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Frida Kahlo Portrait of a Woman in White mk104
c.1929
Oil on canvas
46.8x31.8in
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Frida Kahlo Portrait of a Girl mk104
c.1929
Oil on canvas
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Frida Kahlo Portrait of Virginia mk104
1929
Oil on masonite
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Frida Kahlo Self-Portrait Time files mk104
1929
Oil on masonite
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Frida Kahlo The Bus mk104
1929
Oil on canvas
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Frida Kahlo Two Women mk104
1929
Oil on canvas
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Frida Kahlo Self-Portrait mk104
1930
Oil on canvas
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Frida Kahlo Portrait of Eva Frederick mk104
1931
Oil on canvas
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Frida Kahlo Frieda and Diego Rivera mk104
1931
Oil on canvas
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Frida Kahlo Portrait of Dr.Leo Eloesser mk104
1931
Oil on masonite
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Frida Kahlo Portrait of Mrs.Jean Wight mk104
1931
Oil on canvas
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Frida Kahlo Self-Portrait Very Angry mk104
1932
Pencil on board
11x8in
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Frida Kahlo Window Display in Detroit mk104
1932
Oil on sheet metal
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Frida Kahlo Self-Portrait on the Borderline Between Mexico and the United States mk104
1932
Oil on sheet metal
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Frida Kahlo Self-Portrait Very Ugly mk104
1933
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Frida Kahlo My Dress Hangs Here mk104
1933
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Frida Kahlo Self-Portrait with Necklace mk104
1933
Oil on sheel metal
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Frida Kahlo A Few Small Nips mk104
1935
Oil on sheet metal
15x19in
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Frida Kahlo Portrait of Diego Rivera mk104
1937
Oil on wood panel
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Frida Kahlo Portrait o Alberto Misrachi mk104
1937
Oil on metal
13.5x10.6in
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Frida Kahlo
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1907-54
Mexican painter, b. Coyoacen. As a result of an accident at age 15, Kahlo turned her attention from a medical career to painting. Drawing on her personal experiences, her works are often shocking in their stark portrayal of pain and the harsh lives of women. Fifty-five of her 143 paintings are self-portraits incorporating a personal symbolism complete with graphic anatomical references. She was also influenced by indigenous Mexican culture, aspects of which she portrayed in bright colors, with a mixture of realism and symbolism. Her paintings attracted the attention of the artist Diego Rivera, whom she later married. Although Kahlo's work is sometimes classified as surrealist and she did exhibit several times with European surrealists, she herself disputed the label. Her preoccupation with female themes and the figurative candor with which she expressed them made her something of a feminist cult figure in the last decades of the 20th cent.
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