The Two Fridas, 1939 Frida Kahlo

Using a formal analysis of this oil painting entitled The Two Fridas, we see two women who appear to be mirror images of one another. With the significant area that these women cover, they would be considered the subjects of the work. Both have raven-black hair that is fashioned in a tidy updo with blushed cheeks, a dark unibrow, and identical stares. The woman on the right, though, is a bit shadowed and seems to be slightly further away from the viewer. They are sitting on what appears to be a wicker bench with metal supports, and the directional line of their forearm leads the eye to recognize they are holding hands. With clothes that are reminisce of the early twentieth century. It is noticed that there is a contrast in the tone of their attire. The woman on the left is wearing light colored clothing adorned with intricate moss green scrolls and rust colored flowers while the woman on the right is wearing garments that are darker. Her dress contrasts using solid blue, brown, and orange with a wide eyelet or lace hem. These women seem to be connected by a common vessel that is stemming from the right subclavian arterial branch of their aorta. It is noticed that both of the women have a heart depicted on their outer garment. The woman on the right seems to have a closed loop of vessel with her heart intact with a visual witness of myocardium while the woman on the left is missing the myocardium allowing her atrial and ventricular chambers to be visible. It appears as though she is losing blood, and in an effort to control the bleed, is using a surgical clamp of sorts. The sky is dark with many gray clouds with a subtle hint of moonlight. The ground is reminisce of dirt. There is near symmetry in this painting which makes it appear balanced.

Using a biographical analysis it is quickly realized that this artist has just ended a rather toxic marriage that was riddled with infidelity. It is believed that this work is representational of the Frida who was unloved and heartbroken in the white dress versus the Frida who was loved and content with her inner being portrayed in her dress of traditional Mexican garb. While it is difficult to see, the small picture in her hand is that of her husband which reinforces the Frida on the right is a symbol of a happier existence when her marriage was still intact.  It is also reasonable to consider a psychological analysis as well to understand the emotion this painting is portraying entirely. It is clear that this was created at a time of mental anguish.There is a sense of sadness that surrounds this work. It is understandable of how she views herself in two different lights. The broken heart and open vessel communicate that she was barely hanging on and signifies a broken soul, while the treacherous appearance of the sky presents a sense of turmoil. It could be said that one of the greatest tragedies in life is when we lose our sense of self and this painting is reminisce of that. The Two Fridas can also be viewed using a feminist analysis as well. She appears to communicate to women the feelings that only a woman can have at the loss of love. Maybe it has to do with the way a relationship changes our being. When it is good, we are content, just as the woman on the right. When the relationship has come to an end, a part of us has died as well. From a female standpoint, this may be something that the male psyche cannot entirely comprehend. Maybe the question is that women are more vested when it comes to the cohesiveness of a relationship?

My original interpretation of the work is that the artist is trying to depict two separate personalities. I felt that the woman painted in the white dress was representative of one face that is superficial and puts on a “show” for the world. The ripped dress with the torn heart, to me, felt as though this was a painful part to play, almost as though she is not true to herself. The clamping of the blood vessel seems to have the feel that she is trying to hold this persona together, but it is getting more difficult with the passing days, and she is unsure as to how long she can sustain. The dark, stormy appearance of the skies also reinforces this sentiment sharing that her soul is in turmoil. However, the representation of the woman who is in less formal clothing seems more content. Her heart is not broken, and because she appears to be set a bit in the shadows, it is clear that she is the true hidden being. The reason I do not like this work is that it is not aesthetically pleasing to me. I have a hard time with the elegance of the characters married with the frankness of the broken vessel and torn heart. For me, it is a bit much and contrasts a little too harshly.

Yet, with understanding the backstory of this particular work, I have had a change of heart. Prior to understanding how to read arts symbols, I would have thought this was just plain odd. What Frida Kahlo is portraying in The Two Fridas, though, is raw emotion which makes me uncomfortable with her honesty, but I am sympathetic to her tragic message. Ultimately, this means she was successful. There is something about the saying that there is “comfort in numbers” and for someone who has been through the same heartbreak as Frida, they may view this piece with the security of knowing that they are not alone. For Frida, this was an outlet, and that I can appreciate. Frida Kahlo was not only complicated but a fascinating being as well. I encourage you to visit any of the sources below to learn a little more in depth as to the motives behind her work as well as her life’s story.

Sources

http://www.biography.com/people/frida-kahlo-9359496#synopsis

http://www.fridakahlo.org/

http://www.fridakahlo.org/the-two-fridas.jsp

https://www.solidarity-us.org/node/2782

While some individuals may argue that this is not the most artful Super Bowl ad, I found this Mr. Clean ad really entertaining and incredibly creative.  What is different between this commercial and other cleaning lines is its ability to morphs a seemingly boring brand of cleaning products into an item with sex appeal and desire.

The tone is set beginning with the provocative music playing in the background and the obvious attraction that the female actress has to Mr. Clean. Why is he so appealing? First, he is donning tight-fitting clothes, and a rather fit male physique. There is great detail in not only his movements but also his muscle definition and tone. He is also rather tall which typically is considered attractive and “ideal.” The white clothes that Mr. Clean is wearing, though, are still representative of what is being sold. After all, most of us associate white with clean, right? His clean shaven head also could be rendered a symbol of cleanliness and order which I believe most women do desire.

This commercial definitely speaks to women that if they use these products, they will be happier, but it also says to men, if you clean your wife will find you irresistible. I think it did a great job capturing a wide range of audience.

I do not feel that any commercial is worth the monies spent.  Even though I found this commercial engaging, it does not make me want to go out and buy Mr. Clean products. I do recognize, though, that there are people who would be persuaded. If these individuals did not exist, companies would not spend 5 million in marketing for little to no return on their investment.

While every artist creates with intention, the subjects of his or her designs range in a series of categories from recognizable to perplexing. The classification of the most identifiable theme is known as representational. Works that fall under this subset are typically mirroring images of the world as we know it. Great examples of this type of work may be in the form of photography or portraits fashioned to emulate the realism of the subject. The second grouping is known as abstract. Even though these creations are considered to be familiar to most viewers, they are a bit theoretical in nature. The abstract is often described as distorted in that it depicts subject matter that is recognizable; however, it is represented in a more creative means and does not mimic the image as it would be viewed in the real world. The final classification of art is known as non-objective. These types of works are not recognizable to the viewer and are subject to interpretation. Often the artist garners their use of shapes, strokes, and colors to communicate a feeling or a message. Ultimately, though, the real meaning lies within our interpretations.

The following artworks are arranged beginning with most representational, transitioning into abstract, and finally, ending with the most non-objective subject matter. For continuity, I chose to present my spectrum in something we all recognize, the rising of the morning sun.

Tobacco Sunrise
John Harding, 2015

This first work, Tobacco Sunrise, is an actual photograph; therefore, it is deemed the most representational example of a sunrise. Upon viewing this picture, it is clear with the colors of the sky that this marvel that is witnessed during bright, early mornings is an exact depiction of a sunrise. The detail of a photograph cannot be replicated in any other type of media which makes this more representational than the next piece.

Sunrise at the Eastern Swamps
Sergio Seabra, 2016

In this second example, Sunrise at the Eastern Swamps, it is evident that the subject is also a sunrise scene. This example is different, though, because it is not an actual photograph. For this reason, it is less representational than the first featured photograph; yet, the detail in the shapes and blending of colors make the focus distinct and recognizable to all. It is clear that the artist has taken great care in the fine details making this another example of a representational presentation and definitely less abstract than the third work.

Sonnenaufgang 1 (Sunrise 1)
Josef Scharl, 1944

The third example, Sonnenaufgang 1, can be considered both representational and abstract. It is similar to the previous piece in that it is indicative of a sunrise. What moves it into the mindset of an abstract is the artist’s choice of colors and shapes. These are not realistic depictions of an actual sunrise, rather they symbolize a simplified version, and with the lack of a detailed background, this makes this particular painting more abstract than the previous sample of a sunrise; however, it is still more representational than example four with its obvious lines.

Norham Castle, Sunrise
Joseph Mallord William Turner, 1845

This portrayal of a sunrise entitled Norham Castle, Sunrise, is more reminisce of an abstract. It is even more simplified than the previous painting, and with the lack of clean lines it gives most viewers a sense of the morning sun; yet, it does have a rather flat effect. Due to the lack of specificity, it could also be considered a constant in nature as well. The emphasis appears to be in the shading of the scene rather than the actual definition of objects. Yet this same sentiment does make this work less non-objective in comparison to the next example.

Sunrise
Cecil Collins, 1961

In this work called Sunrise, the movement towards nonobjective-type abstract art is becoming evident. It is abstract with the presence of silhouettes that are meant to symbolize the sun, sky, and landscape; however, with the black and gray color scheme it is more difficult to tell that this artist’s work is representative of a sunrise. Even though the simple shapes and monotony of color make the viewer question what they are looking at which is a characteristic of non-objective subject matter, these same features are also responsible for making this piece less non-objective than the sixth work.

Permanent Sunrise
Alejandro Propato, 2013

This representation known as Permanent Sunrise, would be considered more non-objective than abstract in comparison to the previous work because it is only recognizable after the viewer is privy to its title. With the poles and the colored stranding symbolic of the sun’s rays, this sculpture would probably hold more meaning depending on the time of day it is experienced. Its subjectivity to interpretation, and clean lines are the hallmarks of a non-objective subject matter. However, due to the multiple bends in the work it is still not as non-objective as the final work featured in this post.

Sunrise
Jane Manus, 2011

This metal sculpture, known as Sunrise, is clearly identified as a non-objective subject. This work is more non-objective than the previous example because it is simply fashioned using straight lines, rectangular segments, right angles, and is colored in a basic yellow. The uncomplicated effect of this sculpture forces the observer to make their own interpretations based on past experiences, beliefs, and partialities.

For a piece of art to be used as decoration in my home, it either needs to have meaning, or I have to love it. The first piece of art that I will feature in this post possesses meaning. It is a watercolor painting that was made by my elementary school art teacher, Mr. Charlie Barr. While he is retired, he continues to make artwork and sell it on occasion within the Homewood Retirement Community. Even though this particular painting is untitled, it reminds me of the bleak, long, cold winters of home. The colors are what make me feel this way. The sky is shaded in blue, gray, and white which is reminisce of a pending snowfall. The tree limbs are bare, and there are accents of snow covering the trunk of the tree. Pennsylvania is known for its mountains, and I notice that the faded tree line in the background speaks of the cove in which I grew up. Overall, the monotone colors of this painting give me a sense of calm and familiarity. The frame also tells a story as well. I can tell that it is recycled and this is a testament to where I am from. It speaks of the frugal and non-wasteful nature of Morrison’s Cove which is another reason why I love this piece so much.

There is no texture to speak of because it is a 2D image. The lines of the main features of the tree are witnessed as continuous striations; yet, within the smaller branches of the tree, the less significant limbs are represented by a series of breaks.These deliberate lines of the tree make it clear that it is the focus of the painting. Contour lines are also present, and they are experienced in the faded treeline background of the mountainous areas. Again, the shape of the tree in some aspects seems to be geometric in nature, but it also has accents that are rather organic which I feel helps lead to a feeling of calm. The principles of this artwork could be described as creating a feeling of unity through the use of tone of color and continuity of scene between the background and foreground. The emphasis is placed on the tree as a result of the larger appearance and darker colors in contrast to the faded background. While this painting does lack symmetry, it is still pleasing to the eye. This is probably due to the long reaching branches that are noticed on the left that attributes to its balance. Even though I have had this painting hanging in my kitchen for several years, until today, I never really noticed the tree line in the background. My focus has always been on the tree in the forefront. Overall, I feel that Mr. Barr was trying to share the simplicity and calm of nature.

The second piece of art that is in my house is not only beautiful, but it is functional as well. It is a piece of Flambeaux pottery that serves as a cookie platter and is the work of Cambell Pottery. I was first drawn to this cookie tray due to the beautiful colors that can be described as cool in nature with a mix of blues, greens, and yellows. What is so wonderful about the design is that it is very random and reminds me of a snowflake or frost on a window. Due to the nature in which it is created, no two are alike, so each cookie plate, while is similar in shape, due to the coloring parallels to that of a fingerprint. This is a functional work, and I feel that everything in my environment that is functional should also be beautiful, and I believe that this special plate embodies those characteristics. It makes me smile!

The outlines of the plate are rather clean and concise, and the shape is geometric and symmetrical. Within the body, though, random veins are surrounding the framework of the plate that not only lends to an interesting texture but also gives it an aesthetic appeal. The glaze makes it smooth and speaks to the class that one experiences when seeing this in person. While there are multiple colors and tones in this tray, there is very much a balance that is created. The centered length of the plate is lighter in tone with the width contrasting with the deeper blues. The randomness of the design is asymmetrical in nature; however, with the balance of colorways on either side seems to make the piece pleasing to the eye. While there is a significant amount of variety in the shapes of the glaze, it appears to contrast nicely. I have always been intrigued by the intricacies of this platter along with the other pieces I have been fortunate enough to snag. I believe that the artist’s message is that life is too short not to enjoy the beauty of everyday things. Why should a cookie platter be ordinary and boring?