Between the Curtains: Frida Kahlo's Self-Portrait

Online Exhibition

Get a peek behind the curtains of Frida Kahlo’s iconic painting, Self-Portrait Dedicated to Leon Trotsky (1937).

Featured Image: Between the Curtains: Frida Kahlo's Self-Portrait

Overview

“I never painted dreams. I painted my own reality.”
–Frida Kahlo

Mexican painter Frida Kahlo (1907 to 1954) is known for creating striking, often shocking self-portraits that reflected her political ideology, cultural identity, and her turbulent personal life.

In Self-Portrait Dedicated to Leon Trotsky, Kahlo is framed between two curtains, a new Madonna of the people, wearing traditional Tehuana attire. She holds a letter that is both a declaration of political allegiance and personal affection for the exiled Russian Communist leader Leon Trotsky, with whom she had developed a close friendship and had a brief affair.

Upon arriving in Mexico in January 1937, and under Rivera’s protection, Trotsky and his wife Natalia Sedova lived in Casa Azul, Frida’s family home, for two years. Frida enshrined their relationship in this portrait, which she gave to Trotsky on his 60th birthday. It hung in his private study in Casa Azul until the Trotskys moved to a new safe house in 1939.

Audio

Explore the symbolism behind this famous self-portrait by Frida Kahlo (1907 to 1954) with curator Hannah Shambroom

Read Transcript

While many are familiar with Frida Kahlo, this self-portrait focuses on a particular moment in the artist’s life, revealing how her art, politics, and personal life were closely entwined. Self-Portrait Dedicated to Leon Trotsky commemorates Kahlo’s affair with the Russian revolutionary and was created on the occasion of his 58th birthday. When Trotsky was exiled from Russia, he and his wife fled to Mexico, where they stayed at the home of Kahlo and her husband. During this time, Kahlo and Trotsky began a brief romantic relationship, and she also learned more about his politics. The way Kahlo presents herself in this portrait reveals the two sides to her own politics. Her letter to Trotsky is in the middle of the composition, centering their relationship and her interest in the international movements of communism and Marxism. Yet she depicts herself wearing a rebozo, a shawl-like garment with many uses, typically worn by women in Mexico. Kahlo’s more traditional clothing choices indicate her allegiance to Mexicanidad, a movement that favored a return to Indigenous Mexican roots and folk traditions.

In a painted self-portrait, the artist stands in a stage-like space framed by white curtains. Beneath black hair woven with red yarn and flowers, heavy brows accent her dark-eyed gaze. Clad in a fringed, honey-toned shawl; long, pink skirt; and gold jewelry, she holds a bouquet and a handwritten letter.
Frida Kahlo, Self-Portrait Dedicated to Leon Trotsky, 1937; Oil on Masonite, 30 x 24 in.; National Museum of Women in the Arts, Gift of the Honorable Clare Boothe Luce; © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York; Image by Google

A Closer Look: Clothing and Jewelry

She presents herself elegantly clothed in a long embroidered skirt, fringed shawl, and delicate gold jewelry. She stands center stage, meeting the viewer’s gaze with confidence. Flowers and coils of red yarn adorn her hair and adroitly applied makeup highlights her features.

Her usual bright regional dress is replaced by more refined attire: a pale peach skirt with delicate embroidery and a soft, bronze-colored shawl draped across her shoulders like a mantle. Kahlo adorns herself with gold jewelry and fresh flowers. Her elaborately braided hair increases her stature. Kahlo presents herself on a stage, curtains pulled aside, before a backdrop that modulates from ocher to pea green.

In a painted self-portrait, the artist stands in a stage-like space framed by white curtains. Beneath black hair woven with red yarn and flowers, heavy brows accent her dark-eyed gaze. Clad in a fringed, honey-toned shawl; long, pink skirt; and gold jewelry, she holds a bouquet and a handwritten letter. For Press ONLY: Inclusion in exhibition reviews or news reports is permitted so long as the artwork is not being cropped, detailed, overprinted or altered; the work is being fully credited; and the inclusion of the appropriate copyright notice adjacent to all reproductions. Permission is for use in the context of the article only, NO COVER USE is permitted without prior authorization from Artists Rights Society, NY. In that case, artists rights clearance for the work must be obtained from ARS. ARS may be contacted at 65 Bleecker Street, 12th Floor, New York, NY 10012, tel: 212-420-9160, fax 212-420-9286 email: info@arsny.com
Frida Kahlo, Self-Portrait Dedicated to Leon Trotsky (detail), 1937; Oil on Masonite, 30 x 24 in.; National Museum of Women in the Arts, Gift of the Honorable Clare Boothe Luce; © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York; Image by Google

A Closer Look: Stage and Curtains

The compositional elements of the stage and curtains, evoke Mexican vernacular paintings called retablos. These devotional images of the Virgin or Christian saints painted on tin were a form of folk art that Kahlo collected.

Framing herself between curtains, Kahlo controls her staged reality to cast herself as a protagonist in a dramatic declaration of political allegiance, as well as love. The imaginary setting in Kahlo’s painting serves as a symbolic space for self-staged expression.

In a painted self-portrait, the artist stands in a stage-like space framed by white curtains. Beneath black hair woven with red yarn and flowers, heavy brows accent her dark-eyed gaze. Clad in a fringed, honey-toned shawl; long, pink skirt; and gold jewelry, she holds a bouquet and a handwritten letter. For Press ONLY: Inclusion in exhibition reviews or news reports is permitted so long as the artwork is not being cropped, detailed, overprinted or altered; the work is being fully credited; and the inclusion of the appropriate copyright notice adjacent to all reproductions. Permission is for use in the context of the article only, NO COVER USE is permitted without prior authorization from Artists Rights Society, NY. In that case, artists rights clearance for the work must be obtained from ARS. ARS may be contacted at 65 Bleecker Street, 12th Floor, New York, NY 10012, tel: 212-420-9160, fax 212-420-9286 email: info@arsny.com
Frida Kahlo, Self-Portrait Dedicated to Leon Trotsky (detail), 1937; Oil on Masonite, 30 x 24 in.; National Museum of Women in the Arts, Gift of the Honorable Clare Boothe Luce; © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York; Image by Google

A Closer Look: Letter

Kahlo holds a bouquet of flowers and a letter that reads, “Para Leon Trotsky con todo cariño, dedico ésta pintura, el dia 7 de Noviembre de 1937. Frida Kahlo. En San Ángel, Mexico”.

Self-Portrait Dedicated to Leon Trotsky commemorates the brief affair Kahlo had with the exiled Russian revolutionary leader Leon Trotsky shortly after his arrival in Mexico in 1937, and before his assassination in 1940. Though this painting proclaims her political allegiance to Trotskyism, Kahlo subsequently broke with the movement and became a supporter of Stalin in 1939.

Whereas the subject of the painting reveals Kahlo’s engagement with international politics, the Mexican folk art-inspired style illustrates her devotion to Mexicanidad. This post-Revolutionary movement that emphasized Mexican nationalism and eschewed European influences.

In a painted self-portrait, the artist stands in a stage-like space framed by white curtains. Beneath black hair woven with red yarn and flowers, heavy brows accent her dark-eyed gaze. Clad in a fringed, honey-toned shawl; long, pink skirt; and gold jewelry, she holds a bouquet and a handwritten letter. For Press ONLY: Inclusion in exhibition reviews or news reports is permitted so long as the artwork is not being cropped, detailed, overprinted or altered; the work is being fully credited; and the inclusion of the appropriate copyright notice adjacent to all reproductions. Permission is for use in the context of the article only, NO COVER USE is permitted without prior authorization from Artists Rights Society, NY. In that case, artists rights clearance for the work must be obtained from ARS. ARS may be contacted at 65 Bleecker Street, 12th Floor, New York, NY 10012, tel: 212-420-9160, fax 212-420-9286 email: info@arsny.com
Frida Kahlo, Self-Portrait Dedicated to Leon Trotsky (detail), 1937; Oil on Masonite, 30 x 24 in.; National Museum of Women in the Arts, Gift of the Honorable Clare Boothe Luce; © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York; Image by Google

Further Reading

Frida Kahlo Papers

Explore a selection of letters from NMWA’s archival collection that includes digitized scans and accessible transcriptions, bringing to life the heartfelt letters between the artist and her friends, colleagues, and beloved family.

Letter from Mary Sklar to Frida Kahlo

In a letter from close friend Mary Sklar, Sklar writes:

Trotsky’s death must have
knocked all political faith out
of you. I knew it was coming
sooner or later, but it was a
shock just the same — and
the worst part of it came
afterward when Meyer and I read
in the Times a Tass dispatch
to Moscow saying that Trotsky
had been killed by one of his
own followers and we saw the
face of our old friend Kenneth
Durant who is editor of Tass
as something sinister and brutal,
knowing how responsible they must
have been themselves.

Handwritten letter on yellowed stationery paper.
Page 8, Letter from Mary Sklar to Frida Kahlo, Oct 7 [no year]; NMWA, Archives of Women Artists; The Nelleke Nix and Marianne Huber Collection: The Frida Kahlo Papers, 1930-1954

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