With Frida Kahlo, the question of whether one can separate the artist and the work itself answers itself: They are one and can hardly be deciphered independently of one another. The splendid volume “Frida Kahlo”, which is now published by Taschen-Verlag, is logically structured biographically. He starts with one or two of her better-known pictures, but then he dedicates himself entirely to the person, talks about her youth, shows early drawings. Frida Kahlo’s work and her being are then fanned out in an epic, rousing staging, in a portrait-format cinemascope version.
Her paintings are flanked with photographs on double pages, often a snapshot from that time, an inspiration that can be rediscovered in the work. The fascination for the person and their pictures become a unit, whereby the term pictures then also includes the photographs that show Kahlo, their stylistic peculiarities and elegance. That makes this volume a particular pleasure – with other luxury tomes of bags, for which you have to reinforce the legs of the couch table, the impression sometimes arises that they are supposed to decorate their owners rather than present the artist.
With Frida Kahlo, self-expression was not just a presentation of beauty or desire for pleasure, but one of love, pain and despair.
(Photo: New York, collection of Spencer Throckmorton. Courtesy of Taschen.)
The “Frida Kahlo” volume, however, is an optimal use of the medium; the proximity of life and work makes it an exciting narrative at the same time. You have to behave somehow around the book, if only because of its size, get close while reading, sometimes get up to look at the pictures – it requires you to get physically involved with Frida Kahlo.
In the museum you can seldom see her small paintings in detail
It’s worth it, because the artist did paint pictures that appear enormous when reproduced, as if they were mighty in the original; in fact, they are often no larger than a A4 sheet of paper. So in a museum you can seldom look at them in detail, get up close and personal. If you get to see them at all, because the works are rarely shown outside of Mexico. And if so, then there is a cluster of viewers standing around it.
Frida Kahlo and her husband Diego Rivera, whom the artist always painted more beautifully than he was in real life.
(Photo: WJ Stettler)
In “Frida Kahlo” there are also sketches and diary entries, unknown works or works believed to have been lost. This offers an additional attraction, because hardly any other artist’s works have been reduced so much to postcard art, due to their great popularity, well after their death. Being able to look at some pictures again in peace gives them fascination again.
Maybe Frida Kahlo was the first influencer with her self-portraits
Since this year there has also been a “Google Arts & Culture” exhibition online, with 800 works by Kahlo. If you look at Frida Kahlo on your smartphone, you inevitably have to ponder whether she was a first influencer, with all of her self-portraits. But with Frida Kahlo, self-portrayal was not just a presentation of beauty or desire for pleasure, but one of love, pain and despair.
Very close: Kahlo’s pictures are often no larger than a A4 sheet of paper, so you can’t see all the details in the museum. Yes in the book.
(Photo: bags)
You can tell when you turn the pages of the book, look at the real Kahlo in photos, look at the works on the side, as she portrays herself and others, including her husband Diego Rivera. In real life, Rivera was a lot less beautiful than Kahlo painted him. But she herself seems much more pleasant and relaxed if you just look at her photos. How she was really doing, that is shown by her works, that is also shown by this book, and even makes it palpable.
“Frida Kahlo. Complete Paintings”, Taschen-Verlag, hardcover, 29 x 39.5 cm, 5.42 kg, 624 pages, 150 euros