A recent art research study delves into the presence of religious symbols in the paintings of renowned Mexican artist Frida Kahlo. Despite having no religious affiliation, Kahlo incorporated various religious motifs in her artwork until her death in 1954. According to art researcher and curator Ximena Jordán, Kahlo’s use of these symbols aimed to convey the power of individuality and the ways in which one can exercise the inherent strength bestowed upon them by life or a higher power.
Born in 1907 in Mexico City, Kahlo drew inspiration from her personal experiences, including a life-altering bus accident in 1925, the subsequent physical pain she endured, and her tumultuous relationship with her husband, Mexican muralist Diego Rivera. These experiences served as the foundation for her creative expression, allowing her to establish a profound connection between her paintings and viewers, many of whom continue to admire her work seven decades after her passing.
Jordán highlights Kahlo’s self-portraits as a key element in understanding her artistic approach. While Kahlo frequently depicted herself in her paintings, she did not strive for naturalistic representation. Instead, she “re-created” herself through the use of symbols that symbolize the depth of human interiority. One notable example is the painting “Diego and I,” completed in 1949, which fetched a record-breaking $34.9 million at a recent Sotheby’s auction. In this piece, Kahlo’s expression remains serene despite tears streaming down her face, with Rivera’s face depicted on her forehead. Notably, a third eye, symbolizing the unconscious mind in Hinduism and enlightenment in Buddhism, is situated at the center of Rivera’s head.
Interpretations of this painting vary, with some suggesting it represents the pain inflicted upon Kahlo by Rivera. However, Jordán offers an alternative reading, suggesting that the presence of the third eye on both Kahlo and Rivera signifies their deep emotional connection, enabling Kahlo to transcend to another dimension of existence through love.
Kahlo’s ability to resonate with viewers lies in her portrayal of the human spirit’s connection to spirituality, despite her lack of adherence to any specific religious doctrine. Her artwork, primarily centered around her emotional and physical suffering, does not evoke sadness or helplessness. Instead, Kahlo is celebrated as a woman of strength, unyielding in the face of a broken body that never diminished her indomitable spirit.
Cris Melo, a 58-year-old American artist, shares a deep connection with Kahlo’s heart and writings, finding solace and inspiration in her art. Melo, who has not experienced the same physical trauma as Kahlo, has endured years of physical pain. In moments of doubt, Melo draws strength from Kahlo’s resilience, reminding herself that if Kahlo could endure, so can she.
Another artist, Amni, based in London, reinterprets Kahlo’s works using artificial intelligence. Amni, like Melo, finds Kahlo’s portrayal of Rivera appearing on her forehead akin to a third eye to be particularly impactful. Amni emphasizes that Kahlo’s endurance through suffering, heartbreak, and physical challenges has been a profound source of inspiration.
Kahlo’s unconventional faith is evident in her art, where she fearlessly portrays her physical disabilities, bisexuality, and the diverse beliefs that shape the human spirit. In her painting “The Wounded Deer,” Kahlo transforms herself into an animal bleeding from arrows, maintaining a composed expression reminiscent of Catholic martyr imagery. Although Kahlo held Marxist ideologies and viewed the Catholic Church as oppressive and racist, she recognized the benefits of devotion in fostering a meaningful spiritual path.
Approximately a decade after her accident, Kahlo began collecting votive offerings, small paintings that Catholics offer as tokens of gratitude for miracles. These 473 votive offerings are still preserved in her Blue House, suggesting that Kahlo may have regarded her survival as a personal miracle attributed to the generosity of life rather than a deity of Catholic origin.
In her final days, Kahlo painted a series of vibrant, colorful watermelons, which would become her last work. On one canvas, beneath a clouded sky, she inscribed the words “Viva la vida” or “Long live life.” This final piece encapsulates Kahlo’s enduring spirit and serves as a testament to her unwavering resilience.