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Self-portrait in a Velvet Dress (Spanish: Autorretrato con traje de terciopelo[5] or Spanish: Autorretrato con vestido de terciopelo)[6] is a 1926 oil-on-canvas painting by Mexican artist Frida Kahlo.[7]

Background

At the age of 18, Kahlo suffered life-threatening injuries (from which she would never fully recover and would lead to lifelong physical pain) when the train she was riding hit a trolley. During her extended period of convalescence, her parents gave her an easel and painting supplies as well as affixed a mirror to the ceiling above her bed so that she could see herself while lying on her back. It was during this recovery period that Kahlo painted Self-portrait in a Velvet Dress.[8][9]

The picture is considered if not Kahlo's first self-portrait then at least her first significant self-portrait.[10] It is her oldest surviving self-portrait and has been described as her, "earliest important work" and, "her first serious work".[9][11][12] It has also been described as, "her first real painting."[13]

Early in her career, Kahlo was influenced by the painting of the Italian Renaissance and because of this, in Self-portrait in a Velvet Dress, "she is portrayed in an aristocratic, somewhat melancholic pose, her neck manneristically elongated in the style of Amedeo Modigliani."[10][14] The notable influence of European painting and European-influenced Mexican painting seen in this picture is contrasted starkly against Kahlo's later work which more prominently featured indigenous Mexican themes and Mexican national consciousness.[10]

Others have noted elements of the self-portrait including the red dress and the slender elegant fingers are reminiscent of Sandro Botticellii and Bronzino.[15]

Description

Self-portrait in a Velvet Dress is described as:

"Kahlo appears half length, wearing an elegant velvet dress, against a background of stylized waves. She presents herself as a comely young woman of the time, her hair neatly parted in the centre and combed into a chignon that highlights her oval face and symmetrical features. Her compelling gaze—wide dark eyes under strongly defined brows that almost meet in the middle—expresses challenge and confidence, as if she is daring the viewer to look away."[11]

The dress Kahlo is wearing in the portrait has a wine red color and she has been described as having a regal appearance.[16] The self-portrait is notable for being the first time Kahlo depicted herself with a prominent unibrow, which would go on to become a staple of her work.[8]

This self-portrait is notably less graphic than many of her later paintings.[17]

Interpretation

Scholars and critics have attempted to interpret Kahlo's expression in this early self-portrait, including suggesting, "Frida appears serene, her face a portrait of tranquil beauty. But, there's an unmistakable intensity in her gaze, perhaps a hint of the fiery spirit and passion that was soon to unfold in her subsequent works."[14]

Laura Perez has noted an, "enormous difference between Kahlo's first self-portrait, Autorretrato con traje de terciopelo (Self-Portrait with a Velvet Dress, 1926), and those that followed, such as Autorretrato con collar (Self-Portrait with Necklace, 1933). In the latter, Kahlo no longer represents herself as desirable to a male heterosexual and Euro-identified racializing gaze through idealized femininity and Europeanization. Her masculinizing and indigenous self-representations effectively reject racialized norms of social decency and propriety."[18]

History

The painting was a gift from Kahlo to her boyfriend at the time, Alejandro Gómez Arias.[19] She began working on the painting in late summer of 1926 after her relationship to Alejandro became strained.[16] Self-portrait in a Velvet Dress was Kahlo's attempt to win back Alejandro's affection and when she finished the painting and sent it to him she included a note that read in part, "Within a few days the portrait will be in your house. Forgive me for sending it without a frame. I implore you to put it in a low place where you can see it as if you were looking at me."[20] The message also referred to the painting for Alejandro as, "your Botticelli".[21] Kahlo's gift of the self-portrait initially had its intended effect and the couple reconnected, though Alejandro eventually moved to Europe and Kahlo stayed in Mexico to work on her painting.[16][19]

The picture's title has subsequently been used by authors and poets as titles to their works.[22][23]

See also

References

  1. ^ Serrano, Nieves Limón (2019). "Frida Kahlo's Photographic Posing: A Theoretical Approach to Visual Autobiographies". Journal of Latin American Cultural Studies. 28 (2): 277–290. doi:10.1080/13569325.2019.1619540. S2CID 198030564. Retrieved 11 November 2023.
  2. ^ Kahlo, Frida (2018). You are Always With Me: Letters to Mama. New York: Little Brown Book Group. ISBN 9780349011943.
  3. ^ Flores, Tracy (2020). "Latinx Mothers and Daughters Defining Themselves through Art and Writing". English Journal. 109 (5): 52–59. doi:10.58680/ej202030667. S2CID 259383592. Retrieved 11 November 2023.
  4. ^ Zamora, Martha (1990). Frida Kahlo: Brush of Anguish. San Francisco: Chronicle Books. ISBN 9780811804851.
  5. ^ University, Indiana (2003). "Interdisciplinary Journal for Germanic Linguistics and Semiotic Analysis". International and Area Studies. 8: 246–7. Retrieved 11 November 2023.
  6. ^ Souter, Gerry (2019). Frida Kahlo & Diego Rivera. New York: Parkstone International. ISBN 9781644617786.
  7. ^ Diana Oliveira (15 April 2023). "The 5 Faces of Frida Kahlo". The Collector. Retrieved 11 November 2023.
  8. ^ a b Elizabeth Svoboda (1 March 2022). "How a Devastating Accident Changed Frida Kahlo's Life and Inspired Her Art". New York Times. Retrieved 11 November 2023.
  9. ^ a b Idzikowski, Lisa (2020). Frida Kahlo: My Own Reality. New York: Rosen Publishing Group. ISBN 9781725311336.
  10. ^ a b c Kettenmann, Andrea (2003). Frida Kahlo, 1907-1954: Pain and Passion. London: Taschen. ISBN 9783822859834.
  11. ^ a b Mancoff, Debra N. (2022). Making A Masterpiece: The Stories Behind Iconic Artworks. London: Frances Lincoln. ISBN 9780711257078.
  12. ^ Gale. Kids InfoBits Presents: Artists. Boston: Cengage Learning. ISBN 9781535846271.
  13. ^ Katz, Susan B. (2020). The Story of Frida Kahlo: A Biography Book for New Readers. New York: Sourcebooks. ISBN 9781646111619.
  14. ^ a b Frida Kahlo: The Heart That Painted - An exploration of Kahlo's personal struggles and unique art. London: ChatStick Team. 2023.
  15. ^ Freeland, Cynthia (2010). Portraits and Persons. London: OUP Oxford. ISBN 9780199234981.
  16. ^ a b c You, Li (2020). "The Transition in Frida Kahlo's Self-Portrait: Before and After 1939". Proceedings of the 5th International Symposium on Social Science (ISSS 2019). p. 204. doi:10.2991/assehr.k.200312.037. ISBN 978-94-6252-930-4. S2CID 216442520.
  17. ^ Harrington, Kathrine N. (2007). Recipes for Success in Foreign Language Teaching: Ready-made Activities for the L2 Classroom. Charlottesville: LINCOM Europa. ISBN 9783895860638.
  18. ^ Perez, Laura E. (2019). Eros Ideologies: Writings on Art, Spirituality, and the Decolonial. Durham: Duke University Press. ISBN 9780822372370.
  19. ^ a b Cano-Murillo, Kathy (2019). Forever Frida: A Celebration of the Life, Art, Loves, Words, and Style of Frida Kahlo. Stoughton, MA: Adams Media. ISBN 9781507210116.
  20. ^ Davis, Arianna (2020). What Would Frida Do? A Guide to Living Boldly. New York: Basic Books. ISBN 9781541646315.
  21. ^ Murray, Jenni (2018). A History of the World in 21 Women: A Personal Selection. London: Oneworld Publications. ISBN 9781786074119.
  22. ^ Share, Don (2012). Wishbone. New York: David R. Godine, Publisher. ISBN 9781574232196.
  23. ^ Rosensweig, Denise (2008). Self Portrait in a Velvet Dress The Fashion of Frida Kahlo. San Francisco: Chronicle Books. ISBN 9780811863445.

External links

source: https://en.wikipedia.org/wiki/Self-portrait_in_a_Velvet_Dress