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Frida Kahlo Without Hope mk104
1945
Oil on canvas mounted on masonite
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Frida Kahlo The Mask mk104
1945
Oil on masonite
15.8x11.8in
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Frida Kahlo Moses mk104
1945
Oil on masonite
37x20in
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Frida Kahlo Magnolias mk104
1945
Oil on masonite
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Frida Kahlo Tree of Hope mk104
1946
Oil on masonite
22x16in
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Frida Kahlo The Little Deer mk104
1946
Oil on masonite
9x12in
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Frida Kahlo Self-Portrait with Loose Hair mk104
1947
Oil on masonite
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Frida Kahlo Diego and I mk104
1949
Oil on masonite
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Frida Kahlo The Love Embrace of the Universe,The Earth,Diego,me and senor xolotl mk104
1949
Oil on canvas
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Frida Kahlo Portrait of Don Guillermo Kaahlo mk104
1951
Oil on masonite
23.8x18.3in
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Frida Kahlo My Family mk104
1951
Oil on masonite
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Frida Kahlo Coconuts mk104
1951
Oil on masonite
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Frida Kahlo Still Life Dedicated to Samuel Fastilicht mk104
1951
Oil on canvas
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Frida Kahlo Cocnut Tears mk104
1951
Oil on masonite
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Frida Kahlo Naturaleza Viva mk104
1952
Oil on canvas
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Frida Kahlo Still Life Viva La Vida y el D.Juan Farill mk104
c.1951-54
Oil on masonite
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Frida Kahlo Still Life Dedicated to Samuel Fastlicht mk104
1952
Oil on canvas
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Frida Kahlo Marxism Will Give Health o the Sick mk104
1953-54
Oil on masonite
30x24in
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Frida Kahlo Self-Portrait with Diego on My Breast and Maria on My Brow mk104
1953-54
Oil on masonite
24x16in
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Frida Kahlo Viva la Vida mk104
1954
Oil on masonite
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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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