The Diary of Frida Kahlo: An Intimate Self-Portrait

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La Visión Femenina del Surrealismo". Hispánica Saber (in Spanish). Editorial Planeta. 2014. [ permanent dead link] They are so damn 'intellectual' and rotten that I can't stand them anymore....I [would] rather sit on the floor in the market of Toluca and sell tortillas, than have anything to do with those 'artistic' bitches of Paris.” Crawford, Caroline (20 June 2023). "Review: San Francisco Opera's 'El Último Sueño De Frida Y Diego' A Riveting New Spanish Language Work". SFGate . Retrieved 22 June 2023. Nearly a century later, Rebecca Solnit would write her own lyrical meditation on blue as the color of distance and desire. Pankl, Lis; Blake, Kevin (2012). "Made in Her Image: Frida Kahlo as Material Culture". Material Culture. 44 (2): 1–20. S2CID 34207297.

Dexter, Emma (2005). "The Universal Dialectics of Frida Kahlo". In Dexter, Emma (ed.). Frida Kahlo. Tate Modern. ISBN 1-85437-586-5. Se cumplen 100 años del nacimiento de Frida Kahlo"[100 years since the birth of Frida Kahlo]. elconfidencial.com (in Spanish). 6 July 2007 . Retrieved 25 November 2021. Budrys, Valmantas (February 2006). "Neurological Deficits in the Life and Work of Frida Kahlo". European Neurology. 55 (1): 4–10. doi: 10.1159/000091136. ISSN 0014-3022. PMID 16432301.

4. Keith Haring’s Journals

More than 200 works by Frida Kahlo are available to view online during the coronavirus (Covid-19) pandemic in a vast digital exhibition organised by 33 museums and institutions including the San Francisco Museum of Modern Art and Nagoya City Art Museum. Faces of Frida, available on the Google Arts & Culture platform, enables viewers to zoom in on paintings and sketches by the late Mexican artist, and browse archival material such as letters and journals. For more information regarding the acquisition of international rights, permits and collaborations:

Rosenthal, Mark (2015). Diego and Frida: High Drama in Detroit. Detroit, MI: Detroit Institute of Arts, [2015] New Haven; London: Yale University Press, [2015]. p. 117. ISBN 978-0895581778. Many of Kahlo's self-portraits mimic the classic bust-length portraits that were fashionable during the colonial era, but they subverted the format by depicting their subject as less attractive than in reality. [106] She concentrated more frequently on this format towards the end of the 1930s, thus reflecting changes in Mexican society. Increasingly disillusioned by the legacy of the revolution and struggling to cope with the effects of the Great Depression, Mexicans were abandoning the ethos of socialism for individualism. [107] This was reflected by the "personality cults", which developed around Mexican film stars such as Dolores del Río. [107] According to Schaefer, Kahlo's "mask-like self-portraits echo the contemporaneous fascination with the cinematic close-up of feminine beauty, as well as the mystique of female otherness expressed in film noir." [107] By always repeating the same facial features, Kahlo drew from the depiction of goddesses and saints in indigenous and Catholic cultures. [108]Gardner, Lyn (14 October 2002). "She was a big, vulgar woman with missing teeth who drank, had an affair with Trotsky and gobbled up life". The Guardian . Retrieved 16 November 2016. Bakewell 1993, pp.168–169; Castro-Sethness 2004–2005, p.21; Deffebach 2006, pp.176–177; Dexter 2005, p.16. Kahlo often featured her own body in her paintings, presenting it in varying states and disguises: as wounded, broken, as a child, or clothed in different outfits, such as the Tehuana costume, a man's suit, or a European dress. [126] She used her body as a metaphor to explore questions on societal roles. [127] Her paintings often depicted the female body in an unconventional manner, such as during miscarriages, and childbirth or cross-dressing. [128] In depicting the female body in graphic manner, Kahlo positioned the viewer in the role of the voyeur, "making it virtually impossible for a viewer not to assume a consciously held position in response". [129] Herrera 2002, pp.180–190; Kettenmann 2003, pp.38–40; Zamora 1990, pp.50–53; Burrus 2005, p.203; Ankori 2002, p.193. Anderson, Corrine (Fall 2009). "Remembrance of an Open Wound: Frida Kahlo and Post-revolutionary Mexican Identity" (PDF). South Atlantic Review. 74 (4): 119–130. JSTOR 41337719. Archived from the original (PDF) on 17 June 2019.