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testament to her passion is a sinister quality; the strands and roots threaten to become tangled and allenveloping, and the impassive image of Riveras face on her forehead speaks of Kahlos psychological
obsession but also of her philandering husbands notorious indifference to her feelings.
In Self-Portrait with Monkeys the artist is depicted surrounded by four spider monkeys. Rivera gave Kahlo a
pet monkey as a surrogate for the child that she was unable to bear. While the technique in this work is highly
realistic and precise, this painting is not simply a realistic portrait. A key to the disturbing subtext of this
painting is given by the monkeys which impishly peep out from behind leaves and with disturbingly long arms
and fingers cling to her body and toy with her clothing. In this image, as in many others showing her intimately
associated with plants and animals, Kahlo proclaims her connection to the natural world while emphasising the
unnaturalness of her childless state, a source of great despair to her. As Rivera argued in the year this image was
painted, Frida is the only example in the history of art of an artist who tore open her chest and heart to reveal
the biological truth of her feelings. While the monkeys seem to mock her predicament, from her steely gaze we
sense that she remained proud in spite of her fate, giving birth not to children but rather to powerful, living
documents of her interior life.
Diego Rivera was born in 1886 in Guanajuato, moving to Mexico City soon after with his parents. He was an
exceptionally gifted painter, and studied at Mexicos National School of Fine Arts. In 1909 he visited Europe
where he came into contact with contemporary avant-garde movements and studied Italian Renaissance fresco
techniques. In 1921 he returned to Mexico and began painting the grand mural works that made him famous. In
the enormous painting commissions of the 1920 and 1930s, Rivera synthesised various strands of art, including
Cubism, Tuscan quattrocento painting, and Mexican popular art. In the 1930s Rivera and Kahlo settled in the
United States where Rivera painted some of his most extraordinary and controversial commissions. His mural
for the Rockefeller Center in New York was destroyed at the order of the Rockefeller family when the artist
refused to remove a portrait of the Communist leader Vladimir Lenin. Both Rivera and Kahlo were members of
the Communist Party, and like many other Mexican artists of their time, felt that their art should reflect strongly
held political beliefs.
The works by Diego Rivera in the Gelman collection reflect a number of different aspects of his work. The
early Cubist masterpiece The Last Hour, painted while Diego was in Paris in 1915, shows his full embrace of
that avant-garde painting style. Recognisable objects such as books, vases and a newspaper have been reduced
to two-dimensional geometrical elements that appear to shift and scuttle on the picture plane. In his subsequent
work he returned to a more classic rendering of form, without the visual distortions seen in Cubist painting.
While the Gelman collection does not contain any work directly related to Riveras mural painting activity, the
Calla Lily Vendor of 1943 borrows a theme from one of his frescoes at the Mexican Ministry of Public
Education in the 1920s. The symmetrical composition, simplified forms and indigenous Mexican focus evident
in this painting are qualities that are pervasive throughout his later work. In another painting, Portrait of
Natasha Gelman of 1943, Rivera paid his Hollywoodian tribute to feminine beauty. In this work his approach
was more indulgent, and he abandoned the severity of his signature style, emphasising the sinuous curves of the
elegant Natasha which are echoed by the extravagant bunches of lilies adorning the background.
Beyond Frida Kahlos work, Mexican modernism has a strong surrealist current as is evident in a number of
paintings in the Gelman collection. One of the most important artists working in this mode was the Englishborn painter Leonora Carrington, who moved to Mexico in 1942. Born in 1917 in Lancashire, England and
educated in convent schools, she studied with Amde Ozenfant before meeting Max Ernst, the Surrealist
painter. She exhibited with the Surrealists in Paris until the Nazis interned Ernst in 1940, when she fled to
Spain. Committed by her family to a mental hospital in South Africa the following year, she subsequently
escaped to Mexico where she lived and painted until 1985, meeting Diego Rivera, Frida Kahlo and other
Mexican artists.
Carrington has been credited with giving impetus to the Surrealist movement in Mexico. As in the work of
Surrealists Max Ernst or Giorgio de Chirico, objects and figures are combined in her work in surprising
juxtapositions. However, like Frida Kahlo, her work is less fantastical than that of her male counterparts and
relies on emotionally laden connections between animals, objects and people. In Carringtons paintings
combinations of realistic and implausible elements heighten her paintings to the point where they open a
window onto the intense experiences of the artists interior life.
The Powers of Madame Phonecia, painted in 1974, depicts an elderly woman in a heraldic pattern
surrounded by various creatures, including ducks, armadillos, scorpions and goats. A believer in the subversive
nature of female power Carrington was inspired by Robert Graves book The White Goddess to privilege
potent female figures. Drawing on ancient mythology, Celtic religion and indigenous Mexican rituals, animals
feature prominently in her work and are attributed with quasi-magical powers. The occult efficacy of the old
woman in the picture is symbolised by the streams of hair-like substance emanating from her nostrils. While
less realistic than her earlier work, the relation between woman and nature is still a subject. Forms of magical
power are alluded to, and the image has the form of a religious mandala in its extreme symmetry.
Frida Kahlo, Diego Rivera and Mexican Modernism: The Jacques and Natasha Gelman Collection, will also
display work by other famous painters such as Jos Clemente Orozco and Rufino Tamayo, giving the audience
the opportunity of viewing the work of Kahlo and Rivera within the broader context of twentieth-century
Mexican art.
CAPTIONS
1. Frida Kahlo, Self Portrait with Monkeys, 1943, oil on canvas, 81.5 x 63 cm. Vergel Foundation, New
York. Reproduced courtesy INBA and Banco de Mexico
2. Frida Kahlo, Diego on my Mind, 1943, oil on masonite, 76 x 61 cm. Vergel Foundation, New York.
Reproduced courtesy INBA and Banco de Mexico
3. Frida Kahlo, Self Portrait with Red and Gold Dress, 1941, oil on canvas, 39 x 27.5 cm. Vergel
Foundation, New York. Reproduced courtesy INBA and Banco de Mexico
4. Frida Kahlo, Self Portrait with Necklace, 1933, oil on canvas, 35 x 29 cm. Vergel Foundation, New York.
Reproduced courtesy INBA and Banco de Mexico
5. Diego Rivera, Calla Lily Vendor, 1943, oil on masonite, 150 x 120 cm. Vergel Foundation, New York.
Reproduced courtesy INBA and Banco de Mexico
6. Diego Rivera, The Last Hour, 1915, oil on canvas, 92 x 73 cm. Vergel Foundation, New York.
Reproduced courtesy INBA and Banco de Mexico
7. Diego Rivera, Portrait of Natasha Gelman, 1943, oil on canvas, 115 x 153 cm. Vergel Foundation, New
York. Reproduced courtesy INBA and Banco de Mexico
8. Leonora Carrington, The Powers of Madame Phonecia 1974, 42.5 x 44.5 cm. Vergel Foundation, New
York