Frida Kahlo. in her ego portrayal pictures. frequently illustrates herself have oning a Mexican woman’s traditional frock with a fluxing hair which someway introduces a portion of Mexican’s feminine individuality. Her self portrayals are besides known for the incorporation of “pre-Columbian jewellery. thereby showing her certificates as a member of Mexico’s autochthonal community and her muliebrity in bizarre fashion” ( Stremmel and Grosenick 60 ) . However. her Self Portrait with Cropped Hair stands out among her self-portraits since she painted herself with masculine physical characteristics that oppose her usual ocular properties of muliebrity.
In the portrayal. it is really evident how Kahlo “rejects the traditional feminine image by puting aside the insignia of her beauty and sensuality” ( Stremmel and Grosenick 60 ) . She wholly and highly transforms herself in this image wherein she appears dressed in a big. dark colored man’s suit. Furthermore. in the picture. it appears that she has merely cut off her hair really short. with a brace of scissors still in her manus. One of the thick braids of her hair lies over her thigh. and the staying strands of coils and turns are scattered across the floor and round the legs of the chair.
This clearly demonstrates an act of self-mutilation. by which the topic destroyed and altered a great portion of her physical ego in an effort to direct a important message. Frida one time said that in her art. what she ever depicts “is her world and non dreams” ( qtd. in Herrera and Frida 151 ) . Sing this statement from Frida Kahlo. it is inevitable to presume that this picture negotiations about her personal life. This is even more affirmed by the poetry of a vocal painted across the top of the image. “See if I loved you. it was for your hair. and now that you’re bald I don’t love you anymore” ( Smith 50 ) .
The poetry was taken from a celebrated Mexican vocal at that clip ( Smith 50 ) . Sing the wordss of the vocal. Frida Kahlo seems to be stating that in the beginning. she felt she was being loved for who she is. However. she came into the realisation that she was merely being loved because of her female properties. and so out of rebellion possibly. Frida decided to set these aside and abdicate the feminine image demanded of her. Her self-portraits. frequently with serious physical visage. particularly this 1. confirm her statement that “my painting carries with it the message of pain” ( qtd. in Rhiel and Suchoff 113 ) .
Apparently. the Self Portrait with Cropped Hair is an image that expresses Frida’s interior emotions. ego cognition. and her sense of individuality. Frida’s self portraits someway demand attending in soft and manipulative ways. Since her self-portraits reflect her world. her pictures become like a diary. Although her self-portraits that reveal something confidant about herself are sometimes shockingly personal. they do non offer a full confession since her aesthetic endowments and esthesias with the embedded symbolisms from colour. visible radiation. and look offer a batch of possible readings.
Unlike in written art when one reads the printed text. he or she can construe the writer’s subjects and messages harmonizing to how he or she understood the words of the writer. On the other manus. in pictures. it is of import to cognize the cultural. societal. and personal background of the painter in order non to make far deeper misunderstandings. To understand the world behind Frida’s self-portrait picture. it is important to delve into her life more profoundly. Frida Kahlo seems to intrigue herself in bring forthing self portrayals. since all her life. she created 66 of them.
Her “self-portraits record her birth. her childhood. her matrimony to the muralist Diego Rivera. divorce. abortion. her unhappiness over non being able to bear kids. and eventually the wretchedness of legion surgical operations that ne’er cured the hurts to her leg and spinal column from a coach accident that about killed her when she was 18” ( Rhiel and Suchoff 113 ) . The movie “Frida” in 2002 directed by Julie Taymor is “one of the most realistic portraitures of Frida’s life” ( Tibol 28 ) .
In the movie. her engagement in picture started when she met a trolley accident at the age of 18. The accident leaves and sentences her life with hazardous operations after her spinal column broke. It made her crippled at a really immature age. doing her to endure awfully. After the trolley accident. her life started to alter. and Frida finally began her life in the artistic universe. She met and married her wise man painter Diego Rivera after her bold grasp of his plants. However. his unfaithfulness and quenchless hungriness for sex tortured their matrimony.
Hence. her pictures. particularly the self-portrait 1s. merely show the sequences of her life and the emotions and narrative behind her solitariness and hurting. Frida one time said. “I pigment self-portraits because I am so frequently entirely and because I am the individual I know best” ( Rhiel and Suchoff 113 ) . The resentment of her experiences. particularly the bold unfaithfulnesss of her hubby. is possibly some of the things that she was unable to incorporate and she had no 1 to trust on but herself. It was said that “Diego Rivera was a dramatic and obstinate adult male.
His personality defects. and Frida Kahlo’s compulsion with keeping his attending despite his rejection. ” made her life more suffering ( Rhiel and Suchoff 113 ) . Meanwhile. her parturiency due to her illness leads to a narrow focal point by which she finds herself the most accessible topic. The loneliness of her self-portrait pictures is manifested as she situates herself in an empty room or landscape. detach from her milieus filled with hurting and wretchednesss. Furthermore. self-portraits possibly remind her of her true ego that she has known since childhood.
Meanwhile. most of her self-portrait pictures “adopt the staring. eyeless expression of the individual diffident before the mirror. self-aware before the camera. coercing herself into the regard of the other against her will. non incognizant of what is traveling on around her but non excessively reacting to it ( unwilling to hold her response to it recorded ) ” ( Smith 255 ) . The thick superciliums and perforating regard in her portrayal suggest that she is eminently societal as if she wants to make a relationship between her and the 1 who will look the piece.
Her cryptic and frequently serious eyes besides allow the readers to spot her independently. In the instance of Self Portrait with Cropped Hair. it was seemingly the “first ego portrayal created by Frida Kahlo after her divorce from creative person Diego Rivera. an improbably influential Mexican muralist” ( Tibol 26 ) . It was said that Frida’s long hair has been long admired by this adult male. and the masculine suit depicted in the picture is “most likely his” ( . Therefore. people necessarily associate Diego Rivera with this unconventional chef-d’oeuvre of Frida.
Furthermore. in this piece “Frida gave up the feminine Tehuana costumes so liked by her hubby and wore alternatively a man’s suit. its cut so wide that it might good hold stemmed from Rivera’s ain wardrobe” ( Kettenmann. Kahlo. and Williams 55 ) . This implies that Frida is on the province of rebellion and desperation against her hubby whom she believes merely loves her because of her sensualness and muliebrity. However. Frida reduced herself to illustration. stating that there is more to her pictures than meets the oculus.
Her unconventional self-portrait sends a bold message that she is more than her husband’s phantasy. a infinite after he retreats from his power in public life. Frida Kahro clearly provides an highly rare voice for this domain. by which she tells that her agony makes her stronger than of all time earlier. Although she might look to be dominated by her about compulsion to Rivera. in this picture. she clearly tells that she is more than in the parturiency of exposure and muliebrity which most work forces during that clip enjoy.
Therefore. this peculiar picture per se has a strong relationship with her former hubby. This art gives implies that Frida has great self-assurance despite the hurting brought by their separation. Her free look of ego and the sudden passage of her arts’ physical properties from muliebrity to maleness suggest that she is a adult female who explores physical and emotional tortures through art. by which through boldly showing herself. she will happen great solace.
The bright colourss of the floor perpendicular to the chair average hope to Frida—that despite her wretchednesss. her self-expression through art still gives her a vivacious hope. Self Portrait with Cropped Hair besides gives penetrations into her emotional province and her new born independency and freedom. Meanwhile. the procedure on taking on her new bodily status must hold “coincided with an apparent radicalization about Mexican society and her utmost belief in communism” ( Tibol 24 ) . Her political and extremist positions made her perceive herself who has and who can derive strength like a adult male.
Meanwhile. this picture may besides be requital to hardship. particularly those who exploit her feminine appeals due to her bold look of sensualness. She might besides be disputing her destiny to reaffirm her ain strengths and conceal her physical defects and orthopaedic devices through masculine garb. The cast-off hair of Frida demonstrates that her feminine appeal and her sense of sensualness will still crawl and act upon unconsciously through the aid of her past self-portrait pictures.
The incorporation of earrings may intend that a portion of her muliebrity can non be taken off from her. Self Portrait with Cropped Hair is besides egotistic since it depicts Frida’s self-involved universe. The picture is fundamentally a clear look of herself. Apparently. her self-portrait picture is her most effectual manner for self-healing in suppressing her self-pity due to her physical defects. and in happening comrade through art in the thick of her wretchednesss and hurting. It talks about her woman’s individualism that she clearly wanted to project.
Her picture is her world about herself that affirms the initial portion of this paper which tells that Self Portrait with Cropped Hair is merely an image that expresses Frida’s interior emotions. ego cognition. and her sense of individuality and capriciousness due to her sudden passage of her portraiture of ego. Work Cited Frida. Dir. Julie Taymor. Perfs. Margaret Rose Perencio. Brian Gibson. Mark Amin. Miramax Films. 2002. Herrera. Hayden and Frida Kahlo. Frida Kahlo: The Paintings. New York: HarperCollins
Publishers. 1991. Kettenmann. Andrea. Frida Kahlo. Karen Williams. Frida Kahlo. 1907-1954: Pain and Passion. New York: Taschen. 2000. Rhiel. Mary. David Bruce Suchoff. The Seductions of Biography. London: Routledge. 1996. Smith. Terry. Making the Modern: Industry. Art. and Design in America. Chicago. Illinois: University of Chicago Press. 1993. Stremmel. Kerstin. Uta Grosenick. Realism. New York: Taschen. 2004 Tibol. Raquel. Frida Kahlo: An Open Life. Mexico: University of New Mexico Press. 1999.