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Essay on Frida Kahlo's Definition of Self

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Frida Kahlo is one of the most famous female painters to originate from the twentieth century, and for good reason. Her art is filled with beauty and creativity, but Frida’s main source of fame comes from the emotions that these paintings invoke, rather than the actual paintings. This is because Frida put herself into every painting she did, leaving traces of her presence all throughout this world and these traces remain long after her physical departure. Frida was a very peculiar and unique individual, hence, Frida’s definition of what a person is, or rather, what a self is, follows accordingly. The self is the reality that one conceives, and this self will live long after the physical body dies, continuing on as long as their …show more content…

Also, it seems that the monkey on Frida’s shoulder is trying to dismantle this thorn necklace, so even with these other guardians or friends that Frida has transcended from her mind to the canvas she still exists in some from of anguish. To extrapolate one step further, Frida feels that no one can help her in this world of suffering, even if they desire to, and she is ultimately isolated in her own sense of reality. Throughout her career, Frida had shown many different themes of her life through her paintings. It seems clear, through analyzation of her paintings, that Frida lived something of a double life. Frida paints herself in distinctly different ways at times, sometimes she is a beautiful woman with strength like iron, and sometimes she is a frail damsel who has been broken already and will be broken again. Contrasting paintings include Self Portrait with Monkeys (Kahlo, 1) and Self-Portrait with Thorn Necklace, Diego and I (Kahlo, 1) and The Love Embrace of the Universe, the Earth (Mexico), Me, Diego, and Mr. Xolotl (Kahlo, 1). All of these paintings show that not only is there a contrast in her personality, in fact, Frida’s is actually two different people, as she paints it. Frida’s double personality is most present (excepting arguably The Two Fridas, which will be mentioned later in this essay) in her painting Tree of Hope, Stand

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