lunes, 10 de marzo de 2014
The Broken Column (1944)
Regina Llorente Suárez A00811499
In The Broken Column Frida's anguish is communicated in the most physical and harrowing way, by nails stuck into her face and flesh and by a split in her torso that resembles an earthquake fissure. The opening is echoed in the dark ravines cut into the earth behind her, and it suggests the horror of surgical intervention. Inside the gap a cracked Ionic column replaces her own deteriorating vertebrae. Penetrating from loins to chin, the column looks phallic, and the sexual connotation is all the more obvious because of the beauty of Frida's breasts and torso.
A tragic bus accident in 1925 when she was 18, left Frida with a fractured spine, a crushed pelvis, and broken foot. She was to remain partially handicapped and in pain for the rest of her life. This life-changing event set in motion the practice of faithfully recording the painful episodes of her life through her art. Many of her works focus on her pain and the multiple surgeries that she endured. The Broken Column of 1944 shows her wearing the backbrace that appears regularly in her paintings.
Essay no.1
http://www.studymode.com/essays/Frida-Kahlo-Art-113175.html
The most radical accident happened when Frida was 18 years old, she was riding a bus which collided with a trolley car. The injuries she received were grand - a broken collar bone, a broken spinal column, broken pelvis and ribs, fractures in right leg, dislocated foot and shoulder, and when an iron bar pierced her stomach, it damaged the uterus
Essay no. 2
http://www.studymode.com/essays/Frida-Kahlo-151669.html
Most people associate Frida Kahlo with her influential works of art, but little people know that she may have played a part in the assassination of Leon Trotsky.
I believe this essay is completely lying because over the years, and after her death, Frida Kahlo has become more and more famous, that's why I think it has profited from her fame, and people have invented many stories and myths that are hardly true.
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