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Thứ Hai, 12 tháng 5, 2014

Frida Kahlo Paintings And Degas Paintings

By Darren Hartley


With their intense and vibrant colors, Frida Kahlo paintings are best remembered for their pain and passion. Mexicans and feminists celebrate them, the former, as emblematic of national and indigenous tradition and the latter, for their uncompromising depiction of the female experience and form.

Intense Frida Kahlo paintings are characterized as Naive art or folk art and prominently feature Mexican culture and Amerindian cultural tradition. They are also described as surrealist, as a matter of fact, in 1938, one surrealist described Frida as being a ribbon around a bomb.

Frida was never ashamed to reflect her lifelong health problems in her works. As a matter of fact, half of the Frida Kahlo portraits are self portraits of one sort or another. She was born a bitch and a painter, according to her. The rationale for these self portraits came from Frida herself, her being alone more often than not and her knowing herself best, making herself the best model for her own paintings.

Edgar Degas calls himself as either a realist or independent, despite Degas paintings receiving the label of being impressionistic in style. The fleeting moments in the flow of modern life is what Edgar sought to capture in his work.

Showing little interest in plein air landscapes, Degas paintings, instead, featured theatre and cafe scenes illuminated by artificial light. Edgar used this light to clarify the contours of his figures, completely adhering to his academic training.

Recognizing the artistic gifts of his son, Edgar's father took him frequently to Paris museums in an effort to encourage his efforts at drawing. Copies of Italian renaissance paintings at the Louvre consisted the early Degas paintings.

Emphasizing on line and insisting on the crucial importance of draftsmanship, the traditional academic style was the style Edgar got his training in under the tutelage of Louis Lamothe. Another strong influence reflected in Degas paintings are those from paintings and frescoes Degas saw during his long Italian trips in the late 1850s. Edgar recorded these paintings and frescoes in his personal notebook by making his own drawings and sketches of them.




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