Ophelia died of water, and the depth of water is closely related to the depth of people. For those who are drowning in their ego, their emotions, their madness, their introspection and chaos, water is their deadly environment. Virginia Woolf, unbearably tortured by a nervous breakdown at the age of fifty, sank near his home in Rodmer, Sussex. Sensitive American poetess Sylvia Plath committed suicide by turning on gas in her London home at the age of thirty: an obscure metaphor. She finally drowned in the flood of her own mind. In the context of Chinese culture, when people think of death by water, people think of Jingwei, Qu Yuan, Wang Guowei, and Shen Congwen the woman in the legend of Western Xiangxi. This is another cultural metaphor. NS.
On the other hand, Joan of Arc or Bruno can never suffocate in the cold, gloomy water, but can only die from the stake. Their lives have thus become signals, beacons, and torches, shining for many centuries. Because the body is short-lived, thought is eternal, and the shining entity is the image of thought. The Dutchman with red hair, Van Gogh, lit up the entire painting scene behind him with his twisted starry sky and unruly stretched sunflower petals. Jim Morrison sang "Ignite My Fire" and it finally became a myth.
Frida Kahlo clearly belongs to the latter.
Frida, as she said about the pregnant clay doll in "The Four Residents of Mexico," "Even if she is dead, the flame of life can burst out of her body."
Frida Kahlo, Mexico's most popular modern female painter, was born on July 6, 1907 in the suburbs of Mexico City. The photographer's father William Carlo is a Hungarian Jew, and his mother Mathilde Calderon is of Spanish and Indian descent. At the age of 18, Frida and her boyfriend Alejandro Arias were in a car accident on the way from school. The bus they were riding in collided with a tram, killing several passengers. Frida appeared naked among the iron pillars-the handrail penetrated her (the railing was inserted from one side of her body and out through the vagina). A bottle of paint carried by someone was sprinkled on her body, and she was covered with gold dust, like a painful statue made of flesh, blood and gold. The crash broke her spine in three places, shattering her femur and ribs. His pelvis was broken in three places, his thigh was broken in eleven places, and his right foot was completely flattened. But Frida miraculously survived and was able to lead a basically normal life soon after. Pain and perseverance have since become the absolute themes of her life and works.
Soon after Frida returned to the world, she encountered her "second accident in life"-the union with the muralist Diego Rivera. He was 42 years old and weighed 136 kilograms. He had been married twice and had experienced countless love affairs. He created large-scale murals of great works; she was only 22 years old, petite and weak, her paintings could be regarded as miniature easels. painting. Frida's mother criticized this marriage quite a bit, calling it "the marriage of an elephant and a dove." After marriage, Rivera's consistent infidelity and the cruel fact of her infertility brought her a double blow. Frida became an open bisexual and had many well-known lovers. The two loved each other deeply and hurt each other badly, until Frida died in the Blue Room in Khoiokan (which is where she was born) on July 13, 1954.
In the last few years of her life, Frida was hung on an instrument with a weight of 20 kilograms hanging from her feet. She was locked in a corset made of iron, leather and plaster (from 1944 to her death) Twenty-eight corsets). To relieve the pain, she drinks a bottle of brandy a day. She had at least thirty-two surgical operations. She underwent six spinal surgeries from March to November 1950 alone; a plaster was sewn on the area where the stitches had just been stitched, and when an unpleasant smell began to emanate, she found that her wound was rotting. Since 1944, she has suffered extreme pain, forcing her to rely on morphine. Her right foot developed gangrene and was amputated from below the knee in August 1953.
But this Frida has left us with nearly two hundred unusual paintings (most of which are self-portraits). These works are "hard as steel, fragile as butterfly wings, joy as mellow wine, and sadness as suffering in life."
Indeed, Frida's tortuous life experience itself is a gripping letter of recommendation. No wonder this female painter with a single eyebrow and a mustache, although not widely known in China, has long become a cultural icon of Europeans and Americans: Jean Paul Gaultier called her "my goddess of art", and the popular queen Madonna treated her even more. I admire Bizhi and spare no expense to buy the painting "Birth" and use it as a "touchstone" for judging others.
Perhaps it is because of the rich and varied personal experiences that people are always used to viewing Frida’s works as a commentary on the suffering of life: “Self-Portrait” made in 1926 was given to his first love boyfriend Allier. Gendro’s gift, Frida, who is slender and elegant like a princess, puts on a sad Botticelli-style hand, hoping to save the lost love; "A few pinches" is based on a real news event, a man chaotically The knife hacked his wife to death. When the judge asked why he did this, he replied nonchalantly: "It's just a small wound." This work is painted by Rivera and Frida's sister Christina. Soon after the ambiguous relationship happened, it was actually the true feelings of her inner pain. And the famous "Broken Spine" is obviously the best portrayal of Frida's life. She portrayed herself as a saint in an iron corset, combining San Sebastian and the Virgin of Lamentation. The place where it was the spine was filled with an Ionian column that was split into three pieces, and life was shattered by the flying catastrophe.
Even Frida's still life paintings are thought to reflect her life. We have been told that the painting "Split Fruit" shows her aggressive sexual desire and the troubles of her fertility, just like the monkeys in her self-portrait, even if she just treats them as pets ( Obviously, the pet dog she often draws does not have this connotation).
The film made by Julie Temer in 2002 may not be the most in-depth, nor the most distinctive of all the biographical works of Frida’s miscellaneous genre, but she is obviously not the one in dealing with this issue. Sensible. When Frida in the movie said that her paintings are not worth a few dollars, "they are only meaningful to me", the director used the same female artist's sensitivity to use Trotsky's mouth to point out: "No, Frida Da, people are lonely and painful, and your works undoubtedly bring them a ray of light in the darkness.
When analyzing the works of artists, Chinese people often emphasize the need to "understand others and discuss the world", and there is no lack of rigid methods, and the art is abruptly The work is understood as an allusion to history, or a ridiculous example of the author’s life experience. Now it seems that this is a universal axiom. From Michelangelo to Van Gogh, from Dante to Rimbaud, it seems that an artist must Going through all kinds of hardships, and expressing this kind of hardship in the back of these works. Truth and martyrs are equated. And this kind of prejudice seems to be particularly obvious in female artists, and people like to look at them. A model for women who calmly suffer: Marietta Robusti, daughter of the Venetian painter Tintoretto during the Renaissance, has been named, not because of her immortal works, but because of her tragic death. 19th century The artist rewrites this genius as "a person suffering from tuberculosis. Before he died, she also inspired her father to reach a new height in art. "The sculptor Camille Claudel is well known as Rodin's lover and the victim of family indifference. Similarly, when people talk about rock singer Terry Anmus, she is even more talked about in her early years. The unfortunate experience of rape by a friend, rather than its obscure alternative songs.
Understanding the life of the artist may help us better understand their work, but the life experience is by no means the whole behind the work; a biographical work about the artist is like one A wreath dedicated to its tombstone, they lead us to great artists, but they cannot truly regain the spiritual power of the deceased artist. This power should be found in the artist’s work itself. What makes young ignorant When his children listened to Mozart’s music, what made the blond European gentleman and the ragged African woman shed tears for "Romeo and Juliet"? Just like the gift that all great artists should have, Frida His works should not only be autobiography, but have a larger theme.
The film's portrayal of important events in Frida's life can be described as tepid and just right. But the director never let go of any opportunity to show his talents. The film is well-conceived and brightly colored, and the film is filled with a surrealist atmosphere (Frida was almost included in the movement back then, but she never admitted that she was a surrealist), such as about that scene The description of the car accident that changed Frida's life.
According to witnesses present at the time, it was a strange, slow, and almost silent car accident. The tram could not be stopped. Little by little, the side of the bus was crushed with the malleability of a nightmare. In the movie, before the accident, Frida had watched Rivera's mural "Genesis" made by Rivera in the prep school for a long time before the accident-the man in the center of the screen stretched his arms to express sacrifice and dedication-but was pulled away by Alejandro , This turned out to be a metaphor for Frida's life. When Alejandro persuaded Frida to take the next bus, she dragged him to catch up quickly—a sad desire to plunge into her own destiny. And at the moment the tram crashed into the bus, a blue bird fluttered from the hands of a passenger wearing a bowler hat and passed through the chaotic carriage-a symbol of an elusive destiny?
In addition, the film's analysis of works such as "Broken Spine" and "Two Fridas" is also impressive. It's just that the director turned the sentimental gesture of saving his lover in the 1926 "Self-Portrait" into a sincere invitation to Rivera, which somewhat puzzled me. But from the perspective of the development of the movie's plot, this is understandable.
It is worth mentioning that the original soundtrack of the film’s Mexican style is also worth listening to, especially the ending song "Burn It Blue", which was written by director Julie Temer, which to some extent misses Van Gogh's swan song with Don McLean. "Vincent" has the same tune with the same skill.
Seeing this, Frida probably smiled mockingly at me with her well-known cynicism. After all, I'm light-hearted, so I might as well end this article by quoting the scriptures at the end. The following is part of Susan Sontag’s account of Simone Wey. To some extent, this statement also seems to apply to Frida Kahlo:
The cultural heroes of our liberal and bourgeois civilized society are anti-liberal and anti-bourgeois; they are a group of highly exposed, fascinating and anti-civilizational writers who often give people an impression of cultural violence— -Not only manifested in their personal authoritative voice and intellectual passion, but also manifested in their extremely personal and extremely intellectual paranoia. The era we live in is an era in which we consciously pursue health, but it is also an era in which we recognize morbidity. The truths we fear are the facts that are closely related to painful experiences. Our criterion for judging truth is based on the degree of its suffering-not based on whether the author's text conforms to the truth. Truth and martyrs are equated.
Putting aside some superficial phenomena, it is necessary to realize why we read and praise writers like Simone Weil. Simone Wey has won the support of tens of millions of readers because of her collection of works and short essays published behind her, but I believe that only a few of them can truly share her thoughts. There is also no need to share the pain that Simone Wey has endured due to Catholicism, her unfulfilled love, or to accept her Gnostic theology about the absence of God, to approve her religious ideals of rejecting the flesh, and identifying with her The hatred of Roman civilization and the extreme injustice of the Jews. A similar situation exists in Kierkegaard and Nietzsche. Most of their followers did not understand them, let alone take their ideas as a creed. We read sharp speeches because they are personally authoritative, they can be called serious models, their strong willingness to dedicate themselves to their truth, and—only a few—because of their "point of view." . Just as the apostate Yasibide followed in Socrates' footsteps, although he was neither able nor willing to change his personal destiny, he evoked a touch and satisfaction from the depths of his consciousness, and his heart was full of love; It is in this way that the sensitive modern reader pays his respect for a certain spiritual aspect that he does not own, nor is it possible for him.
When we pay homage to such a model character, we actually admit that there are mysterious things in the world-and such mysterious things are also the opposite of the reliable grasp of truth (an objective reality). In this sense, we would think that the real world is only a superficial phenomenon, and part of the truth is (incompletely) deformed, a certain degree of {but not all} madness in life, a certain degree of {but not all morbidity,} a certain degree The {but not all} renunciation of the above creates truth, provides another set of standards for mental and physical health and improving the state of life.
Bibliography
Hayden Herrera "Frida" Shanghai People's Fine Arts Publishing House
Rosa Montero "Frida Carlo-The World is a Bed" Nanhai Publishing Company
Hexi "Frida-One Portrait of the Goddess" New Star Publishing
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