1946), and The Wounded Deer (1946), reflect her declining health.
Kahlo struggled to make a living from her art until the mid to late 1940s, as she refused to adapt her style to suit her clients' wishes. She received two commissions from the Mexican government in the early 1940s. She did not complete the first one, possibly due to her dislike of the subject, and the second commission was rejected by the commissioning body. Nevertheless, she had regular private clients, such as engineer Eduardo Morillo Safa, who ordered more than thirty portraits of family members over the decade. Her financial situation improved when she received a 5000-peso national prize for her painting Moses (1945) in 1946 and when The Two Fridas was purchased by the Museo de Arte Moderno in 1947. According to art historian Andrea Kettenmann, by the mid-1940s, her paintings were "featured in the majority of group exhibitions in Mexico." Further, Martha Zamora wrote that she could "sell whatever she was currently painting; sometimes incomplete pictures were purchased right off the easel."
In 1950, Kahlo spent most of the year in Hospital ABC in Mexico City, where she underwent a new bone graft surgery on her spine. It caused a difficult infection and necessitated several follow-up surgeries. After being discharged, she was mostly confined to La Casa Azul, using a wheelchair and crutches to be ambulatory. During these final years of her life, Kahlo dedicated her time to political causes to the extent that her health allowed. She had rejoined the Mexican Communist Party in 1948 and campaigned for peace, for example, by collecting signatures for the Stockholm Appeal.
Photographer Lola Alvarez Bravo understood that Kahlo did not have much longer to live, and thus staged her first solo exhibition in Mexico at the Galería Arte Contemporaneo in April 1953. Though Kahlo was initially not due to attend the opening, as her doctors had prescribed bed rest for her, she ordered her four-poster bed to be moved from her home to the gallery. To the surprise of the guests, she arrived in an ambulance and was carried on a stretcher to the bed, where she stayed for the duration of the party. The exhibition was a notable cultural event in Mexico and also received attention in mainstream press around the world. The same year, the Tate Gallery's exhibition on Mexican art in London featured five of her paintings.
Kahlo's right leg was amputated at the knee due to gangrene in August 1953. She became severely depressed and anxious, and her dependency on painkillers escalated. When Rivera began yet another affair, she attempted suicide by overdose. She wrote in her diary in February 1954, "They amputated my leg six months ago, they have given me centuries of torture and at moments I almost lost my reason. I keep on wanting to kill myself. Diego is what keeps me from it, through my vain idea that he would miss me. ... But never in my life have I suffered more. I will wait a while..."
In 1954, Kahlo was again hospitalized in April and May. That spring, she resumed painting after a one-year interval. Her last paintings include the political Marxism Will Give Health to the Sick (c. 1954) and Frida and Stalin (c. 1954) and the still-life Viva La Vida (1954).
In her last days, Kahlo was mostly bedridden with bronchopneumonia, though she made a public appearance on 2 July 1954, participating with Rivera in a demonstration against the CIA invasion of Guatemala. She seemed to anticipate her death, as she spoke about it to visitors and drew skeletons and angels in her diary. The last drawing was a black angel, which biographer Hayden Herrera interprets as the Angel of Death. It was accompanied by the last words she wrote, "I joyfully await the exit – and I hope never to return – Frida" ("Espero Alegre la Salida – y Espero no Volver jamás").
The demonstration worsened her illness, and on the night of 12 July 1954, Kahlo had a high fever and was in extreme pain. At approximately 6 a.m. on 13 July 1954, her nurse found her dead in her bed. Kahlo was 47 years old. The official cause of death was pulmonary embolism, although no autopsy was performed. Herrera has argued that Kahlo, in fact, committed suicide. The nurse, who counted Kahlo's painkillers to monitor her drug use, stated that Kahlo had taken an overdose the night she died. She had been prescribed a maximum dose of seven pills but had taken eleven. She had also given Rivera a wedding anniversary present that evening, over a month in advance.
On the evening of 13 July, Kahlo's body was taken to the Palacio de Bellas Artes, where it lay in a state under a Communist flag. The following day, it was carried to the Panteón Civil de Dolores, where friends and family attended an informal funeral ceremony. Hundreds of admirers stood outside. In accordance with her wishes, Kahlo was cremated. Rivera, who stated that her death was "the most tragic day of my life", died three years later, in 1957. Kahlo's ashes are displayed in a pre-Columbian urn at La Casa Azul, which opened as a museum in 1958.
Kahlo's legacy has been commemorated in several ways. La Casa Azul, her home in Coyoacán, was opened as a museum in 1958, and has become one of the most popular museums in Mexico City, with approximately 25,000 visitors monthly. The city dedicated a park, Parque Frida Kahlo, to her in Coyoacán in 1985. The park features a bronze statue of Kahlo. In the United States, she became the first Hispanic woman to be honored with a U.S. postage stamp in 2001, and was inducted into the Legacy Walk, an outdoor public display in Chicago that celebrates LGBT history and people, in 2012.
The Tate Modern considers Kahlo "one of the most significant artists of the twentieth century", while according to art historian Elizabeth Bakewell, she is "one of Mexico's most important twentieth-century figures". Kahlo's reputation as an artist developed late in her life and grew even further posthumously, as during her lifetime she was primarily known as the wife of Diego Rivera and as an eccentric personality among the international cultural elite. She gradually gained more recognition in the late 1970s when feminist scholars began to question the exclusion of female and non-Western artists from the art historical canon and the Chicano Movement lifted her as one of their icons. The first two books about Kahlo were published in Mexico by Teresa del Conde and Raquel Tibol in 1976 and 1977, respectively, and in 1977, The Tree of Hope Stands Firm (1944) became the first Kahlo painting to be sold in an auction, netting $19,000 at Sotheby's. These milestones were followed by the first two retrospectives staged on Kahlo's oeuvre in 1978, one at the Palacio de Bellas Artes in Mexico City and another at the Museum of Contemporary Art in Chicago.
Two events were instrumental in raising interest in her life and art for the general public outside Mexico. The first was a joint retrospective of her paintings and Tina Modotti's photographs at the Whitechapel Gallery in London, which was curated and organized by Peter Wollen and Laura Mulvey. It opened in May 1982, and later traveled to Sweden, Germany, the United States, and Mexico. The second was the publication of art historian Hayden Herrera's international bestseller Frida: A Biography of Frida Kahlo in 1983.
By 1984, Kahlo's reputation as an artist had grown to such extent that Mexico declared her works part of the national cultural heritage, prohibiting their export from the country. As a result, her paintings seldom appear in international auctions, and comprehensive retrospectives are rare. Regardless, her paintings have still broken records for Latin American art in the 1990s and 2000s. In 1990, she became the first Latin American artist to break the one-million-dollar threshold when Diego and I was auctioned by Sotheby's for $1,430,000. In 2006, Roots (1943) reached US$5.6 million, and in 2016, Two Lovers in a Forest (1939) sold for $8 million.
In addition to other tributes, Kahlo's life and art have inspired artists in various fields. In 1984, Paul Leduc released a biopic titled Frida, naturaleza viva, starring Ofelia Medina as Kahlo. She is the protagonist of three fictional novels, Barbara Mujica's Frida (2001), Slavenka Drakulic's Frida's Bed (2008), and Barbara Kingsolver's The Lacuna (2009). In 1994, American jazz flautist and composer James Newton released an album titled Suite for Frida Kahlo. In 2017, author Monica Brown and illustrator John Parra published a children's book on Kahlo, Frida Kahlo and her Animalitos, which focuses primarily on the animals and pets in Kahlo's life and art. In the visual arts, Kahlo's influence has reached wide and far: In 1996, and again in 2005, the Mexican Cultural Institute in Washington, DC coordinated an "Homage to Frida Kahlo" exhibition which showcased Kahlo-related artwork by artists from all over the world in Washington's Fraser Gallery. Additionally, notable artists such as Marina Abramovic, Alana Archer, Gabriela Gonzalez Dellosso, Yasumasa Morimura, Cris Melo, Rupert Garcia, and others have used or appropriated Kahlo's imagery into their own works.
Kahlo has attracted popular interest to the extent that the term "Fridamania" has been coined to describe the phenomenon. She is considered "one of the most instantly recognizable artists", whose face has been "used with the same regularity, and often with a shared symbolism, as images of Che Guevara or Bob Marley". Her life and art have inspired a variety of merchandise, and her distinctive look has been appropriated by the fashion world. A Hollywood biopic, Julie Taymor's Frida, was released in 2002. Based on Herrera's biography and starring Salma Hayek (who co-produced the film) as Kahlo, it grossed US$56 million worldwide and earned six Academy Award nominations, winning for Best Makeup and Best Original Score. The 2017 Disney-Pixar animation Coco also features Kahlo in a supporting role, voiced by Natalia Cordova-Buckley.
Kahlo received several commemorations on the centenary of her birth in 2007, and some on the centenary of the birthyear she attested to, 2010. These included the Bank of Mexico releasing a new MXN$ 500-peso note, featuring Kahlo's painting titled Love's Embrace of the Universe, Earth, (Mexico), I, Diego, and Mr. Xólotl (1949) on the reverse of the note and Diego Rivera on the front. The largest retrospective of her works at Mexico City's Palacio des Bellas Artes broke its previous attendance record.
In 2014 Kahlo was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighborhood noting LGBTQ people who have "made significant contributions in their fields."
Kahlo has also been the subject of several stage performances. Annabelle Lopez Ochoa choreographed a one-act ballet titled Broken Wings for the English National Ballet, which debuted in 2016, Tamara Rojo originated Kahlo in the ballet. Dutch National Ballet then commissioned Lopez Ochoa to created a full-length version of the ballet, Frida, which premiered in 2020, with Maia Makhateli as Kahlo. She also inspired two operas, Robert Xavier Rodriguez's Frida, which premiered at the American Music Theater Festival in Philadelphia in 1991, and Kalevi Aho's Frida y Diego, which premiered at the Helsinki Music Centre in Helsinki, Finland in 2014. She was the main character in several plays, including Dolores C. Sendler's Goodbye, My Friduchita (1999), Robert Lepage and Sophie Faucher's La Casa Azul (2002), Humberto Robles' Frida Kahlo: Viva la vida! (2009), and Rita Ortez Provost's Tree of Hope (2014). In 2018, Mattel unveiled seventeen new Barbie dolls in celebration of International Women's Day, including one of Kahlo. Critics objected to the doll's slim waist and noticeably missing unibrow.
In 2018, San Francisco Board of Supervisors unanimously voted to rename Phelan Avenue to Frida Kahlo Way. Frida Kahlo Way is the home of City College of San Francisco and Archbishop Riordan High School.
Frida and fellow painter Diego Rivera had a turbulent marriage that involved a divorce and remarriage. Both artists also had numerous extramarital affairs.
Currently, Frida Kahlo is 115 years, 2 months and 25 days old. Frida Kahlo will celebrate 116th birthday on a Thursday 6th of July 2023. Below we countdown to Frida Kahlo upcoming birthday.
Happy Birthday, Frida Kahlo! She Would Have Been 109 Today
People from around the world are posting bilingual odes to Frida Kahlo, thanking her for her feminism that paved the way for more Latina artists.
Happy Birthday, Frida Kahlo!
In honor of Frida Kahlo's birthday, we are revisiting a post originally published last year honoring the artist's life and work. Today marks the bi...