Mexicanidad
Okumaya devam et...
← Previous revision | Revision as of 11:16, 2 May 2024 |
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| === ''Mexicanidad'' === | === ''Mexicanidad'' === |
| Similarly to many other contemporary Mexican artists, Kahlo was heavily influenced by ''[[Mexicayotl|Mexicanidad]]'', a romantic nationalism that had developed in the aftermath of the revolution.{{sfnm|1a1=Kettenmann|1y=2003|1pp=24–28|2a1=Helland|2y=1990–1991|2pp=8–13|3a1=Bakewell|3y=1993|3pp=167–169}}<ref name="HerreraOxfordArt" /> The ''Mexicanidad'' movement claimed to resist the "mindset of cultural inferiority" created by colonialism, and placed special importance on indigenous cultures.{{sfnm|1a1=Bakewell|1y=1993|1pp=167–168|2a1=Cooey|2y=1994|2p=95|3a1=Dexter|3y=2005|3pp=20–21}} Before the revolution, Mexican folk culture – a mixture of indigenous and European elements – was disparaged by the elite, who claimed to have purely European ancestry and regarded Europe as the definition of civilization which Mexico should imitate.{{sfn|Anderson|2009|p=119}} Kahlo's artistic ambition was to paint for the Mexican people, and she stated that she wished "to be worthy, with my paintings, of the people to whom I belong and to the ideas which strengthen me".{{sfn|Helland|1990–1991|p=12}} To enforce this image, she preferred to conceal the education she had received in art from her father and Ferdinand Fernandez and at the preparatory school. Instead, she cultivated an image of herself as a "self-taught and naive artist".{{sfn|Barson|2005|p=76}} | Similarly to many other contemporary Mexican artists, Kahlo was heavily influenced by ''[[Mexicayotl|Mexicanidad]]'', a romantic nationalism that had developed in the aftermath of the revolution.{{sfnm|1a1=Kettenmann|1y=2003|1pp=24–28|2a1=Helland|2y=1990–1991|2pp=8–13|3a1=Bakewell|3y=1993|3pp=167–169}}<ref name="HerreraOxfordArt" /> The ''Mexicanidad'' movement claimed to resist the "mindset of cultural inferiority" created by colonialism, and placed special importance on Indigenous cultures.{{sfnm|1a1=Bakewell|1y=1993|1pp=167–168|2a1=Cooey|2y=1994|2p=95|3a1=Dexter|3y=2005|3pp=20–21}} Before the revolution, Mexican folk culture – a mixture of Indigenous and European elements – was disparaged by the elite, who claimed to have purely European ancestry and regarded Europe as the definition of civilization which Mexico should imitate.{{sfn|Anderson|2009|p=119}} Kahlo's artistic ambition was to paint for the Mexican people, and she stated that she wished "to be worthy, with my paintings, of the people to whom I belong and to the ideas which strengthen me".{{sfn|Helland|1990–1991|p=12}} To enforce this image, she preferred to conceal the education she had received in art from her father and Ferdinand Fernandez and at the preparatory school. Instead, she cultivated an image of herself as a "self-taught and naive artist".{{sfn|Barson|2005|p=76}} |
| When Kahlo began her career as an artist in the 1920s, [[Mexican muralism|muralists]] dominated the Mexican art scene. They created large public pieces in the vein of Renaissance masters and Russian [[socialist realism|socialist realists]]: they usually depicted masses of people, and their political messages were easy to decipher.{{sfnm|1a1=Bakewell|1y=2001|1p=316|2a1=Deffebach|2y=2006|2p=171}} Although she was close to muralists such as Rivera, [[José Clemente Orozco]] and [[David Alfaro Siquieros]] and shared their commitment to socialism and Mexican nationalism, the majority of Kahlo's paintings were self-portraits of relatively small size.{{sfnm|1a1=Bakewell|1y=2001|1pp=316–317}}<ref name="HerreraOxfordArt" /> Particularly in the 1930s, her style was especially indebted to [[votive paintings of Mexico|votive paintings]] or ''retablos'', which were postcard-sized religious images made by amateur artists.{{sfnm|1a1=Bakewell|1y=1993|1pp=168–169|2a1=Castro-Sethness|2y=2004–2005|2p=21|3a1=Deffebach|3y=2006|3pp=176–177|4a1=Dexter|4y=2005|4p=16}} Their purpose was to thank saints for their protection during a calamity, and they normally depicted an event, such as an illness or an accident, from which its commissioner had been saved.{{sfnm|1a1=Castro-Sethness|1y=2004–2005|1p=21|2a1=Kettenmann|2y=2003|2p=35}} The focus was on the figures depicted, and they seldom featured a realistic perspective or detailed background, thus distilling the event to its essentials.{{sfn|Kettenmann|2003|p=35}} Kahlo had an extensive collection of approximately 2,000 ''retablos'', which she displayed on the walls of La Casa Azul.{{sfnm|1a1=Castro-Sethness|1y=2004–2005|1p=21|2a1=Barson|2y=2005|2p=65|3a1=Bakewell|3y=1993|3pp=173–174|4a1=Cooey|4y=1994|4pp=96–97}} According to Laura Mulvey and Peter Wollen, the ''retablo'' format enabled Kahlo to "develop the limits of the purely iconic and allowed her to use narrative and allegory".{{sfn|Bakewell|1993|p=173, quotes Mulvey & Wollen's 1982 catalogue essay}} | When Kahlo began her career as an artist in the 1920s, [[Mexican muralism|muralists]] dominated the Mexican art scene. They created large public pieces in the vein of Renaissance masters and Russian [[socialist realism|socialist realists]]: they usually depicted masses of people, and their political messages were easy to decipher.{{sfnm|1a1=Bakewell|1y=2001|1p=316|2a1=Deffebach|2y=2006|2p=171}} Although she was close to muralists such as Rivera, [[José Clemente Orozco]] and [[David Alfaro Siquieros]] and shared their commitment to socialism and Mexican nationalism, the majority of Kahlo's paintings were self-portraits of relatively small size.{{sfnm|1a1=Bakewell|1y=2001|1pp=316–317}}<ref name="HerreraOxfordArt" /> Particularly in the 1930s, her style was especially indebted to [[votive paintings of Mexico|votive paintings]] or ''retablos'', which were postcard-sized religious images made by amateur artists.{{sfnm|1a1=Bakewell|1y=1993|1pp=168–169|2a1=Castro-Sethness|2y=2004–2005|2p=21|3a1=Deffebach|3y=2006|3pp=176–177|4a1=Dexter|4y=2005|4p=16}} Their purpose was to thank saints for their protection during a calamity, and they normally depicted an event, such as an illness or an accident, from which its commissioner had been saved.{{sfnm|1a1=Castro-Sethness|1y=2004–2005|1p=21|2a1=Kettenmann|2y=2003|2p=35}} The focus was on the figures depicted, and they seldom featured a realistic perspective or detailed background, thus distilling the event to its essentials.{{sfn|Kettenmann|2003|p=35}} Kahlo had an extensive collection of approximately 2,000 ''retablos'', which she displayed on the walls of La Casa Azul.{{sfnm|1a1=Castro-Sethness|1y=2004–2005|1p=21|2a1=Barson|2y=2005|2p=65|3a1=Bakewell|3y=1993|3pp=173–174|4a1=Cooey|4y=1994|4pp=96–97}} According to Laura Mulvey and Peter Wollen, the ''retablo'' format enabled Kahlo to "develop the limits of the purely iconic and allowed her to use narrative and allegory".{{sfn|Bakewell|1993|p=173, quotes Mulvey & Wollen's 1982 catalogue essay}} |
Okumaya devam et...