la casa azul (12. 736)

Renowned artist Magdalena Carmen Frida Kahlo y Calderón, known for her numerous works of self-portraiture (Autorretrato) and murals executed in a naïve folk style with an element of magical realism that examined topics of class, race, gender, identity, post-colonialism and her personal experience with chronic pain, having recovered from a disabling case of polio as a child and, aged eighteen was a promising and gifted student headed to medical school was on this day in 1925 in Mexico City was nearly killed in a serious accident when the bus she was a passenger in collided violently with a streetcar. Sustaining numerous injuries, including a fractured spinal column—never fully recovering her mobility—for the next two years Kahlo (see previously here and here) was confined to her bed whilst her body healed. During this long convalescence, she returned to her childhood aspirations, also prompted by an extended period of recuperation and resignation, of becoming a painter. Kahlo’s parents provide an easel and supplies arranged where she could work reclined and mounted a mirror on the ceiling so she could study herself bedridden and produced among many other painting the pictured aristocratic self-portrait in a velvet dress. The mannerist piece was later considered Kahlo’s seminal project and first professional painting, and was gifted to her boyfriend at the time, during a fractious time in their short relationship, which aided in a brief reconciliation, though he moved away to Europe while Kahlo remained in Mexico, toughening up her self-image and rejecting the expectations of the male-gaze.