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Karl Ferdinand Sohn was a German painter of the Düsseldorf school. He was born in Berlin and studied there under Wilhelm von Schadow, whom he followed to Düsseldorf. He treated principally mythical and poetic subjects of a highly romantic character, and painted in the mechanically idealistic manner of the Düsseldorf school. He visited Italy (1830–31) and adopted ideas from the works of the Venetians: Titian, Paolo Veronese, and Palma il Vecchio. In 1832, he was made professor in the Düsseldorf Academy, where he exercised an important influence. He had two sons (Richard Sohn, born in 1834, and Karl Sohn, born in 1845) who grew up to also be painters.
Peder Henrik Kristian Zahrtmann, known as Kristian Zahrtmann, (31 March 1843 - 22 June 1917) was a Danish painter. He was a part of the Danish artistic generation in the late 19th century, along with Peder Severin Krøyer and Theodor Esbern Philipsen, who broke away from both the strictures of traditional Academicism and the heritage of the Golden Age of Danish Painting, in favor of naturalism and realism.
He was known especially for his history paintings, and especially those depicting strong, tragic, legendary women in Danish history. He also produced works of many other genres including landscapes, street scenes, folk scenes and portraits.
He had a far-reaching effect on the development of Danish art through his effective support of individual style among his students during the many years he taught, and by his pioneering use of color.
Number:
163857
Date created:
1932
Extent:
1 photographic print : gelatin silver ; 5 x 8 in.
Front row, seated, from left to right: 1) D. Barnwell; 2) G. Van Benschoten; 3) C. Loeffler; 4) E. Collins; 5) M. Harms; 6) R. Bohlman; 7) W. Wagner; 8) E. Nunn; 9) Elsie Lawler; 10) L. Clark 11) M. Sylvia; 12) M. Counselman; 13) F. Jones; 14) M. Greager; 15) M. Meister; 16) D. Cohen. Second row, from left to right: 1) M. Hodges; 2) D. Diller; 3) M. Carr; 4) R. Fee; 5) A. Templin; 6) A Pierson; 7) K. Dalton; 8) J. Long; 9) I. Way; 10) H. Thuss; 11) V. Roach; 12) E. Edlundh; 13) M Mullan; 14) C. O'Hara; 15) M. Jones; 16) E. Harris; 17) F. Strudell; 18) L. Hohn. Third row, from left to right: 1) E. Bumstead; 2) C. Leyko; 3) A. Arnvall; 4) K. Gallagher; 5) N. Brown; 6) D. Willson; 7) B. Herbst; 8) A. Kalb; 9) E. King; 10) M. Raezer; 11) C. Bethea; 12) M. Cordell; 13) E. Case; 14) K. Johnson; 15) M. Bearss; 16) F. Harkness. Fourth row, from left to right: 1) P. Graham; 2) M. Beamer; 3) J. Meade; 4) P. Strzepek; 5) L. Betz; 6) R. Ward; 7) L. Boutwell; 8) J. Algire; 9) W. McLanahan; 10) M. Michael; 11) A Stecher; 12) A. Finnigan. Back row: 1) H. Kirkwood; 2) G. Staub; 3) F. Lowell; 4) H. Lambert; 5) M. Finnigan.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
Jones, Daisy Belle Barnwell
Van Benschoten, Gladys Mae
Loeffler, Catherine
Ward, Eleanor Collins
Harms, Mary Terwilliger
Miller, Ruby Paul
Bridges, Willie Louise Wagner
Cobb, Edith Nunn
Lawler, Elsie M.
Clark, Laura Reed
Willkinson, Mary Alberta Sylvia
Weed, Mae Counselman
Jones, Frances C.
Dries, Merle Greager
Watson, Margaret Meister
Cohen, Dorothy June
Beeson, Mary Leigh Hodges
Diller, Doris
Norman, Marry E. Carr
Fee, Rachel
Storey, Anna Rowe Templin
Pierson, Amelia Jane
Dalton, Kate Signora
Long, Margaret Jane
Cohen, Isabel Way
Thuss, Helen E.
Alexander, Virginia Roach
Petry, Evelyn Edlundh
Kobes, Mary Catherine Mullan
O'Hara, Catharine M.
Jones, Mary R.
Pool, Etta Harris
Strudell, Fritzie
Hohn, Louise V.
Dole, Evelyn Bumstead
Leyko, Carolyn A.
Arnvall, Alma V.
Gallagher, Kathleen F.
Johnston, Nellie Brown
Willson, Dorothy E.
Herbst, Beatrice L.
Sheats, A. Margaret Kalb
King, Esther V.
Barker, Mary Raezer
Dudley, Carolyn Bethea
Kupina, Mary B. Cordell
Chase, Eva Case
Johnson, Katherine Gilpin
Bearss, Mildred
Harkness, Frances Bradley
Jersin, Pearl Graham
Beamer, Mary E.
Stackhouse, Jeannette Meade
Strzepek, Pauline V.
Betz, Laura M.
Ward, Ruth E.
Bernstein, Lois Boutwell
Hall, Jane Algire
McLanahan, Winifred
Crewe, Mildred Michael
Butler, Anne Stecher
Gilbert, Anne R. Finnigan
Essers, Helen Kirkwood
Staub, Gladys M.
Stafford, Frances Lowell
Burkhardt, Hilda Lambert
Derbyshire, Mary Finnigan
Nursing students--Maryland--Baltimore--1930-1940
Nurses--Maryland--Baltimore--1930-1940
Graduation ceremonies--Maryland--Baltimore--1930-1940
Portrait photographs
Group portraits
Notes: Photographer unknown.
With Ailiroy (instagram.com/Ailiroy), "The Fullhouse Team" and Yvaine Dazzling (www.instagram.com/yvaine_dazzling/)!
The Nun graffiti was AI produced.
The Sky was Stock photo.
The cosplayers are real :)
Oil on canvas; 130 x 162 cm.
Jean-Baptiste Greuze was a French genre and portrait painter who initiated a mid-18th-century vogue for sentimental and moralizing anecdotes in paintings.
Greuze studied first at Lyon and afterward at the Royal Academy in Paris. He first exhibited at the Salon of 1755 and won an immediate success with his moralizing genre painting of Father Reading the Bible to His Children (1755). Although Greuze’s attention at this time was fixed on a less-pretentious type of genre painting in which the influence of 17th-century Dutch masters is apparent, the favorable attention he received turned his head and established the lines of his future career.
In 1755 Greuze left for Italy but remained impervious to the influence of Italian painting. In 1759 he became acquainted with Denis Diderot, who encouraged his inclination toward melodramatic genre, and throughout the 1760s Greuze reached new heights of popular acclaim with such works as The Village Betrothal (1761) and The Father’s Curse and The Prodigal Son (both c. 1765).
Greuze submitted to the Salon in 1769 a large, rather dreary historical painting, Septimius Severus Reproaching Caracalla, which he hoped would gain him admission to the academy as a history painter. But the academy would admit him to membership only as a genre painter, and so the resentful artist exhibited his works to the public only in his own studio for the next 30 years. In addition to moralizing genre, he painted young girls in poses of feigned innocence and calculated disarray.
Throughout the 1770s Greuze was kept busy painting moralizing pictures, but by the 1780s his work had gone out of fashion and his income was precarious. By 1785 his once-considerable talent was exhausted. The reaction against his sentimental genre paintings resulted in critical neglect of his drawings and portraits, in which Greuze’s superb technical gifts are displayed with great integrity.
Real photo postcard. Postally unused.
Bought from an eBay seller in Church Minshull, Cheshire, United Kingdom.
Local accession number: 13_05_000649
Title: Mrs. Albert Day [front]
Statement of responsibility: Frank Rowell, No. 25 Winter Street, Boston
Genre: Photographs; Cartes de visite; Group portraits
Date created: 1859-1870 (approximate)
Physical description: 1 photograph : print on card mount ; mount 11 x 7 cm (carte de visite format)
General notes: Title from item or from accompanying material.
Date notes: Date supplied by cataloger.
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Oil on canvas; 225 x 370 cm.
Daniel Richter is a German artist based in Berlin and Hamburg. He attended Hochschule für bildendende Künste Hamburg from 1991-1995. Richter's work has appeared in many exhibitions such as Städtische Galerie Delmenhorst in Berlin, Contemporary Fine Arts in Berlin and David Zwirner in New York. He has also shown at the Irish Museum of Modern Art in Dublin, Museum Morsbroich in Germany, Victoria Miro Gallery in London and the Morris and Helen Belkin Art Gallery in Vancouver. He is represented by Contemporary Fine Arts[6] in Berlin and David Zwirner in New York. A collection of Richter's work is on display at the Denver Art Museum in Denver, Colorado, USA through January 11, 2009. Working for the Salzburg Festival, Richter created two stage designs: for Bluebeard's Castle (2008) and for Lulu (2010).
Awards
* 1998 Otto-Dix-Award, Gera
* 2001 Award for Young Art, Schleswig-Holstein
* 2009 Kunstpreis Finkenwerder, Hamburg
Holofernes was an Assyrian invading general of Nebuchadnezzar, who appears in the Old Testament Book of Judith. It was said that the Babylonian king Nebuchadnezzar dispatched Holofernes to take vengeance on the nations of the west that had withheld their assistance to his reign. The general laid siege to Bethulia and the city almost surrendered. It was saved by Judith, a beautiful Hebrew widow who entered Holofernes's camp and seduced him. Judith then beheaded Holofernes while he was drunk. She returned to Bethulia with the disembodied head, and the Hebrews defeated the enemy.
Well, who are these folk ? Jim is lookin' cool with the blonde sidekick in the sunsuit, his cool cowboy boots and HEY ! I believe that is MY BUNNY! I am casually shirtless, ah, SO much more comfortable. The baby might be Bill. Our friends ? No idea.
*
"Sometimes an old photograph, an old friend, an old letter will remind you that you are not who you once were, for the person who dwelt among them, valued this, chose that, wrote thus, no longer exists. Without noticing it you have traversed a great distance; the strange has become familiar and the familiar if not strange at least awkward or uncomfortable, an outgrown garment. And some people travel far more than others. There are those who receive as birthright an adequate or at least unquestioned sense of self and those who set out to reinvent themselves, for survival or for satisfaction, and travel far. Some people inherit values and practices as a house they inhabit; some of us have to burn down that house, find our own ground, build from scratch, even as a psychological metamorphosis."
- Rebecca Solnit
A Field Guide to Getting Lost
In 1948 a fellow student and photographer for Columbia University's student paper showed Garry Winogrand the darkroom, which was open twenty-four hours in the basement of the architecture building. Two weeks later, Winogrand abandoned painting for photography and "never looked back." Described as "an undisciplined mixture of energy, ego, curiosity, ignorance, and street-smart naiveté," the Bronx native photographed incessantly, mostly on the streets, working as a freelance photographer for a picture agency and eventually publishing journalistic images in numerous magazines throughout the fifties.
Around 1960, after being shown a copy of Walker Evans's book American Photographs, Winogrand began to take a more artistic approach in his work. The first half of the decade, however, was a difficult time, including political disillusionment and the breakup of his first marriage. He persevered in his career and eventually published four books of photographs, including The Animals in 1969, images made in zoos, and Women Are Beautiful in 1975, candid shots of anonymous women on the street. Winogrand used a small-format, 35mm camera that enabled him to photograph quickly and freely, which he did to the extreme: at the time of his death in 1984, he left more than 2,500 undeveloped rolls of film.
Tempera on canvas; 80 x 90 cm.
Polish painter. His unsystematic training began in 1898 at the Warsaw Drawing School and continued at the Academy of Fine Arts in Kraków (1903–6). He anticipated Polish Expressionism and was one of the most intriguing and inventive artists of the period. An ironic sense and the grotesque motifs in his works bear a similarity to James Ensor’s art. The roots of Wojtkiewicz’s art, however, are local. He admired the modernist paintings of Stanislaw Wyspianski and Jacek Malczewski, and he held aesthetic ideas similar to those of the Romantic poet and painter Cyprian Kamil Norwid (1821–83) and of Stanislaw Przybyszewski (1868–1927) and Edward Abramowski, the authors of Expressionist manifestos. He began his short career as an illustrator and postcard designer. His first known work, a watercolour entitled Spring Is Approaching (1900; Warsaw, N. Mus.), already shows tragic irony, depicting dead birds on snow-covered ground. After 1905 he exhibited with the ‘Group of Five’, also known as ‘Norwid’s Group’. During their exhibition at the Galerie Schulte in Berlin (1907) Wojtkiewicz’s ‘strange harmony of tones, painful fantasy of drawing, pathetic and moving game of colours’ caught the eye of André Gide, who invited him to Paris and organized his one-man show at the Galerie Druet. Wojtkiewicz’s later works (series entitled Monomanias , Circuses and Ceremonies) include oil and distemper paintings, watercolours, drawings and lithographs that explore the world of madness (e.g. Circus of Madmen , 1906) and the melancholic poetry of fairy tales (e.g. the Rape of a Princess , 1908; both Warsaw, N. Mus.).
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Eleven lumber jacks standing in front of cookhouse or bunk house with two men in background to the left; all wearing hats; man to the extreme left wearing darker coloured clothing; man to the right wearing lighter coloured overalls; building has icicles hanging from it; title and date (1917/18) in pencil and Sallows stamp in purple ink on back
Object ID : 0438-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Jozef Israëls was a Dutch painter, who is arguably the most respected Dutch artist of the second half of the nineteenth century. He is often called the “Dutch Millet”. Israëls was the leader of the Hague school of peasant genre painting, which flourished in The Netherlands between 1860 and 1900. He began his studies in Amsterdam and from 1845 to 1847 worked in Paris under the academic painters Horace Vernet and Paul Delaroche. Israëls first tried to establish himself as a painter of Romantic portraits and conventional historical pictures but had achieved little success when in 1855 ill health compelled him to leave Amsterdam for the fishing village of Zandvoort. That change of scenery revolutionized his art; he turned to realistic and compassionate portrayals of the Dutch peasantry and fisherfolk. In 1871 he moved to The Hague. Besides oils, Israëls worked in watercolors and was an etcher of the first rank. His later works in all media express a tragic sense of life and are generally treated in broad masses of light and shade. His painting style was influenced by Rembrandt’s later works, and, like Rembrandt, Israëls often painted the poor Jews of the Dutch ghettos (e.g., A Son of the Chosen People, 1889). His son Isaac (1865–1934), also a painter, adopted an Impressionist technique and subject matter and had some influence on his father’s later work.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of three women and four men, full-length, facing front; man seated on floor on right wears long, dark double-breasted suit coat, pants, white shirt, holds a walking stick that extends across centre of frame; woman seated in centre wears dark long-sleeved, high-necked dress with single row of buttons to waist, velvet ribbons tied across skirt; painted backdrop; Sallows imprint across bottom of photocard; writing across bottom identifies subjects: Back row - F. McLean, Jack Acheson; Middle row - Rev. T.B. Walwyn, Annie Downing, H. Wigle; Bottom row - W.D. Cox, Emma Cox
Object ID : 0507-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of thirty-one students with teacher; front row of nine boys seated cross-legged, middle row of twelve girls seated, back row of boys standing with female teacher wearing dark dress with white collar in centre; grass in foreground; trees in background; Sallows imprint in lower right corner of matte
Object ID : 0550-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Date: [1901 or 1902]
Photographer: Park Bros, Toronto
Reference code: P923
Members of the Chattan Club.
Large cabinet card. 18.4 x 13.5 cm.
Studio of Philippe Damour, Chasselay, Rhône.
Bought from an eBay seller in Châteauneuf-sur-Isère, France.
Note the hats on the ground.
Erik Theodor Werenskiold (11 February 1855 – 23 November 1938) was a Norwegian painter and illustrator. He is especially known for his drawings for the Asbjørnsen and Moe collection of Norske Folkeeventyr, and his illustrations for the Norwegian edition of the Snorri Sturlason Heimskringla.
Erik Theodor Werenskiold was born in Eidskog, Norway. Werenskiold grew up in Kongsvinger Fortress as the fourth son of the commander. He attended the Kongsvinger national school and then in the three years 1869-72 was at the privately owned Latin school in Christiania. Based on advice from the painter Adolph Tidemand, he attended a college for painters. During 1873, he was a pupil of Norwegian sculptor, Julius Middelthun (1820–1886), at the Drawing School in Christiania. He studied for a short time at the studio of artist, Axel Ender in the autumn of 1875.
He went to Münich where he stayed for four years. His meeting with the French plein air painting, particularly Charles François Daubigny in Munich in 1879, convinced Werenskiold of its superiority over the German studio painting. In the spring of 1880, Werenskiold was paralyzed in the right arm. After half a year of hospitalization and recreation in Switzerland, he finally regained his health. From 1881-83 he lived in Paris. In 1883, Werenskiold returned to Norway where he spent the summers in Telemark. He returned to France in 1884–1885 and studied with Léon Bonnat (1888–89). In the spring of 1895 he made a study trip to Rome and Florence.
He made several paintings of peasants in landscapes. Illustrations for Norwegian fairy tales had interested him since his time in Munich. He illustrated Norwegian folktales (Norske Folkeeventyr) in 1879 and continued with Adventure Tales for Children during the period 1882–1887. Werenskiold illustrated a new edition of King's Sagas from Snorre Sturlason and The Family at Gilje (1903) by Jonas Lie.
His wide range of characterized portraits make up an entire pantheon of famous Norwegians from his lifetime. Werenskiold received the Norwegian national artist's salary from 1908. He was appointed Knight of the Royal Norwegian Order of St. Olav in 1890, Commander 1905, Commander of the 1st class of 1930 and the Grand Cross 1935. He was also Commander of the Order of the Dannebrog. He died at Bærum, in Akershus county, Norway.
Identifier: SFFf-1989013.181125
Medium: Glass plate negative
Extent: 13 x 18 cm
Photographer: Olai Fauske
Fernando Botero Angulo is a Colombian figurative artist, self-titled "the most Colombian of Colombian artists" early on, coming to prominence when he won the first prize at the Salón de Artistas Colombianos in 1958. His work includes still-lifes and landscapes, but Botero tends to primarily focus on situational portraiture. His paintings and sculptures are united by their proportionally exaggerated, or "fat" figures, as he once referred to them. Botero explains his use of these "large people", as they are often called by critics, or obese figures and forms thus: "An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."
Botero is an abstract artist in the most fundamental sense of the word, choosing what colors, shapes, and proportions to use based on intuitive aesthetic thinking. Though he currently spends only one month a year in Colombia, he considers himself the "most Colombian artist living" due to his insulation from the international trends of the art world. Botero gained considerable attention in 2005 for his Abu Ghraib collection, which began as an idea he had on a plane, finally culminating in more than 85 paintings and 100 drawings. The Circus collection followed in 2008, with 20 works of oil and watercolor. In an interview promoting his Circus collection, Botero said: "After all this, I always return to the simplest things: still lifes."
Title: Falls San Antonio River
Creator: Jacobson, Mary E. [attrib.]
Date: ca. 1892
Part Of: Album of views of Arizona, New Mexico and the southwest, 1892
Place: San Antonio, Bexar County, Texas
Physical Description: 1 photographic print: albumen; 11 x 18 cm. on 27 x 34 cm. mount
File: vault_ag1982_0122x_34b_sm_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information, see: digitalcollections.smu.edu/cdm/singleitem/collection/tex/id/1765
View Texas: Photographs, Manuscripts, and Imprints: digitalcollections.smu.edu/all/cul/tex/
Yesterday I was asked by my mom to do a photoshoot for my sister and her friends because one of their friends, Abbie, is moving next week to Tennessee. It was a really cute shoot on the beach and all the girls looks stunning! I got to use my new lens that i got for my birthday and I am in love with it! I cant wait to use this more!
Identifier: SFFf-1991100.118686
Description: The photo is probably taken outside the home of the deceased.
Media: Glass plate negative
Extent: 18 x 24 cm
Photographer: Jens Knudsen Maurseth
Oil on canvas; 110 x 88 cm.
Laurits Tuxen was a Danish painter and sculptor specializing in figure painting. He was also associated with the Skagen Painters. He was the first head of Kunstnernes Frie Studieskoler, an art school established in the 1880s to provide an alternative to the education offered by the Royal Danish Academy of Fine Arts.
Tuxen grew up in Copenhagen and studied at the Royal Danish Academy of Art where together with P.S. Krøyer he was considered to be one of the best painters.
He first visited Skagen in 1870 and he returned on several occasions. In the 1880s and 1890s, he travelled widely painting portraits for Europe's royal families including Christian IX of Denmark, Queen Victoria and the Russian royalty. In 1901, after the death of his first wife Ursule, he married the Norwegian Frederikke Treschow and shortly afterwards purchased Madam Bendsen's house at the artists' colony in Skagen in the north of Jutland, converting it into a stately summer residence.
In 1914 he made a study trip to Greece to paint the entry of George I of Greece into Salonika, for the Christian castle. He made lively and well-characterized portraits, among them his self-portrait in the Uffizi Gallery in Florence, and portraits of Peder Severin Krøyer, in the Museum of Fine Arts in Budapest. He also made portraits in sculpture, including a portrait group of Krøyer and Michael Peter Ancher.
Tuxen went on to paint a number of landscapes in and around Skagen, but also completed a number of paintings of his family, friends and garden flowers. Laurits Tuxen painted mainly landscapes in Skagen, but also portraits of European royal personalities, namely Christian IX of Denmark, Queen Victoria, Czar Nicolas II, etc.
Oil on Masonite; 94 x 50.8 cm.
Mexican painter. She began to paint while recovering in bed from a bus accident in 1925 that left her seriously disabled. Although she made a partial recovery, she was never able to bear a child, and she underwent some 32 operations before her death in 1954. Her life’s work of c. 200 paintings, mostly self-portraits, deals directly with her battle to survive. They are a kind of exorcism by which she projected her anguish on to another Frida, in order to separate herself from pain and at the same time confirm her hold on reality. Her international reputation dates from the 1970s; her work has a particular following among Latin Americans living in the USA.
Small scale, fantasy and a primitivistic style help to distance the viewer from the horrific subject-matter of such paintings as Henry Ford Hospital (oil on sheet metal, 1932; Mexico City, Mrs D. Olmedo priv. col., see Herrera, 1983, pl. IV), in which she depicts herself haemorrhaging after a miscarriage, but her vulnerability and sorrow are laid bare. Her first Self-portrait (1926; Mexico City, A. Gomez Arias priv. col., see Herrera, 1983, pl. I), painted one year after her accident, shows a melancholy girl with long aristocratic hands and neck depicted in a style that reveals her early love for Italian Renaissance art and especially for Botticelli.
Kahlo’s art was greatly affected by the enthusiasm and support of Diego Rivera, to whom she showed her work in 1929 and to whom she was married in the same year. She shared his Communism and began to espouse his belief in Mexicanidad, a passionate identification with indigenous roots that inspired many Mexican painters of the post-revolutionary years. In Kahlo’s second Self-portrait (oil on masonite, 1929; Mexico City, Mrs D. Olmedo priv. col., see Herrera, 1983, pl. II), she no longer wears a luxurious European-style dress, but a cheap Mexican blouse, Pre-Columbian beads and Colonial-period earrings. In subsequent years she drew on Mexican popular art as her chief source, attracted by its fantasy, naivety, and fascination with violence and death. Kahlo was described as a self-invented Surrealist by André Breton in his 1938 introduction for the brochure of the first of three Kahlo exhibitions held during her lifetime, but her fantasy was too intimately tied to the concrete realities of her own existence to qualify as Surrealist. She denied the appropriateness of the term, contending that she painted not dreams but her own reality.
The vicissitudes of Kahlo’s marriage are recorded in many of her paintings. In Frida and Diego Rivera (1931; San Francisco, CA, MOMA) he is presented as the great maestro while she, dressed as usual in a long-skirted Mexican costume, is her husband’s adoring wife and perfect foil. Even at this early date there are hints that Rivera was unpossessable; later portraits show Kahlo’s increasing desire to bind herself to her philandering spouse. The Two Fridas (1939; Mexico City, Mus. A. Mod.), in which her heart is extracted and her identity split, conveys her desperation and loneliness at the time of their divorce in 1939; they remarried in 1940.
Kahlo’s health deteriorated rapidly in her last years, as attested by Self-portrait with the Portrait of Dr Farill (1951; see Herrera, 1983, pl. XXXIV). This depiction of herself sitting bolt upright in a wheelchair, painted after spending a year in hospital undergoing a series of spinal operations, was conceived as a kind of secular ex-voto and given to the doctor whom she has represented as the agent of her salvation.
In 1953 Kahlo’s right leg was amputated at the knee because of gangrene. She turned to drugs and alcohol to relieve her suffering and to Communism for spiritual solace. Several late paintings, such as Marxism Heals the Sick (Mexico City, Mus. Kahlo), show Marx and Stalin as gods; they are painted in a loosely brushed style, her earlier miniaturist precision having been sacrificed to drug addiction. Her last work, a still-life of a watermelon entitled Long Live Life (1954; Mexico City, Mus. Kahlo), is both a salute to life and an acknowledgement of death’s imminence. Eight days before she died, almost certainly by suicide, she wrote her name, the date and the place of execution on the melon’s red pulp, along with the title (‘VIVA LA VIDA’) in large capital letters.
Hayden Herrera
From Grove Art Online © 2009 Oxford University Press
Feast to celebrate the mending an reerection of a runestone (Vs 24) in Hassmyra. The inscription says: "The good husbandman Holmgöt had (the stone) raised in memory of Odendisa, his wife. There will come to Hassmyra no better housewife, who arranges the estate. Rödballe carved these runes. Odendisa was a good sister to Sigmund".
Fest vid för att fira lagningen och återuppresningen av en runsten (Vs 24) i Hassmyra. Ristningen säger: ”Gode bonden Holmgöt lät resa (stenen) efter Odendisa, sin hustru. Det kommer icke till Hassmyra en bättre husfru, som råder över gården. Rödballe ristade dessa runor. Till Sigmund var Odendisa en god syster”.
Parish (socken): Fläckebo
Province (landskap): Västmanland
Municipality (kommun): Sala
County (län): Västmanland
Photograph by: Erik Brate
Date: 11.06.1900
Format: Print
Persistent URL: kmb.raa.se/cocoon/bild/show-image.html?id=16001000278504