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Social expectations for women in 1920s america
Social expectations for women in 1920s america
Social expectations for women in 1920s america
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In your journey, you may come across artworks that appear similar; however, it is highly unlikely that you will encounter artists who work in the same manner. When presented with two artists, how do we effectively compare and contrast them? Instead of stating our opinions on the artists and expressing who we believe is better or worse, we focus on analyzing their differences identifying similarities, and recognizing the influence their art has had on society. In this paper, we will discuss the similarities and differences between Georgia O'Keeffe's and Frida Kahlo’s art, along with the impact that their pieces have had on the art we know today. Georgia O'Keeffe and Frida Kahlo, two prominent female artists of the 20th century, share several
Las Dos Fridas, translated to The Two Fridas, is a self portrait created by Frida Kahlo in 1939 through oil paint on canvas. The piece includes two portraits of Kahlo, of which bare two separate and contrasting images. In comparison, Kahlo painted both a dark unibrow and a faint mustache in addition to bold red lips. The two are seen intermingling hands. In contrast, the Kahlo on the left side is wearing a white and lacy gown with floral designs embroidered on the bottom of the dress, mimicking european wear.
Frida often resisted this request through her paintings, especially in “Self Portrait with Short Hair.” Eventually, the couple got a divorce, which was the primary purpose of this painting (Richman-Abdou). “After the separation with Diego, Frida chooses to abandon her feminine image. She cut her hair short, got rid of the Tehuana dress Diego is obsessed with and started to wear [a] man’s suit… This self-portrait expressed her desire to be independent and not relying on men” (Self Portrait With Cropped Hair).
Frida’s style of work is categorized to be surrealist, however, she did not consider it to be surrealist art work because her art was based off to be more autobiographical paintings. The influence of her work comes from psychological and physical painful events that occurred to her during childhood, her early years of adulthood, her husband’s unfaithfulness. Frida had interest in her mixed ancestry of German-Mexican along with the immense amount of nationalism in her husband’s artwork influenced her artworks to be dealing with issues of national identity.
ABSTRACT The pain and suffering of Frida Kahlo and Chuck Close gave them the ability to create personal works of art to tell a story. The more suffering each of them encountered, the more artwork was produced, revealing the thoughts in their head, the pain that was endured and what gave them relief. Art really can be a drug, and from this essay, it will outline the development of each of their careers through all of the works of art and progress. INTRODUCTION My essay will address the progressive struggles and pain of two artists Chuck Close and Frida Kahlo, and how they each earned recognition through self-portraiture.
The Two Fridas by Frida Kahlo When Frida Kahlo painted, The Two Fridas she was dealing with the divorce of her husband and embraced herself fully. In this masterpiece Frida illustrates her past and current self with divine detail with her skills of her brush. Frida creates a timeline through herself portrait of what was and is now by captivating her audience through the struggles of divorce, a heart condition, and losing herself. In the painting, she creates a picture in the audience eyes of her inner turmoil by illustrating through ethos and pathos.
Agnes Martin was born in 1912 in Canada, the same year as Jackson Pollock (“Agnes Martin”). She died of pneumonia in 2004 at the age of 92 (Laing). She grew up on the open plains of Saskatchewan in Vancouver, Canada (“Agnes Martin”). She claimed to have been able to remember her birth saying she was happy until her mother held her. In an interview with Jill Johnston in 2002, Martin said her mother emotionally abused her saying that her mother “liked seeing people hurt”.
The Influence of Personal Experiences in the work of Frida Kahlo It is clear that the works of Frida Kahlo, including her self-portraits are very important to the study of Latin American art. However, her works were greatly influenced by bad personal experiences in her life. Events in her life included the bus accident, her loss of the ability to have children, her health problems, and her turbulent relationship with Diego Rivera (Frida Kahlo, Art and Analysis of Works 2015). The experiences are shown in the works of Henry Ford Hospital (bed flying), and Autorretrato con collar of spines and Hummingbird.
Even Madonna is a fan" (Herrera, 1990). Kahlo has been fetishized and commoditized. Images of her self-portraits and photographs stare out from T-shirts, calendars, and jewellery, Hollywood (Frida 2002) and her style has been celebrated in fashion features in Vogue (February 1990) and Elle (May 1989) (Barnet-Sanchez 1997 pp. 244-245). However, for a marketer her art, rather than Kahlo herself, is a window that offers insight into mind-set and legacy of the consumer society of the Mexican people.
Throughout history, art has been used to explore the identity of individuals and of society. Two artists who encapsulate both society and their own identities through their works are, Frida Kahlo and Cindy Sherman. Frida Kahlo (1907- 1954) was a Mexican painter known for her "surrealist" self-portraits. Kahlo's paintings "The Two Frida's" and "Self-portrait with cropped hair" embody Kahlo's personal struggles with her identity throughout her life. Contrastingly, Cindy Sherman (1954- ) is an American photographer and film director knows most famously for her controversial portraits.
Frida Kahlo was born in Mexico in July, 6 1907 as a children of Hungarian Jewish photographer Wilhelm Kahlo and Indian Matilde Calderon Gonzales but she changed her date of birth as a day which occur Mexican Revolution in July,7 1910. Because of her mother’s illnesses, she was grown up by wet nurse. Frida Kahlo has poor health in her childhood. She faced some misfortunes six-years-old.
To me, courage is the strength to take a leap of faith even though you don’t know what might be lying below. I once had the courage to do what fear and anxiety were guiding me away from. This courage was jumping 16 feet off of Jaws Bridge into the dark, rocky, thrashing sea. For years I had toyed with the idea of jumping off Jaws Bridge on our annual trip to Martha’s Vineyard.
This essay discusses transnational feminism in contemporary art and Reilly talks about her experience curating the art exhibit "Global Feminisms: New Directions in Contemporary Art," which presented a selection of young to mid-career women artists from a variety of cultures. The essay examines transformations in feminist theory and contemporary art practice and talks about artists Patricia Piccinini, Dayanita Singh, and Catherine Opie. Reilly really focuses on challenging First World Feminism that assumes "sameness" among women. Instead, the show and essay acknowledge the differences in the woman's lives. " In other words, this all-women exhibition aimed to be inclusively transnational, evading restrictive boundaries as it questioned the continued privileging of masculinist cultural production from Europe and the United States within the art market, cultural institutions, and exhibition practices."
Frida Kahlo created many glorious pieces. One of her most intriguing pieces is The Two Fridas. The image is quite symbolic and meaningful. Kahlo was a Mexican artist greatly known for her self portraits and the pain, passion and feminism of her paintings. The name of the piece I choose to analysis is Las dos Fridas, also known as The Two Fridas.
From the above, we can see the essential role played by the capitalist society and its relation to the theory of Marxist aesthetics under the discussion of Marxism. To develop a further understanding in the art history related to Marxism, the materialist art history should also not to be missed out in the context of Marxist aesthetics. From the point of view of Marx and Engels, they believed that the forms of society is the most hostile to art when the society is developed into industrial capitalism in a full way, while the division of material labor and mental labor may have to go through the point of extremeness. (Klingender, 1943) The art history of materialism has focused on the production modes of art, in the other words, the labor of
