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Self Portraits of Frida: Mexican Cultural Context Between the Accident and Diego

dc.authorid 0000-0003-0045-4304
dc.authorwosid ELY-0462-2022
dc.contributor.author Batuhan Tekin, Tuğba
dc.contributor.other Department of History of Art / Sanat Tarihi Bölümü
dc.date.accessioned 2023-12-27T09:31:02Z
dc.date.available 2023-12-27T09:31:02Z
dc.date.issued 2017
dc.department MAÜ, Fakülteler, Edebiyat Fakültesi, Sanat Tarihi Bölümü en_US
dc.description.abstract Each self-portrait is a different explanation of Frida without repetition. The self-portraits show an identity of entirely herself with each point of her face. Kahlo made herself an art object in her artworks such as in front of the camera. Frida Kahlo, who painted her first self-portrait in 1926, and continued painting them until she died in 1954, produced more than one hundred images. Frida Kahlo’s self-images point out an interconnection between herself and political messages. Furthermore, two turning points changed Frida’s life and that is the car accident and Rivera. Mexican cultural context is placed between these two turning points. en_US
dc.identifier.endpage 88 en_US
dc.identifier.startpage 81 en_US
dc.identifier.uri https://hdl.handle.net/20.500.12514/5240
dc.institutionauthor Batuhan, Tuğba
dc.language.iso en en_US
dc.relation.ispartof Recent Developments in Arts (IASSR) en_US
dc.relation.publicationcategory Kitap Bölümü - Uluslararası en_US
dc.rights info:eu-repo/semantics/closedAccess en_US
dc.subject Frida Kahlo, Culture, Museum, Art en_US
dc.title Self Portraits of Frida: Mexican Cultural Context Between the Accident and Diego en_US
dc.type Book Part en_US
dspace.entity.type Publication
relation.isAuthorOfPublication 885870cc-fc64-4cde-9418-91f3f13c0253
relation.isAuthorOfPublication.latestForDiscovery 885870cc-fc64-4cde-9418-91f3f13c0253
relation.isOrgUnitOfPublication 0a6bd76d-ed52-4dbd-a1b2-3c94bd311111
relation.isOrgUnitOfPublication.latestForDiscovery 0a6bd76d-ed52-4dbd-a1b2-3c94bd311111

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