This article is from the source 'guardian' and was first published or seen on . It last changed over 40 days ago and won't be checked again for changes.

You can find the current article at its original source at http://www.guardian.co.uk/commentisfree/2013/jul/04/in-praise-of-frida-kahlo

The article has changed 2 times. There is an RSS feed of changes available.

Version 0 Version 1
In praise of … Frida Kahlo In praise of … Frida Kahlo
(3 months later)
Towards the end of the Mexico: A Revolution in Art exhibition that opens at the Royal Academy tomorrow, there is a tiny Frida Kahlo self-portrait, smaller than an egg. Its diminutive size encourages the viewer to step closer, peering into her extraordinary world of colour, passion and revolution. Never apologising for her human qualities, Kahlo wore her strengths and weaknesses with pride. Refusing to be a victim of the poor health that prevented her from having children and kept her bedridden for long periods, she fought back with a tequila-drinking, hard-living, sexually liberated exuberance that unashamedly expressed itself in the lavish blues and oranges of her home, her dresses and her painting. Other artists of the revolutionary period depicted the horror of bodies hanging from trees and skeletons in sombreros; her particular genius was to capture this pain on her own face, expressed with a diva's defiance and without a trace of self-pity.Towards the end of the Mexico: A Revolution in Art exhibition that opens at the Royal Academy tomorrow, there is a tiny Frida Kahlo self-portrait, smaller than an egg. Its diminutive size encourages the viewer to step closer, peering into her extraordinary world of colour, passion and revolution. Never apologising for her human qualities, Kahlo wore her strengths and weaknesses with pride. Refusing to be a victim of the poor health that prevented her from having children and kept her bedridden for long periods, she fought back with a tequila-drinking, hard-living, sexually liberated exuberance that unashamedly expressed itself in the lavish blues and oranges of her home, her dresses and her painting. Other artists of the revolutionary period depicted the horror of bodies hanging from trees and skeletons in sombreros; her particular genius was to capture this pain on her own face, expressed with a diva's defiance and without a trace of self-pity.
Our editors' picks for the day's top news and commentary delivered to your inbox each morning.