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

dc.contributor.author Batuhan Tekin, Tuğba
dc.contributor.other 02.11. Department of History of Art / Sanat Tarihi Bölümü
dc.contributor.other 02. Faculty of Letters / Edebiyat Fakültesi
dc.contributor.other 01. Mardin Artuklu University / Mardin Artuklu Üniversitesi
dc.date.accessioned 2023-12-27T09:31:02Z
dc.date.available 2023-12-27T09:31:02Z
dc.date.issued 2017
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.uri https://hdl.handle.net/20.500.12514/5240
dc.language.iso en en_US
dc.relation.ispartof Recent Developments in Arts (IASSR) 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
gdc.author.id 0000-0003-0045-4304
gdc.author.institutional Batuhan, Tuğba
gdc.author.wosid ELY-0462-2022
gdc.description.department MAÜ, Fakülteler, Edebiyat Fakültesi, Sanat Tarihi Bölümü en_US
gdc.description.endpage 88 en_US
gdc.description.publicationcategory Kitap Bölümü - Uluslararası en_US
gdc.description.startpage 81 en_US
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relation.isAuthorOfPublication.latestForDiscovery 885870cc-fc64-4cde-9418-91f3f13c0253
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