Both are well applied and seem to be in very healthy condition. It is painted on a small piece of card and it seems that the black "frame" surrounding the oval may possibly be made from a different material but seems to have been added to the original flat piece of card by the artist. Less engrossing than it might have been, but impressive nonetheless.This exquisite work is in very good condition. But Herrera is careful, sympathetic, undoctrinaire. The writing is juiceless the art commentary is mostly explication the book is overlong. And Herrera, showing the late, terminally ill Frida as a bird of paradise in a child's house-and-garden, ventures that regard for one another's work was the strongest bond between them. But increasingly, she concentrated on her work, which he had always encouraged. He had an affair, devastatingly, with her favorite sister she had affairs with the sculptor Noguchi and their friend and guest Trotsky. Herrera traces the ensuing quarrels, partings, and reconciliations in eyedropper detail.
He was 42, a ferocious worker and joyful womanizer. She created a self that would be strong enough to withstand the blows life dealt her."" The harshest would come from Rivera, whom she met again at 20 or 21, charmed, and shortly married. Wanting to surround herself with people, she accentuated qualities she already possessed-vivacity, generosity, wit.
""The confinement of invalidism made Frida see herself as a private world. Convalescing, she began to paint-often painting her wounded body, thereafter, to express her wounded feelings. At 18, disaster: her body was terribly, irreparably crushed in a streetcar accident. Rivers, then painting a mural on the premises, was the butt of one of her jokes but Hererra dismisses as ""probably apocryphal"" the famous story that Frida, infatuated, announced that she would someday have his child. Later, she would hide the leg under long Mexican skirts and also (in compensation?) become ""the most Mexican of Mexicans."" At the elite Preparatoria, teenage Frida was a madcap and a romantic.
Kahlo was the favorite child of a stiff, cultured, Germanborn photographer and painter-and epileptic-to whom she felt especially close after polio, at six, left her with a withered leg. And what Herrera, a Mexican-born art historian, has discovered in Kahlo's stormy, messy, often wretched life is-without straining-a woman who saved herself through art and recreated herself through artifice. Today, Kahlo is of interest as a woman painter. Of the many vivid personalities of Mexico's modern Renaissance, none surpassed Frida Kahlo (1907-1954): wife of Diego Rivers painter of primitivist fantasies Trotskyite and Stalinist Mexican-costumed iconoclast.
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