Day 18: Fred Einaudi

Fred Einaudi has a few recurring themes to his work that I find quite compelling.

Innocence that he juxtaposes alongside death.

The Mermaid

homunculus

Don’t all children like to play with dead things?

Buttonmaker

1940s war propaganda that he juxtaposes alongside apocalyptic destruction.

Patriot

Paddy Paws

Sex but in an uncomfortable way.

Tulips (Tulips, Two Lips, get it?)

Leda and the Swan (this is an interesting take on that myth)

Children who seek security amongst the destruction and become prey.

Rousseau

Starry Night (I even get sexual vibes from this as well)

What will remain of us once everything is destroyed.

Necropolis

Extinction (study)

Holywar (study)

 

Day 17: Pamela Wilson

According to her website Pamela Wilson deals with absurdity and isolation in her work. The places we find ourselves as we grow and create ourselves.

“There are otherworlds and contrived realities going on in my head all the time- I love to work at making these designer-worlds of mine become paintings. I work in surreality in that sense- without the melting clocks. Dream-worlds are fun and free of constraint, and anything can happen in a dream. And still make dream sense. Whether intricate or simple, all of my ideas are very personal. I am inspired arbitrarily by just about anything- I read, I watch films, I argue, I shop, I cry, I dream, I complain, I laugh, I do laundry, I look at art. I never know when an idea will grab me, and take me on a wild ride.  Any idea, or object, or place, or person may transport me, and give me the impetus for a painting or a series…  I don’t think I create ideas; I only interpret them. I stay open to them, and I try to keep them open to interpretation. I think we all share similar experiences and emotions.”

The Last Escapist (2011)

“When we dream, it seems that it is without choice, beyond our control, at the whim and fancy of our subconscious. But I am beginning to understand, through painting, that I choose my dreams by day- and design my worlds- whatever they may hold- while I am awake. Through my work, I hope to encourage others to do the same.”

The Undoing of Jenny (2011)

“ I never know when they will speak to me, but “ghosts” and I have a rapport. I read a lot, and find that the more I put in my brain- the more I get out. I live in extremes- I’m either bored to tears, or highly titillated. My mother used to tell me if I’m bored- it’s my fault.”

Prelude to Mad Hope (2010)

Crest Fallen Interlopers (2010)

Sleepwalking with Scarecrows (2010)

The Nuisance (2010)

An Inviting Abyss (2009)

Regarding Rex (2008)

Carrie Ann Baade is supposed to sit for her sometime,

The Pythia

Day 16: Auguste Rodin

Sorry! My internet has been off.

(1893) "The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation. "

Auguste Rodin started drawing at an early age. “When I was very young, as far as I can remember, I made drawings.
A grocer patronized by my mother used to wrap his prunes in paper bags made of pages torn from illustrated books, or even prints. I copied them;  they were my first models.”  At 14 he became a student at Petite École where he took drawing and copied 18th century French artists. Though he was a studious individual, his near-sightedness made him struggle a great deal and his classmates and teachers never thought he was someone of exceptional talent.

In 1857 he failed the entrance exams for the third time to get into École des Beaux-Arts. These experiences with academia would be the reason he had such a strong aversion to school and conventional art.

(1860) Jean Baptiste Rodin (Auguste's father). From 1858-1862 Rodin worked as a brick mason. "In my opinion too, this was certainly inferior work. But I had to learn at this development process that this point of view was incorrect."

In 1862, his sister passed away.

Man with Broken nose (1862)

Seeking solace, he started studying to enter the priesthood at Les Pères du Saint-Sacrément. While there, he sculpted a bust of the founder Father Pierre-Julien Eymard.

Father Pierre-Julien Eymard (1863)

Recognizing his gift, Father Eymard suggested that he leave the order to pursue his passion. Rodin took his advice and became a member of L’Union Centrale des Arts Décoratifs. 

(1864) The year he met his life partner, seamstress Rose Beuret. She becomes his model and tends to his work while he studies and travels abroad.

Young Lady with Flower Hat (1865)

In 1866, Auguste-Eugene Beuret is born, Auguste and Rose’s first child. He fell through a window and suffered severe head trauma that made him incapable of normal cognitive development. He never reached his father’s expectations of him.

Mignon (1869) Modeled after Rose.

In 1870 the Franco-Prussian war broke out and Rodin’s near sightedness saved him from the draft.In 1871, while he was working in Brussel’s his mother passed away. Rose moved in with his father to help take care of the man slipping farther into senility and their son. The next year Rose joined him in Brussels and left her son and his father in the care of his Aunt.

In 1875 Auguste created studies of a Belgium Soldier named Auguste Neyt. These studies are what later become “The Age of Bronze” in 1877.

The Age of Bronze (1877) There was a scandal over this piece the first 2 times he showed it. It was thought that he had caste the figure from life. That it was too detailed and perfect to have been sculpted by hand.

“Owing to these terrible doubts raised by the jury, I find myself robbed of the fruits of my labors. Contrary to what people think I did not cast my figure from the model but spent a year and a half on it; during that time my model came to the studio almost constantly. Moreover I have spent my savings working on my figure, which I had hoped would be as much of a success in Paris as it was in Belgium since the modeling seems good – it is only the procedure that has been attacked. How painful it is to find that my figure can be of no help to my future; how painful to see it rejected on account of a slanderous suspicion!”

St. John The Baptist Preaching (1877)

“(The sculptor) represents the transition from one pose to another – he indicates how insensibly the first glides into the second. In his work we still see a part of what was and we discover a part of what is to be. (..). Now, for example, while my Saint John is represented with both feet on the ground, it is probable that an instantaneous photograph from a model making the same movement would show the back feet already raised and carried forward to the other.(..) Now it is exactly for that reason that this model photographed would present the odd appearance of a man suddenly stricken with paralysis and petrified in his pose. (..) It is the artist who is truthful and it is photography which lies, for in reality time does not stop, and if the artist succeeds in producing the impression of a movement which takes several moments for accomplishment, his work is certainly much less conventional than the scientific image, where time is abruptly suspended.”

The Call to Arms (1877) Rodin submitted a terracotta sketch of this piece to a monument competition for a tribute to the French-Prussian war. It was thought to be too violent for the new calm France. It didn't even receive an honorable mention.

The Thinker (1880) One of the most famous sculptures in history, featured in his piece "The Gates of Hell"

The Gates of Hell (1880) On top stands 3 copies of his famous sculpture "the shade"

Shades of Eve (1881) Rodin said he saw this model change with every sitting, finally, after altering the piece each time he found out that she was pregnant. He thought this lucky and presented Eve in the same way. However, since his model left on maternity leave, he never got to complete it.

In 1883, he met Camille Claudel. In 1884 he won a competition and earned the comission for ”The Burghers of Calais’ which he completed with Camille’s assistance in 1889.

The Burghers of Calais (1889)

Rodin broke away from tradition by not presenting the figures in a pyramid form, but by showing them non-hierarchically grouped amongst each other.

From 1884 to 1889 Rodin created many pieces reflecting his relationship with Camille.

Fugitive Love (1884)

Danaid (1885) Camille posed for this piece.

Faun and Nymph (1886) Rodin portrayed himself as the Faun and Camille as the Nymph. Fauns are notorious for their insatiable sexual apetite and were often portrayed with erections in Greek art.

Paolo & Francesca (1887) Two characters from his beloved Divine Comedy

The Sirens (1887) Rodin displayed female homosexuality several times in his work like in "Damned Women".

Centauress (1887 or 1889)

The Kiss (1888)

In 1888, Camille’s family found out about the true nature of her relationship with Rodin and kick her out of the house.

Eternal Idol (1889) This year, Rodin exhibited with his friend Claude Monet, who complained about his friends work but the exhibition was still a huge success.

As I said in my last blog, Camille was his model, muse, confidante, etc. She mixed his gypsum, she built models, as well as enlarged them, she created important parts of his pieces, particularly the hands and feet. Camille, who loved to carve marble, also got to do this. Rodin usually hired a practitioner or had his assistants carve his marble for him.

Farewell (1892) Though they spent the year abroad together the year before, Camille and Auguste bid eachother audieu.

Orpheus and Eurydice (1892)

Pygmalion (1908) An echo of Camille's Sakountala.

Bust of Gustav Mahler (1909) Composer he thought very highly of. He made a bust titled "Mozart" that was just another portrait of Mahler.

In 1913 Camille was institutionalized, he helped pay the medical bill. In 1917 he and Rose passed away. I’m sorry for cutting this short but I lost a lot of time when my internet was down and Id like to get through more material.

This will be the last of my “couple” blogs… for now

The Pythia

Day 15: Camille Claudel


"You find me at work; excuse the dust on my blouse. I sculpt my marble myself." (1884 age 19) Wasn't she beautiful?

Camille Claudel was born December 8, 1864. At 12, she already realized her life’s ambition to become an artist; making terra cotta figures of David and Goliath and Napolean. Alfred Boucher saw her work and realizing her talent, entreated her father to move to Paris where she could receive a formal education in sculpting. Her father relocated his family when she was 14.

Camille (at 14)

Camille attended Academie Colarossi, one of the few private universities that accepted female students. There she took courses on drawing and anatomy among others. Most of her early work (Mythological and religious figures) was not preserved.

Bust of Paul Claudel at age 13. (1881) Paul Claudel was her younger brother (4 years younger) who later became a famous French Poet. While Camille attended the academy, he went to Collège Louis-le-Grand.

Diane (1881)

She sculpted a bust titled “La Vieille Hélène” of an old woman, extremely innovative for the time.

In 1882 Camille, at 17, rented a studio with other artists (including Jessie Lipscomb). In 1883 during Alfred Boucher’s absence, Auguste Rodin started supervising the group.

A letter from the fall of 1883, from Rodin to his “ferocious friend”

“This morning I ran around (for hours) to all our spots without finding you. Death would be sweeter! And how long is my agony. Why didn’t you wait for me in the atelier, where are you going? (…) In a single instant I feel your terrible force. Have pity, mean girl. I can’t go on. I can’t go another day without seeing you. Atrocious madness, it’s the end, I won’t be able to work anymore. Malevolent goddess, and yet I love you furiously… . (…) Let me see you every day, which would be a good idea and might make me better, for only you can save me with your generosity. Don’t let this slow and hideous sickness overtake my intelligence, the ardened and pure love I have for you – in short, have pity, my beloved, and you will be rewarded.”

Rodin, 43, had been in a relationship with Rose Beuret for 19 years and had a son that was Camille’s age when they met and began their affair.

In 1884, a year after her first exhibiton she became a trainee under Rodin. Though her roles would also include his assistant, muse, model and confidante. Some of the works she inspired: ‘Fugitive Love’ (1884), ‘L’Éternel Printemps’ (1884), ‘Aurore’ (1885), ‘Avarice and Lust’ (1885), ‘Faun and Nymph’ (1886), ‘The Kiss’ (1886), ‘Paolo & Francesca’ (1887), ‘Death of Adonis’ (1888) and ‘Eternal Idol’ (1889) and ‘Danaid’ (1885). Some say “Celle qui fut la Belle Heaulmière” was inspired by Camille’s “La vieille Hélène”.

Giganti or, Head of a Bandit, 1885 (bronze)

In 1885 Camille became an official collaborator of Rodin’s and with her friend Jessie worked in his studio. During her time with Rodin she helped him complete such pieces as Burghers of Calais in 1895 and Gates of Hell, 1900.

Jeune Fille (1886)

L´Homme penche (The man bending over) 1886

“Camille, my beloved, in spite of everything,” Rodin wrote in 1886. “I am at the end of my tether. I can no longer go a day without seeing you.”

Camille in 1887

Rodin and Claudel had a troubled relationship. She kept asking him to leave Rose for her, and Rodin always refused. In 1886, Jessie and Rodin exchanged letters to each other discussing the partnership and weighting his options between Rose and their son and Camille. In October Camille dictated a contract to him in which he would only take her as a pupil, only support her work, relinquish all former contacts, models and other women and take a 6 month journey with her that would end in their marriage. Though it is signed by Rodin, the contract was obviously never fulfilled.

Sakuntala or "L'Abandon" (1888) She began work on this piece in 1886, and worked tirelessly twelve hours a day, seven days a week until it's completion is 1888. Depicting Sakountala and her true love in Nirvana. Though they had been estranged on earth, and though they were now without ego and detached in the cosmos, they found eachother because of their promise to remember. She donated this piece in 1895 to Museum of Chateauroux. For a long time it was kept in storage and heavily damaged because of the debate it provoked in periodicals throughout the province about its quality.

Read the story here: http://www.chandrapubl.com/shakuntala.pdf

The Prayer (1889) She parted ways with Rodin when this was sculpted.

The Waltz (1891) Back with Rodin, she sculpted this piece. Armond Dayot, a French art critic requested that the nude figures be draped. Lenard Renard joked that "In this group of a waltzing couple, they seem to want to finish the dance so they can go to bed and make love." A copy of this piece was owned by Claude Debussy.

In 1890 Camille stayed at the Chateau de L’Islette at Azay-Le Rideau with Rodin and concentrated on his work and their relationship. “I sleep completely naked to make me believe you are here, but when I wake up it is not the same thing.” she wrote to him.

Bust of Rodin (1892)

Some say Camille began seeing Claude Debussy, but was unable to let go of her love of Rodin. Debussy said of Camille: “In the works sculpted by Camille Claudel, there is a fixed kind of beauty that her gestures already sketched… This kind of beauty realized by a woman… has a plastic eloquence of an extraordinary power blended with a deep accent of intimacy as an echo of secret or familiar emotions sprung from a strong interior where they sing at mid voice”

Clotho (1893) Camille revisits non-idealized portraiture in her depiction of Clotho, one of the 3 fates, spinning her own hair as the thread of life. It has been speculated that this piece shows her emotional struggle between Debussy and her past with Rodin, but also fear of her own fate. She was commissioned to do this piece again for a festival in honor of artist Puvis De Chavannes, but being a woman is unable to attend herself.

The Age of Maturity (1893) I think this piece is pretty self explanatory.

Rodin, frightened by the young woman’s desire for commitment, moved to the country with his partner and child and ended communication with Claudel. “You promised to take care of me and not to turn your back on me. How is it possible that you never wrote to me even once and you never came back to see me? Do you think that it is fun for me to spend months, even years, without any news, without any hope!” she wrote him.

She quickly dropped contact with him as well, and worked hard to establish her own artistic career and independence.

Rodin, still very loyal to her continued to boast about her work to his contacts. Though this got her attention, it cast his long shadow over her work.

“I showed her where she would find gold, but the gold she finds is her very own” he said.

“Monsieur Rodin is not unaware that many nasty people have said he made my sculpture. If Monsieur Rodin really wishes me well, he can do it without having people believe that owe the success of the sculptures on which I work to his advice and his inspiration” she responded.

In 1895 Camille was one of the few artists to support Rodin’s new style. During this time, he revisited her portraits and redid many of them in this new style. Sshe was also trying a new style, working with shapes and themes found in her beloved nature.

La Vague

La Vague (1897) Inspired by the paintings of Hokusai.

La Vague (detail)

It wasn’t until 1897 that the 32 year old sculptor could finally live off her own work. She had a patron until 1905 that she produced for. Until a quarrel between Countess De Maigret ended their professional relationship.

Perseus and The Gorgon (1899)

In 1904 she met Eugene Blot an art dealer who became her agent. Without him, she surely would’ve starved. He had many of her pieces copied and sold as well as organized exhibitions for her. “Take this helping hand I am holding out to you,” he wrote to her. “I have never ceased to be your friend.”

The Flute Player (1904)

But after years of onslaught from the public and heavy critique of her work, as well as her own family’s lack of support, it soon became too much for Camille. “If there was still time to change corporate I’d prefer that. I would have done better to buy beautiful dresses and beautiful hats […] than to indulge in my passion.” she said.

Though she was still exhibiting, and sculpting, she lost a lot of exhibitions and commissions. “It is in fact agreed that I am the plague, the cholera of the benevolent and generous men who are interested in art and that, when I show myself with my plasters, even the Emperor of the Sahara would flee.” she joked bitterly.

Her friend, Henri Asselin soon began to worry about her. “From 1906, every summer, Camille began to systematically destroy, with a hammer, all her works of the year. Her two workshops provided then a spectactle of lamentable ruins and devastation” It’s true, during this time she grew increasingly reclusive, suspicious and paranoid.

“I took all my wax studies and threw them in the fire… that’s the way it is when something unpleasant happens to me. I take my hammer and I squash a figure.” she said.

In 1913 her father passed away, she did not attend the funeral, possibly because she wasnt told by the family.

She wrote to her cousin Charles: “I am scared; I don’t know what is going to happen to me. What was the point of working so hard and of being talented, to be rewarded like this? Never a penny, tormented all my life. It is horrible; one cannot imagine it.”

8 days after the passing of her father, her brother Paul had her institutionalized at Maison de Sante in Ville-Evrard.

Rodin sent money to help pay her hospital expenses, and by the suggestion of Mathias Morhardt had a room at Hotel Biron dedicated to Camille.

In 1915 she demanded her family release her or take her to a hospital in Paris but her mother refused. 2 years later, Rodin finally married Rose Beuret, though they both died the same year.  In 1920 a doctor at the hospital suggests that Camille return to the family, but again, she is refused by her mother. She wrote to her mother in 1927: “You are very hard to deny me asylum in Villeneuve. I would not be a scandal as you think. I’d be too happy to resume ordinary life to do anything. I dare not move anymore so I suffered.”

She finally passed October 19, 1943 after 30 years in asylums.

I felt a lump in my throat as I wrote this blog that swelled more and more with every word. My stomach felt like someone had poured lead into it. I wanted to cry as I read and recounted all the information I was gathering. I don’t want to compare and contrast Rodin and Claudel’s work (as many do) and I definitely don’t want to pass judgement on either of them and their life choices.

I hope you do the same,

The Pythia

Day 14: Diego Rivera

“An artist is above all a human being, profoundly human to the core. If the artist can’t feel everything that humanity feels, if the artist isn’t capable of loving until he forgets himself and sacrifices himself if necessary, if he won’t put down his magic brush and head the fight against the oppressor, then he isn’t a great artist.”

Diego Rivera and his twin brother Carlos were born to a well-to-do family in Guanajuato on December 8 or 13th 1886. Carlos died at age 2, making Diego an only child. At age 3 Diego started drawing, but unsatisfied with paper he moved to walls. Instead of punishing him, his parents had chalk boards and canvas placed there for the young artist to use.

Diego River, Age 4 (1890)

Diego’s mother, María Barrientos, who Diego described as “diminutive, almost childlike, with large innocent eyes”, distraught over the loss of her son began studying Obstetrics and midwifery to overcome her depression.

Maria Barrientos Rivera (1896)

During this time, Diego suffered poor health (Rickets, which caused skeletal deformity because of a lack of vitamin D) and was sent to live in the mountains with his nanny Antonia, a Tarascan Indian. “Visually she was an artists ideal Indian woman, and I have painted her many times from memory in her long red robe and blue shawl.”

The Flower Vendor (1941)

The Flower Carrier (1935)

Diego called her a witch doctor; she used herbs and rituals to heal him and would let him roam the forrest. It was because of her that Diego featured Indigenous peoples in his works a lot.

In 1896 he entered the Academy of San Carlos, where he was receiving 30 pesos a month from Governor Dehesa to attend school.

1902

In 1904 Murillo Atl, a Mexican artist returned from his trip to Europe excited and invigorated by the work he saw and being a huge influence on the young artists in Mexico, he started a wave of students who wanted to go as well.

La Era (1904)

“In 1905, I expressed this desire to Governor Dehesa. He told me that, if I had a one-man exhibition and succeeded in selling my paintings in Mexico, he would provide traveling and living expenses for four years’ study abroad.” Those 4 years quickly turned to 14. He studied with many artists and explored many different styles.

La Calle De Avila (1908) After a year in Spain.

Portrait of Angelina Beloff (1909) Diego met Angelina Belloff, a Russian artist in Spain. They married in 1911. The two had a son together that would die of the flu during the fall of 1918. "She gave me everything a woman can give to a man. In return, she received from me all the heartache and misery that a man can inflict upon a woman"

While Rivera was married to Belloff he had an affair with another Russian artist named Marevna Vorobyov-Stebelska. A year after the death of his son, they had a girl named Marika (who later became an French film actress and dancer). The same year he met David Alfaro Siqueiros and studied frescos in Italy. He thought this was the best way to make art appeal to the masses. “The artist must try to raise the level of taste of the masses, not debase himself to the level of unformed and impoverished taste.”  He left for Mexico June of 1921 and told Belloff he would send for her, though he never did. He sent Marevna maintenance payments for their child though he never acknowledged Marika as his.

Creation (1922) Rivera's first mural in Mexico, painted at the Simon Bolivar Amphitheatre in the Escuela Preparatoria Nacional (National Preparatory School) where Frida was attending school and was first exposed to his work.

“The subject of the mural was Creation, which I symbolized as everlasting and the core of human history. More specifically, I presented a racial history of Mexico through figures representing all the types that had entered the Mexican blood stream, from the autochthonous Indian to the present-day half-breed, spanish Indian.”

Entry Into The Mine (1923) Located at the Court of Labour at the Ministry of Education in Mexico City, Mexico. Rivera was an anarchist in his boyhood and grew to be a Marxist, he displayed his communist views through his art often in the portrayal of the working class.

In June of 1922 he married Guadalupe Marin, his second wife.

Portrait of Lupe Marin (1938)

Diego thought Lupe was the ideal woman. With long black hair and crystalline green eyes she had a slim body with round shoulders and muscular legs and hands.  Together they had 2 daughters, Guadalupe in 1924 and Ruth in 1926.

The Burning of the Judases (1923-24) Sabados de Gloria is a festival that has been celebrated since the early 1900s. It takes place at the end of lent and the day before Easter. Judas is symbolically burned and soon it became a tradition of burning effigies of unpopular people in power. Here, the 2 paper mache "judases" are a general and priest.

The Abundant Earth (1926) The bright nude woman in the front with her hair pulled up is Tina Modotti, who he had an affair with.

The Arsenal - Frida Kahlo Distributes Arms(1928) Other than Frida in the center (handing out rifles and bayonets to workers who have decided to fight), you can see Siqueiros on the left and Julio Antonio Mella and his partner Tina Modotti

In 1928, Frida Kahlo met Diego. He had been married for 6 years but was immediately taken with her and in 1929 the 42 year old Rivera and 22 year old Kahlo married. It wasn’t always a happy partnership.

"If I ever loved a woman, the more I loved her, the more I wanted to hurt her. Frida was only the most obvious victim of this disgusting trait."

Soon after, Rivera gaining popularity in the United States would spend the first few years of the 1930s doing commissions in San Fransisco, Detroit and New York. Mesmerized by the industry, architecture and infrastructure he said “Your engineers are your great artists and these highways are the most beautiful things I have seen in your beautiful country,” and “Out of them and the machine will issue the style of tomorrow.”

However, despite Rivera being in awe of it all, many were outraged by a communist creating a mural for Detroit Industry. After all just weeks before he and Frida arrived in April of 1923, 60,000 marchers gathered to protest the shooting of 5 Ford Motor Co. employees who were rallying against the plant.

Detroit Industry (1932) “American artists should have at least been considered for the execution of this work,A question of much more (than) art is involved. It constitutes a war between communists and capitalism.” said the Rev. H. Ralph Higgins, senior curate at St. Paul’s Cathedral in Detroit, in a 1933 Detroit News interview.

I really wish he would’ve made a protest piece on behalf of the workers.

It’s not like controversy was new to him or that he wouldn’t get himself into plenty of it while he was in the states.

Man at the Crossroads (1933) “Here it is -- the might , the power, the energy, the sadness, the glory, the youthfulness of our land .” Renamed Man, Controller of the Universe, was redone in Mexico after the uproar it caused in New York for containing a portrait of Lenin and Trotsky. Refusing to remove the images, Rockefeller, who had commissioned the piece had it destroyed.

After the upheaval that this piece caused, his commission at the World Fair in Chicago was cancelled and he wouldnt return to the United States again until 1940. He held no ill will toward the US in spite of the opposition he faced in the past.

Pan American Unity (1940) ”… the fusion of the genius of the South (Mexico) with its religious ardor and its gift for plastic expression and the genius of the North (the United States) with its gift for mechanical expression.” The powerful symbol of this fusion was “a colossal Goddess of Life , half Indian, half machine. She was to the American civilization of my vision what Quetzalcoatl, the great mother of Mexico, was to the Aztec people.”"

Dream of a Sunday Afternoon in Alameda Park (1947-48) In this piece he depicts Ignacio Ramirez holding a sign that reads "Dios no existe" or "God does not exist". This work was very controversial but Rivera refused to remove the inscription and because of this, it was not shown for 9 years (until he finally agreed to remove it). Rivera said "To affirm 'God does not exist', I do not have to hide behind Don Ignacio Ramírez; I am an atheist and I consider religions to be a form of collective neurosis."

Glorious Victory (1954) a portrayal of of the infamous CIA coup that overthrew Guatemala’s democratically elected government. Eisenhower is depicted as a bomb, a priest oversees the massacre and CIA Director Dulles is shaking hands with Colonel Castillo Armas. Frida would attend a protest against the orders of her doctor because of this and her health grew worse.

In 1954 Frida finally passed away. “July 13, 1954 was the most tragic day of my life. I had lost my beloved Frida forever. Too late now I realized that the most wonderful part of my life had been my love for Frida.” A year before she died he stated that “Frida Kahlo is the greatest Mexican painter. Her work is destined to be multiplied by reproductions and will speak, thanks to books, to the whole world. It is one of the most formidable artistic documents and most intense testimonies on human truth of our time.”

He married Emma Hurtado a year later, but the marriage would be brief. He died of cancer at age 70 on November 24, 1957.

People that raise a lot of hell usually end up living a long time,

The Pythia