Frida Kahlo's The Two Fridas

Self-portraits are not meant to be interpreted as unbiased opinions of the subjects’ basic physical appearance. This, however, does not make them deceptive or untrue. Instead of merely showing us what these people look like, self-portraits express the endlessly complex facets of a human’s soul. They show us the things, people, and qualities that the artist valued. Dürer embodies Christ to exemplify the power of the artist and their divine ability to create, to make something where before there was nothing. Frida Kahlo uses The Two Fridas to show the viewer her inner turmoil following her divorce of Diego Rivera. Velázquez wanted to challenge preconceived notions of an artist’s value and place in the world, so in Las Meninas he painted a world

The Frida on the right, the “Mexican Frida”, holds a small portrait of Diego in one hand, connected to which is an artery. This artery continues through the Mexican Frida’s exposed heart, across to the Frida on the left, the “European Frida”, whose heart is not only exposed, but bisected. From there, it continues to rest in European Frida’s lap beside her hand, which helplessly clasps forceps, unable to staunch the flow of blood (Alcantara 1999, pg. 69) which soils her otherwise immaculate white dress. The blood itself also possesses dual symbolism based on her two selves. On the European side, it takes meaning from Catholicism. The blood of Christ is often used to symbolize martyrdom. From her Mexican heritage, she references the Aztec belief that blood was “a man’s most precious possession” (Dexter 2005, pg. 57). Together, this shows giving all that she has, sacrificing herself, all of which stems from that small portrait of Diego clutched in the Mexican Fridas hand. In the background, the sky is dark and wild, representing the “strain and bitterness of her situation” (Tibol 2008, pg. 203). The Mexican Frida is the Frida which Rivera loved, this was the part of her that would not cry for her lost love, because “Diego may divorce her in law, but he

Not only is it his most celebrated self-portrait, it serves as a multiple portrait for Infanta Margarita, the court, and to a lesser degree King Philip IV and Queen Mariana (as they are only seen reflected in the mirror on the back wall). Through this work Velazquez not only creates a reality that he wished to exist within, he draws the viewer into this reality with him. His highly creative use of the mirror gives the observer the sense that they are the king and/ or queen, standing while Velazquez paints their portrait. His inclusion of himself and his easel are not vain or contrived, but in fact seem perfectly natural (Muller 1976, pg. 218). His synthesis of Spanish and Dutch styles give a sense of space and depth without “descending to tricks of illusionism” (Du Gue Trapier 1948, pg. 347). After spending his life seeking acclaim for his work, he depicts himself receiving the commendation he deserves (Stokstad 2015, pg. 382), in a strikingly tangible manner. So natural is the setting, so inviting is the light, the integration of the observer into the work so flawless, it’s almost too easy to imagine you could step through the canvas into this