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Revista Interamericana de Bibliografía (RIB)
Número: 1
Título: 1998


Adams, Alice. “Frida Kahlo’s Passion.” Art and Antiques: 58-65, 1989.

Thoughts on Kahlo’s life by the author of Superior Women and Second Chances.

Ankori, Gannit. “The Hidden Frida: Covert Jewish Elements in the Art of Frida Kahlo.” Jewish Art: 224-47, 1993.

Discusses visual and cultural sources that relate to Kahlo’s Jewish ancestry as manifested in some of her paintings, with particular reference to her Mexican-European heritage.

Baddeley, Oriana. “Her Dress Hangs Here: Defrocking the Kahlo Cult.” Oxford Art Journal: 10-17, 1991.

This article looks at the social, cultural, and personal significance of the native Mexican clothes Kahlo wears in her self-portraits.

Bakewell, Liza. “Frida Kahlo: A Contemporary Feminist Reading.” Frontiers: A Journal of Women’s Studies: 165-89, 1993.

A feminist appraisal of the painter, this paper is based on the author’s forthcoming book, Remebrance of an open wound: sexuality, nationalism, and the legacy of Frida. Eleven black and white photographs accompany the article.

Bergman-Carton, Janis. “Like an Artist.” Art in America: 35-37, 1993.

Compares the roles of pop artist Madonna and Frida Kahlo in breaking down female stereotypes.

_________. “Strike a Pose: The Framing of Madonna and Frida Kahlo.” Texas Studies in Literature and Language: 440, 1993.

Examines the artist-celebrity status shared by Madonna and Kahlo, as well as the media interest this has generated.

Berman, Eleanor. “Life-Size Canvases.” House Beautiful: 30-32, 1990.

Photo essay of the museum homes of artists Daniel Chester French, Augustus SaintGaudens, Evelyn Bartlett and Frida Kahlo.

Billeter, Erika. “Frida Kahlo.” Southwest Art: 94, 1993.

_________. “World of Frida Kahlo: The Self-portrait as Autobiography.” Southwest Art: 94-96, 1993.

Excerpted from the exhibition catalog to The Blue House: The World of Frida Kahlo, the traveling show of 70 paintings, prints and drawings on display at the Museum of Fine Arts in Houston, through August 29, 1993.

“Bomb Beribboned.” Time: 29, 1938.

Note on the opening of Kahlo’s first exhibit in the U.S., held at the Levy Gallery in New York City.

Borsa, Joan. “Frida Kahlo: Marginalization and the Critical Female Subject.” Third Text: 21-40, 1990.

Breslow, Nancy. “Frida Kahlo: A Cry of Joy and Pain.” Americas: 33-39, 1980.

Highlights of the artist’s life, her dreams and personal setbacks are reflected in the images and symbolism of selected paintings.

Breslow, Nancy D. “Frida Kahlo: The Square is Theirs; Spoofing Giorgio De Chirico.” Arts Magazine: 120-123, 1982.

Compares and contrasts one of Kahlo’s paintings, “The Square is Theirs,” to the metaphysical paintings of Greek artist Giorgio De Chirico (1888-1978).

Breslow, Nancy. “Preface.” Calyx: A Journal of Art and Literature by Women: 89, 1980.

Introduces a poem from Kahlo’s diary and the essay, “Portrait of Diego”.

Breton, André. “Frida Kahlo de Rivera.” Mexico en el Arte: 6-7, 1986.

Reprint of a 1938 essay by the French Surrealist painter in which he coined the phrase “The art of Frida Kahlo is like a ribbon around a bomb”.

Butler, Ron. “A Brush with Life.” Travel & Leisure: 89-94, 1988.

Review of the Frida Kahlo Museum in Coyoacan, Mexico City.

_________. “The House of Sunshine and Pain.” Americas: 48-51, 1995.

The newly renovated Frida Kahlo Museum in Mexico City now has a gift shop, library and small coffee shop. Frida’s ashes are kept in an unmarked Mayan urn beneth a death mask.

Chadwick, Whitney. “The Muse as Artist: Women in the Surrealist Movement.” Art in America: 120-29, 1985.

Discusses the inclusion of works by Kahlo and other female artists in a show organized by Charlotte Mayes at Jeffrey Hoffeld & Company in New York, April 30-June 8, 1985.

Chessher, Melissa. “The Cult of Kahlo.” American Way: 62-68, 94-99, 1990.

Church, Michael. “Dancing in the Dark.” Guardian: Section 2, p. 5, 1993.

Discusses the influence of Kahlo’s early childhood memories on her work.

Darbyshire, P. “Understanding the Life of Illness: Learning through the Art of Frida Kahlo.” ANS, Advances in Nursing Research: 51, 1994.

del Conde, Teresa. “La pintora Frida Kahlo.” Artes Visuales: 1-5, 1974.

Kahlo’s artistic ties with the Surrealist Movement are discussed along with insights gleamed from the artist’s diary.

_________. “Lo Popular en la pintura de Frida Kahlo.” Anales del Instituto de Investigaciones Estéticas: 195-203, 1976.

Discusses Surrealist elements in Kahlo’s paintings as well as Kahlo’s links with the Mexican folk art tradition.

Estrada, Arturo. “Remembranza de Frida Kahlo.” Plural: 32-37, 1984.

The author, a former student of Kahlo’s, honors the 30th anniversary of her death by sharing anecdotes based on their 11-year old friendship.

Fauchereau, Serge. “Surrealism in Mexico. ” Artforum: 86-91, 1986.

The painting “What the Water Gave Me” (1938) contains certain Surrealist elements, as do the works of other Mexican painters like Tamayo and Gerzso.

Ferrer, Elizabeth. “Lola Alvarez Bravo: A Modernist in Mexican Photography.” History of Photography: 211-18, 1994.

Kahlo’s friendship with one of the pioneers in the development of modern photography in Mexico is briefly mentioned.

“Frida vs. Diego.” Art Digest: 8, 1939.

A note about the Kahlo-Rivera divorce.

Gallego, J. “Manuel Alvarez Bravo, Vicente Rojo, Frida Kahlo.” Insula - Revista de Letras y Ciencias Humanas: 463, 1985.

Glusker, Peter. “Self-portrait of Frida Kahlo.” JAMA - Journal of the American Medical Association: 1078, 1994.

Glusker was a child when he first met Kahlo. In this letter to the editor, Glusker takes issue with comments made in an earlier issue of JAMA and offers some insights on Kahlo’s work and life.

Goethals, Henry. “You’re a Million-dollar Baby.” Americas: 2-3, 1990.

The record sale of “Diego y Yo” at $1,430,000 to a New York art dealer marks the sudden surge in interest in Latin American art. Works by Botero, Diego Rivera, Frida Kahlo, and Wilfredo Lam, among others, are thought to be a secure investment due to the region’s relative economic weakness.

Goldberg, Vicki. “Portraying Frida Kahlo: Always, she Dominated.” American Photo: 16, 1993.

Goldman, Shifra. “The Intense Realism of Frida Kahlo.” Chisme - Arte: 8-11, 1977.

Brief biographical sketch accompanied by illustrations of five Kahlo paintings.

Greco, Stephen. “Art: Frida Kahlo mania!” Interview: 62, 1992.

Brief note on upcoming events including a music/theater show, an art exhibition, and book publication.

Grimberg, Salomon. “Frida Kahlo’s Memory: the Piercing of the Heart by the Arrow of Divine Love.” Woman‘s Art Journal: 3, 1990.

The author, a professor of psychiatry, draws inferences about Kahlo’s emotions and feelings from the iconography of one of her paintings, “Memory” (1937), featured on the journal’s front cover.

_________. “Love and Loss in Kahlo’s art.” Art & Antiques: 62, 1989.

Excerpted from the author’s book Frida Kahlo: das Gesamtwerk.

Gropp, Rose. “Contra el culto: Fida Kahlo en Francfort.” Humboldt: 60-69, 1993.

Gutiérrez, Marco A. “The Intense Duality of Frida Kahlo.” People’s World: 10, 1977.

Helland, Janice. “Aztec Imagery in Frida Kahlo’s Paintings: Indigently and Political Commitment.” Woman’s Art Journal: 8-13, 1990.

Kahlo’s nationalistic pride can be seen in the use of graphic Aztec imagery throughout her paintings. Based on a paper that was presented at the University Art Association of Canada in Ottawa in 1985.

_________. “The Politics of Confession.” Latin American Art: 34-36, 1991.

Examines the use of the “confession” style of painting that characterizes much of Kahlo’s work. Emphasizes the importance of placing Kahlo’s art within social, political, and cultural contexts.

Herrera, Hayden. “Frida Kahlo: Her Life, her Art.” Artforum, 1976.

Based on the author’s dissertation.

_________. “Frida Kahlo: The Palette, the Pain, and the Painter.” Artforum, 1983.

This article contains passages taken from the author’s book, Frida: A Biography of Frida Kahlo.

_________. “Making an Art of Pain.” Psychology Today: 86, 1983.

Six paintings form a backdrop for a brief but substantive biographical essay by Kahlo’s chief biographer.

_________. “Portraits of a Marriage.” Connoisseur: 124-128, 1982.

The portraits provide insights into her life with Diego Rivera.

Herrera, Hayden; photographs by Evelyn Hofer. “A Painter’s Passion.” House & Garden: 98-109, 1983.

Photo essay on the Frida Kahlo Museum in Coyoacán. Once the painter’s birthplace and home, now it is a tribute to her art.

Hinds, Harold E. Jr; Hinds, Elizabeth. “Frida Kahlo: Artist and Woman of Modern Mexico.” De Colores: 50-67, 1977.

This overview of the painter’s life discusses the significance of selected paintings.

Hulse, Frank G.; Richard, Susan M. “Frida Kahlo: A Selected Bibliography.” Bulletin of Bibliography: 177-183, 1995.

A listing of English-language literature encompassing books, dissertations, scholarly journal articles and magazine articles written between 1920 and 1994.

Jenkins, Nicholas. “Callalilies end Kahlos.” ARTnews: 104-105, 1991.

Photo essay on the Frida Kahlo Museum near Mexico City.

Kadar, Marlene. “Behind Every Great Man - Frida Kahlo Letters to Ella Wolfe.” Mosaic: A Journal for the Interdisciplinary Study of Literature: 143-153, 1987.

A cultural history of the American left-wing movement in the 1930s as seen through Frida Kahlo’s letters to Ella Wolfe, the wife of Diego Rivera’s biographer, Bertram Wolfe.

Kahlo, Frida. “Portrait of Diego.” Calyx: A Journal of Art and Literature by Women: 92108, 1980.

This is the Spanish-language text of the essay by Kahlo and an English-language translation (by Nancy Breslow and Amy Weiss Narea).

“Kahlo, F., 1907- 1954, Mexican Painter. ” Du: 54-57, 1988.

Knafo, Danielle. “Egon Schiele and Frida Kahlo: The Self-portrait as Mirror.” Journal of the American Academy of Psychoanalysis: 630-647, 1991.

_________. “The Mirror, the Mask, and the Masquerade in the Art and Life of Frida Kahlo.” Journal of the American Academy of Psychoanalysis: 277-299, 1993.

Kozloff, Joyce. “Frida Kahlo.” Women’s Studies: 43-59, 1978.

This article intertwines an overview of Kahlo’s life with art criticism.

Lara, Magali. “Quisimos tanto a Frida.” Fem: 14-15, 1990.

Larson, Kay. “A Mexican Georgia O’Keefe.” New York: 82-83, 1983.

Lomas, D. and R Howell. “Medical Imagery in the Art of Frida Kahlo.” British Medical Journal: 1584-87, 1989.

MacAdam, Barbara. “Before Diego.” Art News: 30, 1994.

Note on the rediscovery of Kahlo’s 1922 portrait of her first love, Alejandro Gomez Arias, in whose attic the painting was found by relatives shortly after his death.

Márquez, Francisco. “Frida Kahlo: Viva la vida!” Nueva Sociedad: 75-81, 1987.

Biographical essay by the Chilean art historian.

McGarry, Susan H. “Facing the Facts: Transcendent Journey.” Southwest Art: 18, 1993.

McMurray, George R. “Latin American Art Gaining in Prestige. ” Hispania: 113-14, 1991.

Cites the record-setting sale price of Kahlo’s “Diego y Yo” at the Sotheby’s auction in New York.

Monsiváis, Carlos. “De todas las Fridas posibles.” Nexos: 69-70, 1992.

_________. “Que el ciervo vulnerado por el otero asoma.” Mexico en el Arte: 64-71, 1983.

_________. “Que el ciervo vulnerado por el otero asoma.” Eco: 629-642, 1983.

Moore, W. P. “On the Study of a Damaged Body Image in Terms of Creativity: Frida Kahlo.” Journal of the American Academy of Psychoanalysis: 151 - 153, 1992.

Nathan, Paul. “A Private Kahlo.” Publishers Weekly: 118, 1995.

Announces the forthcoming publication of Kahlo’s diary.

Newman, Michael. “The Ribbon around the Bomb.” Art in America: 160-69, 1983.

A London-based art historian and critic looks at Kahlo and Tina Modotti as “politically active women artists influenced by radical tendencies in post revolutionary Mexico...[and whose artistic representation of the]... female body anticipated many questions addressed by feminist art”.

Orenstein, Glorida. “Frida Kahlo: Painting for Miracles.” Feminist Art Journal, 1973.

Pardo de Fernández, Alejandrina. “¡Frida Kahlo y Calderón, por favor!” Fem: 18-19, 1990.

Parker, Robert L. “Diego Rivera, Frida Kahlo, y Carlos Chavez: Colaboración, desilución, y retribución.” Heterofonía Revista Musical Bimestral: 6-29, 1987.

Pau-Llosa, Ricardo. “Painters of Time.” Art lnternational: 100-104, 1987.

Modernist pioneers of Latin American art.

Pernoud, E. “A Mystical Autobiography in the Paintings of Frida Kahlo.” Gazette des Beaux-Arts, 1983.

Plagens, Peter. “Frida on our Minds.” Newsweek: 54-55, 1991.

With a record sale at Christie’s and a biography that keeps selling, the late Mexican painter ranks with the best artists of the world.

Pontello, Jacqueline M. “Free la Frida: Social and Public Art Resource Center Seeking to Free Kahlo from Capitalist Commercialism.” Southwestern Art: 18, 1992.

Social and public art resource center seeking to free Kahlo from commercialism.

_________. “Frida Fever.” Southwestern Art: 23, 1991.

Discusses the increased popularity of Kahlo’s paintings and the commercial success of Latin American art in general in the auction block.

Quinn, Hillary M. “What a Tweeze!” Mademoiselle: 189, 1992.

Photographs of celebrities, including Kahlo, and their eyebrow makeup.

Raoul, Valerie. “Women and Diaries: Gender and Genre.” Mosaic: A Journal for the Interdisciplinary Study of Literature: 57-65, 1989.

Rose, Barbara. “Frida Kahlo: The Chicana as Art Heroine.” Vogue: 152, 1983.

Samsel, Roman. “Frida Kahlo: ‘Era como un relámpago...’.” Plural: 38-40, 1984.

Excerpt from the author’s book, Rebellion and Violence, in which he tells episodes from Kahlo’s life.

Smith, Terry. “From the Margins: Modernity and the Case of Frida Kahlo.” Block: 11-23, 1983.

_________. “Further Thoughts on Frida Kahlo.” Block: 34-37, 1983.

Solomon, Deborah. “Saint Frida.” The New Republic: 28, 1991.

Book reviews and art criticism by the biographer of the abstract painter, Jackson Pollock.

Southgate, M. Therese. “Cover of JAMA.” JAMA: Journal of the American Medical Association: 1899, 1993.

In one page, the author offers a thumbnail sketch of the artist’s “Self-Portrait with Monkey,” (1938) which is reproduced in the cover of this issue of JAMA.

Spurrier, Jeff. “The High Priestess of Mexican Art. ” Connoisseur: 66-71, 1990.

Dolores Olmedo is converting her home in Mexico City into a museum to display Kahlo’s paintings.

Staples, Kate. “Italy’s Newest Line: Blumarine.” Mademoiselle: 62, 1993.

Italian dress designer Anna Molinari introduces her spring line of clothes and attributes such personalities as Kahlo, Grace Kelly, Twiggy, and Madonna as inspiring forces.

Stirling, George. “The Impact of Surgery on Fine Art.” Perspectives in Biology and Medicine: 67-73, 1993.

19th and 20th century artists that have endured chronic ailments and who have undergone surgical procedures include Kahlo, Matisse, and Giacometti.

Stockemann, P. “Frida Kahlo.” Ballett International-Tanz International: 16, 1992.

Suggerman, Helen-Louise. “The Mexican Women’s Hour.” ARTnews: 27, 1991.

In light of the growing interest in the work of Mexican women artists in general, Frida Kahlo’s paintings now command $1 million-dollar price tags.

Sullivan, Edward J. “Frida Kahlo in New York.” Arts Magazine: 90-92, 1983.

An excellent account of Kahlo’s artistic career.

“Frida Kahlo.” Latin American Art: 31 -34, 1991.

Analyzes the significance of emotionally charged Paintings such as “Self-portrait dedicated to Dr. Eloesser.”

“Mexicanness” in Mexican Paintings of the 1980s: Ismael Vargas.” Arts Magazine: 54-57, 1988.

Brief note on Kahlo’s role in the Mexican Surrealist Movement of the 1920s and 30s.

Tibol, Raquel. “Cuando los judas no den color.” Excélsior, 1969.

Published in “Magazine Dominical,” supplement to Excélsior.

_________. “E1 Moisés de Freud en versión de Frida Kahlo.” Proceso, 1982.

_________. “E1 Museo Frida Kahlo en el quinto aniversario de su muerte.” El Nacional, 1959.

Published in “Paper Literario,” supplement to El Nacional.

_________. “Evolución del autoretrato.” Proceso, 1978.

_________. “Fragmentos pare una vida de Frida Kahlo.” Novedades, 1954.

Published in “México en la culture,” supplement to Novedades.

_________. “Frida Kahlo en la pintura y el amor de Diego Rivera.” Eva, 1953.

_________. “Frida Kahlo en el segundo aniversario de su muerte.” Novedades, 1956.

Published in “México en la culture,” supplement to Novedades.

_________. “Frida Kahlo, maestra de pintura.” Excélsior, 1960.

Published in “Diorama de la Cultura,” supplement to Excélsior.

_________. “Frida Kahlo en los Estados Unidos.” Política, 1965.

_________. “Frida Kahlo en sus sesenta años: fantasía y realidad.” Calli, 1970.

_________. “Frida Kahlo a veinte años de su muerte.” Excélsior, 1974.

Published in “Diorama de la Cultura, “ supplement to Excélsior.

_________. “Frida Kahlo y los veneros de su pintura.” La Semana de Bellas Artes, 1977.

Supplement of the Instituto Nacional de Bellas Artes, Mexico City.

_________. “La verdadera edad de Frida Kahlo.” Proceso, 1981.

_________. “Los zumbidos.” El Occidental, 1953.

_________. “Primer Salón Frida Kahlo.” Novedades, 1956.

Published in “México en la cultura,” supplement to Novedades.

_________. “Revive el interés por Frida Kahlo.” Nonotza-lBM, 1977.

_________. “Surrealismo histórico.” Política, 1967.

_________. “Tenía derecho a su muerte.” Paralelo, 1957.

_________. “¿Fue Frida Kahlo una pintura surrealista?” Siempre, 1970.

Published in “La Cultura en México,” supplement to Siempre.

Tully, Judd. “The Kahlo cult.” ARTnews: 126-133, 1994.

Discusses the current popularity of Kahlo’s life and work, linking it to the Women’s Movement in the 1970s.

Urrutia, Elena. “Frida Kahlo y Tina Modotti: Por el hecho de ser mujeres.” Fem: 58-60, 1983.

Announces the forthcoming publication of Kahlo’s diary.

Valdés, Carlos. “Evocación de Hector Xavier: Muerte de María Izquierdo, dolor de Frida Kahlo.” Revista de la Universidad de Mexico: 29-33, 1979.

Vidal, John. “Mexican Arts of Love.” Guardian: page 20, 1989.

Provides background to the play Frida and Diego.

Von Becker, P. “A Dance of Life.” Theater: 114-115, 1992

Wolfe, Bertram D. “Rise of Another Rivera.” Vogue: 64, 1938.

Bertram Wolfe, friend and biographer of Diego Rivera, introduces Kahlo. Her American debut at the Julian Levy Gallery in New York drew a great deal of media attention, in part due to her exotic personality, as well as to the success of her paintings and to her reported ties with Leon Trostky while on exile in Mexico.

Yau, John. “The Phoenix of the Self. ” Art- forum: 145-51, 1989.

Explores the depiction of physical and emotional pain in Kahlo’s self-portraits.