Frida Kahlo

Frida Kahlo

Mexican Painter

Born: July 6, 1907 - Coyoacan, Mexico
Died: July 13, 1954 - Coyoacan, Mexico
"Feet - what do I need them for if I have wings to fly?"
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Frida Kahlo Signature
"I paint self-portraits because I am so often alone... because I am the subject I know best."
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Frida Kahlo Signature
"I've done my paintings well... and they have a message of pain in them, but I think they'll interest a few people. They're not revolutionary, so why do I keep on believing they're combative?"
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Frida Kahlo Signature
"They thought I was a Surrealist but I wasn't. I never painted dreams. I painted my own reality."
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Frida Kahlo Signature
"I really don't know whether my paintings are Surrealist or not, but I do know that they are the most honest expression of myself, taking no account of the opinions and prejudices of others."
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Frida Kahlo Signature
"There is nothing more precious than laughter and scorn. Strength lies in laughing and letting oneself go. In being cruel and superficial. Tragedy is the most ridiculous feature of 'Man', yet I am sure that animals, though they 'suffer', do not parade their grief in 'theatres' either open or 'closed'."
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Frida Kahlo Signature
"My head is full of microscopic spiders, and innumerable tiny vermin... I can't get anything straight inside the big realité without moving directly onto a collision course; either I have to hang my clothes from thin air, or I have to bring distant things perilously, fatally close. You'll sort it out with your ruler and compass."
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Frida Kahlo Signature
"Respond to my love with a mighty epistle, that will cheer the saddened heart that beats for you from here, louder than you could ever imagine. Just listen to it: TIC-TAC TIC-TAC TIC-TAC TIC-TAC! Literature is hopeless at portraying things, at conveying the full volume of inner noises, so it's not my fault if instead of my heart you hear only a broken clock."
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Frida Kahlo Signature
"I am not sick... I am broken... but I am happy to be alive as long as I can paint."
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Frida Kahlo Signature
"I have suffered two grave accidents in my life, one in which a streetcar knocked me down.. The other accident is Diego."
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Frida Kahlo Signature
"I hope the leaving is joyful - and I hope never to return"
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Frida Kahlo Signature

Summary of Frida Kahlo

Small pins pierce Kahlo's skin to reveal that she still 'hurts' following illness and accident, whilst a signature tear signifies her ongoing battle with the related psychological overflow. Frida Kahlo typically uses the visual symbolism of physical pain in a long-standing attempt to better understand emotional suffering. Prior to Kahlo's efforts, the language of loss, death, and selfhood, had been relatively well investigated by some male artists (including Albrecht Dürer, Francisco Goya, and Edvard Munch), but had not yet been significantly dissected by a woman. Indeed not only did Kahlo enter into an existing language, but she also expanded it and made it her own. By literally exposing interior organs, and depicting her own body in a bleeding and broken state, Kahlo opened up our insides to help explain human behaviors on the outside. She gathered together motifs that would repeat throughout her career, including ribbons, hair, and personal animals, and in turn created a new and articulate means to discuss the most complex aspects of female identity. As not only a 'great artist' but also a figure worthy of our devotion, Kahlo's iconic face provides everlasting trauma support and she has influence that cannot be underestimated.


  • Kahlo made it legitimate for women to outwardly display their pains and frustrations and to thus make steps towards understanding them. It became crucial for women artists to have a female role model and this is the gift of Frida Kahlo.
  • As an important question for many Surrealists, Kahlo too considers: What is Woman? Following repeated miscarriages, she asks: to what extent does motherhood or its absence impact on female identity? She irreversibly alters the meaning of maternal subjectivity. It becomes clear through umbilical symbolism (often shown by ribbons) that Kahlo is connected to all that surrounds her, and that she is a 'mother' without children.
  • Finding herself often alone, she worked obsessively with self-portraiture. Her reflection fueled an unflinching interest in identity. She was particularly interested in her mixed German-Mexican ancestry, as well as in her divided roles as artist, lover, and wife.
  • Kahlo uses religious symbolism throughout her oeuvre. She appears as the Madonna holding her 'animal babies', and becomes the Virgin Mary as she cradles her husband and famous national painter Diego Rivera. She identifies with Saint Sebastian, and even fittingly appears as the martyred Christ. She positions herself as a prophet when she takes to the head of the table in her Last Supper-style painting, and her depiction of the accident which left her impaled on a metal bar (and covered in gold dust when lying injured) recalls the crucifixion and suggests her own holiness.
  • Women prior to Kahlo who had attempted to communicate the wildest and deepest of emotions were often labeled hysterical or condemned insane - while men were aligned with the 'melancholy' character type. By remaining artistically active under the weight of sadness, Kahlo revealed that women too can be melancholy rather than depressed, and that these terms should not be thought of as gendered.

Biography of Frida Kahlo

Detail of <i>The Broken Column</i> (1944) by Frida Kahlo

"I paint self-portraits because I am so often alone... because I am the subject I know best." From battles with her mind and her body, Kahlo lived through her art.

Important Art by Frida Kahlo

Frieda and Diego Rivera (1931)

It is as if in this painting Kahlo tries on the role of wife to see how it fits. She does not focus on her identity as a painter, but instead adopts a passive and supportive role, holding the hand of her talented and acclaimed husband. It was indeed the case that during the majority of her painting career, Kahlo was viewed only in Rivera's shadow and it was not until later in life that she gained international recognition.

This early double-portrait was painted primarily to mark the celebration of Kahlo's marriage to Rivera. Whilst Rivera holds a palette and paint brushes, symbolic of his artistic mastery, Kahlo limits her role to his wife by presenting herself slight in frame and without her artistic accoutrements. Kahlo furthermore dresses in costume typical of the Mexican woman, or "La Mexicana," wearing a traditional red shawl known as the rebozo and jade Aztec beads. The positioning of the figures echoes that of traditional marital portraiture where the wife is placed on her husband's left to indicate her lesser moral status as a woman. In a drawing made the following year called Frida and the Miscarriage, the artist does hold her own palette, as though the experience of losing a fetus and not being able to create a baby shifts her determination wholly to the creation of art.

Henry Ford Hospital (1932)

Many of Kahlo's paintings from the early 1930s, especially in size, format, architectural setting and spatial arrangement, relate to religious ex-voto paintings of which she and Rivera possessed a large collection ranging in date over several centuries. Ex-votos are made as a gesture of gratitude for salvation, a granted prayer or disaster averted and left in churches or at shrines. Ex-votos are generally painted on small-scale metal panels and depict the incident along with the Virgin or saint to whom they are offered. Henry Ford Hospital, is a good example where the artist uses the ex-voto format but subverts it by placing herself centre stage, rather than recording the miraculous deeds of saints. Kahlo instead paints her own story, as though she becomes saintly and the work is made not as thanks to the lord but in defiance, questioning why he brings her pain.

In this painting, Kahlo lies on a bed, bleeding after a miscarriage. From the exposed naked body six vein-like ribbons flow outwards, attached to symbols. One of these six objects is a fetus, suggesting that the ribbons could be a metaphor for umbilical cords. The other five objects that surround Frida are things that she remembers, or things that she had seen in the hospital. For example, the snail makes reference to the time it took for the miscarriage to be over, whilst the flower was an actual physical object given to her by Diego. The artist demonstrates her need to be attached to all that surrounds her: to the mundane and metaphorical as much as the physical and actual. Perhaps it is through this reaching out of connectivity that the artist tries to be 'maternal', even though she is not able to have her own child.

My Birth (1932)

This is a haunting painting in which both the birth giver and the birthed child seem dead. The head of the woman giving birth is shrouded in white cloth while the baby emerging from the womb appears lifeless. At the time that Kahlo painted this work, her mother had just died so it seems reasonable to assume that the shrouded funerary figure is her mother while the baby is Kahlo herself (the title supports this reading). However, Kahlo had also just lost her own child and has said that she is the covered mother figure. The Virgin of Sorrows, who hangs above the bed suggests that this is an image that overflows with maternal pain and suffering. Also though, and revealingly, Kahlo wrote in her diary, next to several small drawings of herself, 'the one who gave birth to herself ... who wrote the most wonderful poem of her life.' Similar to the drawing, Frida and the Miscarriage, My Birth represents Kahlo mourning for the loss of a child, but also finding the strength to make powerful art because of such trauma.

The painting is made in a retablo (or votive) style (a small traditional Mexican painting derived from Catholic Church art) in which thanks would typically be given to the Madonna beneath the image. Kahlo instead leaves this section blank, as though she finds herself unable to give thanks either for her own birth, or for the fact that she is now unable to give birth. The painting seems to bring the message that it is important to acknowledge that birth and death live very closely together. Many believe that My Birth was heavily inspired by an Aztec sculpture that Kahlo had at home representing Tiazolteotl, the Goddess of fertility and midwives.

Influences and Connections

Influences on Artist
Frida Kahlo
Influenced by Artist
Friends & Personal Connections
  • Julien Levy
    Julien Levy
  • Emmy Lou Packard
    Emmy Lou Packard
  • Lola Alvarez Bravo
    Lola Alvarez Bravo
  • Manuel Alvarez Bravo
    Manuel Alvarez Bravo
Movements & Ideas
Open Influences
Close Influences

Useful Resources on Frida Kahlo

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Content compiled and written by Katlyn Beaver

Edited and revised, with Summary and Accomplishments added by Rebecca Baillie

"Frida Kahlo Artist Overview and Analysis". [Internet]. .
Content compiled and written by Katlyn Beaver
Edited and revised, with Summary and Accomplishments added by Rebecca Baillie
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First published on 25 Nov 2017. Updated and modified regularly
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