When I first saw the 1931 portrait of Frida and Diego, I was impressed by its symmetry. I’m not talking necessarily about visual symmetry to do with equal sides of a exacting mirror image. I’m speak about the pairing between uneven forms. For me, the portrait is a representation of forged strength. It’s about the whole of the parts that is balanced on strength of a group. Notice that Frida is small. She is light and dainty compared to Diego’s large, sturdy, rectangularity. She is traditional and idle with her shawl and dress, doll-like feet and tilted head—her expression is diminutive compared to Diego’s blue-collar vigor. He is brawn and grounded and could easily occupy the center of the image but he’s actually holding one side of it. Despite Kahlo being the artist of this imagery, she shows the compromise. The subjects’ hands connect them and that allows me to see their differences as a bond. I see them as a friendship of agreed alliance and mutuality. Because they are touching instead of separated, I see the individuals as a solid shape, the same entity and a united body. The limited colors divided between them are now a complete range of brilliancy and shadow. His masculinity is defended by her femininity, and his artistry can now be placed in her open hand. I also enjoy that Frida’s lack of height in the painting is topped by a winged bird with flowing ribbon. Though I’m sure the words on the ribbon means something, I see the simplicity of the bird and ribbon bringing more feminine and dainty natures to Frida’s aid. More importantly, these items make her just as big if not equal to Diego. For this to be the portrait of the artist and her relationship, I hope I can be as open about the difference between me and a partner and show as much grace.
Together Essay Example
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