{"id":7125,"date":"2026-03-18T10:00:07","date_gmt":"2026-03-18T07:00:07","guid":{"rendered":"http:\/\/intelsiberia.ru\/?page_id=7125"},"modified":"2026-03-18T10:00:09","modified_gmt":"2026-03-18T07:00:09","slug":"dig-75-2","status":"publish","type":"page","link":"http:\/\/intelsiberia.ru\/en\/dig-75-2\/","title":{"rendered":"ANALYSIS OF THE ARTISTIC LANGUAGE OF FRIDA KALO’S PICTURES AND DIARY DRAWINGS"},"content":{"rendered":"\n

\u0423\u0414\u041a 75.03<\/p>\n\n\n\n

ANALYSIS OF THE ARTISTIC LANGUAGE OF FRIDA KALO’S PICTURES AND DIARY DRAWINGS<\/strong><\/p>\n\n\n\n

Elizaveta S. Pavlova<\/strong><\/strong><\/p>\n\n\n\n

Siberian Federal University, Krasnoyarsk, Russia
elizavetapavlova2903@gmail.com<\/a>
<\/p>\n\n\n\n

Abstract.<\/strong> Frida Kahlo (1907-1954) is a 20th-century Mexican artist known for her self-portraits, which deal with the “eternal” themes of death and life, love and pain. This article is devoted to identifying the features of the artistic language used by F. Kahlo in his works based on the analysis of the paintings “Frida and Diego Rivera”, “Self-portrait with a necklace of thorns and a hummingbird”, “Wounded deer”, as well as drawings from her personal diary. Using the methodology of philosophical and art history analysis, visual signs and symbols characteristic of the artist’s work were identified. As a result of the analysis of the works of the sample, the author comes to the conclusion that the works of Frida Kahlo with various visual signs are united with each other in their semantic meaning. This manifests itself through the reference to traditional Mexican culture, the expression of physical and emotional pain, the interweaving of life and death, the manifestation of natural phenomena. An analysis of the diary drawings showed that the illustrations from the diary also echo the artist’s paintings.<\/p>\n\n\n\n

Keywords:<\/strong> Frida Kahlo, Mexican art, women’s art, self-portrait, surrealism, naive art<\/p>\n\n\n\n

For citation: <\/strong>Pavlova, E. S. Analysis of the artistic language of Frida Kalo’s pictures and diary drawings \/\/ Digitalization. 2023, 4 (1), pp. 41\u201349. [in Russian]. EDN DNGOWE.<\/p>\n\n\n\n

References<\/strong><\/summary>\n

1. \u0412\u0430\u0441\u0438\u043b\u044c\u0435\u0432\u0430, \u0410. \u0412. \u0416\u0435\u043d\u0441\u043a\u0438\u0439 \u0430\u0432\u0442\u043e\u043f\u043e\u0440\u0442\u0440\u0435\u0442 \u043a\u0430\u043a \u043e\u0442\u0440\u0430\u0436\u0435\u043d\u0438\u0435 \u0438\u0437\u043c\u0435\u043d\u0435\u043d\u0438\u044f \u0441\u0430\u043c\u043e\u0441\u043e\u0437\u043d\u0430\u043d\u0438\u044f \u0436\u0435\u043d\u0449\u0438\u043d \/ \u0410. \u0412. \u0412\u0430\u0441\u0438\u043b\u044c\u0435\u0432\u0430 \/\/ \u0423\u043d\u0438\u043a\u0430\u043b\u044c\u043d\u044b\u0435 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u044f XXI \u0432\u0435\u043a\u0430. – 2015. – \u2116 8(8). – \u0421. 30-41.  EDN: UHXPEZ<\/p>\n\n\n\n

2. \u0413\u0430\u043b\u0438\u043d\u0441\u043a\u0430\u044f, \u0418. \u041b. \u0410. \u0428\u0430\u0442\u0430\u043b\u043e\u0432. \u0424\u0420\u0418\u0414\u0410 \u041a\u0410\u041b\u041e \/ \u0418. \u041b. \u0413\u0430\u043b\u0438\u043d\u0441\u043a\u0430\u044f \/\/ \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043e\u043b\u043e\u0433\u0438\u044f. – 2016. – \u2116 3(78). – \u0421. 223-224.  EDN: XBJREF<\/p>\n\n\n\n

3. \u0413\u0440\u0430\u0444\u043e\u0432\u0430, \u041e. \u0418. \u041f\u043e\u0433\u0430\u0434\u0430\u0435\u0432\u0430, \u0415. \u0412. \u0414\u043d\u0435\u0432\u043d\u0438\u043a \u0424\u0440\u0438\u0434\u044b \u0410\u0430\u043b\u043e \u0432 \u0430\u0441\u043f\u0435\u043a\u0442\u0435 \u0438\u043d\u0442\u0435\u0440\u043c\u0435\u0434\u0438\u0430\u043b\u044c\u043d\u043e\u0441\u0442\u0438 \/ \u041e. \u0418. \u0413\u0440\u0430\u0444\u043e\u0432\u0430, \u0415. \u0412. \u041f\u043e\u0433\u0430\u0434\u0430\u0435\u0432\u0430 \/\/ \u0415\u0432\u0440\u0430\u0437\u0438\u0439\u0441\u043a\u0438\u0439 \u0413\u0443\u043c\u0430\u043d\u0438\u0442\u0430\u0440\u043d\u044b\u0439 \u0416\u0443\u0440\u043d\u0430\u043b. -2021. – \u2116 3. – \u0421. 72-81.  EDN: UIOITN<\/p>\n\n\n\n

4. \u041a\u043e\u043d\u0441\u0442\u0430\u043d\u0442\u0438\u043d\u043e\u0432\u0430, \u0414. \u041a. \u0420\u0435\u0432\u043e\u043b\u044e\u0446\u0438\u044f \u0432 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0435 \u0438 \u043a\u0430\u043a \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e. \u0424\u0440\u0438\u0434\u0430 \u041a\u0430\u043b\u043e \/ \u0414. \u041a. \u041a\u043e\u043d\u0441\u0442\u0430\u043d\u0442\u0438\u043d\u043e\u0432\u0430 \/\/ \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433\u0441\u043a\u0438\u0439 \u0433\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442 \u043f\u0440\u043e\u043c\u044b\u0448\u043b\u0435\u043d\u043d\u044b\u0445 \u0442\u0435\u0445\u043d\u043e\u043b\u043e\u0433\u0438\u0439 \u0438 \u0434\u0438\u0437\u0430\u0439\u043d\u0430. – 2021. – \u2116 1. – \u0421. 598-602.  EDN: GWADTJ<\/p>\n\n\n\n

5. \u041a\u043e\u0442\u043b\u044f\u0440, \u0415. \u0420. \u0421\u0430\u043b\u0430\u0442\u0430 \u0414. \u0412. \u0424\u0440\u0438\u0434\u0430 \u041a\u0430\u043b\u043e. \u0421\u044e\u0440\u0440\u0435\u0430\u043b\u0438\u0437\u043c \u0433\u043b\u0430\u0437\u0430\u043c\u0438 \u0441\u0438\u043b\u044c\u043d\u043e\u0439 \u0436\u0435\u043d\u0449\u0438\u043d\u044b \/ \u0415. \u0420. \u041a\u043e\u0442\u043b\u044f\u0440, \u0414. \u0412. \u0421\u0430\u043b\u0430\u0442\u0430 \/\/ \u0413\u0443\u043c\u0430\u043d\u0438\u0442\u0430\u0440\u043d\u0430\u044f \u043f\u0430\u0440\u0430\u0434\u0438\u0433\u043c\u0430. -2017. – \u2116 3. – \u0421. 44-48.  EDN: YMEIVK<\/p>\n\n\n\n

6. \u041d\u0430\u0441\u0438\u043d\u043e\u0432\u0441\u043a\u0430\u044f, \u0415. \u0415., \u0428\u0430\u043b\u0438\u043d\u0430, \u041e. \u0421. \u0410\u0432\u0442\u043e\u043f\u043e\u0440\u0442\u0440\u0435\u0442 \u043a\u0430\u043a \u0441\u0440\u0435\u0434\u0441\u0442\u0432\u043e \u043e\u0432\u043b\u0430\u0434\u0435\u043d\u0438\u044f \u043c\u0438\u0440\u043e\u043c \u043b\u0438\u0447\u043d\u043e\u0441\u0442\u043d\u044b\u0445 \u043f\u0435\u0440\u0435\u0436\u0438\u0432\u0430\u043d\u0438\u0439 \/ \u0415. \u0415. \u041d\u0430\u0441\u0438\u043d\u043e\u0432\u0441\u043a\u0430\u044f, \u041e. \u0421. \u0428\u0430\u043b\u0438\u043d\u0430 \/\/ \u0412\u043e\u043f\u0440\u043e\u0441\u044b \u043f\u0441\u0438\u0445\u043e\u043b\u043e\u0433\u0438\u0438. – 2008. – \u2116 1. – \u0421. 77-88.  EDN: MXAXZB<\/p>\n\n\n\n

7. \u041f\u0430\u0440\u0444\u0435\u043d\u043e\u0432\u0430, \u0415. \u0418. \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0424\u0440\u0438\u0434\u044b \/ \u0415. \u0418. \u041f\u0430\u0440\u0432\u0435\u043d\u043e\u0432\u0430 \/\/ \u041d\u0430\u0443\u0447\u043d\u044b\u0439 \u0410\u0441\u043f\u0435\u043a\u0442. – 2021. – \u2116 1. – \u0421. 224-226.  EDN: TSMRPG<\/p>\n\n\n\n

8. Bucci, A. Cosmic Aspirations: Considerations on the Museum, Immortality, and Frida Kahlo \/\/ Fashion Theory – Journal of Dress Body and Culture. – 2020. -\u2116 24. – p. 1013 – 1025.  <\/p>\n\n\n\n

9. Courtney, C. A. O’Hearn M. A. Franck C. C Frida Kahlo: Portrait of chronic pain \/\/ Physical Therapy. – 2017. – \u2116 97. – p. 90-96.    <\/p>\n\n\n\n

10. Fried, W. Frida: Portrait of a self \/\/ Journal of Clinical Psychology. – 2020. – \u2116 8. – p. 1483 – 1491.  EDN: HPCPRR  <\/p>\n\n\n\n

11. Lindauer, M. A. Devouring frida: The art history and popular celebrity of Frida Kahlo \/\/ Devouring Frida: The art History and Popular Celebrity of Frida Kahlo. – 2011. – p. 1-218.    <\/p>\n\n\n\n

12. Paik, S J. Kunisaki, L. Tran V. Q. Developing talent into creative eminence: Understanding the productive giftedness of world class artists \/\/ Gifted and Talented International. – 2021. – \u2116 36. – p. 15-31.  EDN: YWBPTT<\/p>\n\n\n\n

13. Pankl, L. Frida Kahlo as Feminist Geographer \/\/ Gender, Place and Culture. -2019. – \u2116 26. – p. 149-152.  <\/p>\n\n\n\n

14. P\u00e9rez Alonso, Leticia. Frida Kahlo and the Improper\/Unclean: Toward the Condition of Abjection \/\/ Women’s Studies. – 2014. – \u2116 43. – p. 407 – 424.  <\/p>\n\n\n\n

15. Smith, S. J. The power and politics of art in Postrevolutionary Mexico \/\/ The Power and Politics of Art in Postrevolutionary Mexico. – 2017. – p. 1-275.    16. Turkheimer, F. E. Liu J. Fagerholm, E. D. The art of pain: A quantitative color analysis of the self-portraits of Frida Kahlo \/\/ Frontiers in Human Neuroscience. -2022. – \u2116 16.  <\/p>\n<\/details>\n\n\n\n

Get access to the full version of this article<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u0423\u0414\u041a 75.03 ANALYSIS OF THE ARTISTIC LANGUAGE OF FRIDA KALO’S PICTURES AND DIARY DRAWINGS Elizaveta S. Pavlova Siberian Federal University, Krasnoyarsk, Russiaelizavetapavlova2903@gmail.com Abstract. Frida Kahlo (1907-1954) is a 20th-century Mexican artist known for her self-portraits, which deal with the “eternal” themes of death and life, love and pain. This article is devoted to identifying the … Read more<\/a><\/p>\n","protected":false},"author":9,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_locale":"en_US","_original_post":"http:\/\/intelsiberia.ru\/?page_id=7123","footnotes":""},"wf_page_folders":[289],"class_list":["post-7125","page","type-page","status-publish","en-US"],"acf":[],"_links":{"self":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/7125","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/comments?post=7125"}],"version-history":[{"count":1,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/7125\/revisions"}],"predecessor-version":[{"id":7126,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/7125\/revisions\/7126"}],"wp:attachment":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/media?parent=7125"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/wf_page_folders?post=7125"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}