Frida Kahlo in America; The Creative Awakening of a Great Artist by Celia Stahr

In 2015, I saw the Detroit Institute of Art (DAI) exhibition Diego Rivera and Frida Kahlo in Detroit. I knew Diego Rivera from the DIA court murals but I had known little about Frida Kahol. Reading Frida Kahol in America by Celia Stahr, specifically about Kahlo's time in Detroit, I could clearly remember her painting of her miscarriage in Henry Ford Hospital. We listened to the story on headphones and studied the unforgettable painting. 

Although the exhibit included works by Rivera, it was Kahlo's that stuck in my mind. Rivera's painting of a flower seller was more accessible, 'prettier', but Kahlo's self-portraits grabbed my attention--those eyes, so direct and almost challenging, her self-confidence and self-acceptance revealed. 

Stahr shares that many who knew both Rivera and Kahlo said Kahlo was the better artist. She stood in the shadow of her husband's charismatic personality, diminished by the press, struggling to develop her artistic voice. 

Kahlo was in her early twenties when she married the older, famous artist, only twenty-three when they arrived in America. Her life had already been eventful, suffering polio, scoliosis, spina bifida, and the life-threatening bus accident when she was a teenager. Pain accompanied her every day. She was a Communist, she challenged society's prescribed sex roles, and had suffered heartbreak as a spurned lover. 

It was so interesting to see American during the Depression through Kahlo's eyes. The wealthy industrialists were her husband's patrons--they paid the bills. They also represented a privileged class Kahlo who found revolting. 

Kahlo wrote to her mother, "Witnessing the horrible poverty here and the millions of people who have no work, food, or home, who are cold and have no hope in this country of scumbag millionaires, who greedily grab everything, has profoundly shocked [us]."

Of course, I was very interested in the artists' time in Detroit. The city had been one of the hardest hit by the Depression, 50% unemployed. I was shocked to read about the Ford Hunger March. Ford had reduced salaries and laid off workers, and since the workers lived in Ford housing they became homeless as well. Four thousand marched in freezing weather to the gate of the Rouge River plant to be met by bullets and fire hoses, killing four people. River and Kahlo arrived a month after the event.

Stahr addresses each painting created by Kahlo, explaining the work and its symbolism in detail, including the self-portrait made for her estranged lover, the groundbreaking paintings about her abortion and the miscarriage that spurred a traumatic 'rebirth' as had her bus accident when she was eighteen years old.

Stahr addresses the duality "at the root of Frida's sense of self," part of her "search for a unification of opposites, as the Aztecs and alchemists espoused."

Kahlo's deeply personal art defied convention, delving into female experiences never depicted in art before. In comparison, Rivera's masterpiece murals at the Detroit Institute of Art look to the past, glorifying the pre-Depression industrial worker and the scientists and entrepreneurs who created industry.

Memorialized in Rivera's mural, Edsel Ford and William Valentiner
chose Rivera to paint the walls of the DIA courtyard 

These same industrialist millionaires were aiding Hitler, Ford a known anti-semite, and oil companies supplying fuel and poisonous gasses to the Nazis.

After Detroit, they went to New York City where Rivera was to create a mural for the new Rockefeller Center and a battle over a patron's control of an artist's content played itself out. It could have happened in Detroit, but the scandalous murals drew record crowds to the DIA and turned around their finances.

"Love is the basis of all life," Stahr quotes Kahlo. Love of country, for friends and family, sexual love, for home. Her relationship with Rivera was conflicted, their love affairs rending their marriage, resulting in divorce and remarriage.

This is a revealing and deep study of Kahlo that truly educated me while engaging me emotionally with its subject.

I was given a free ebook from the publisher through NetGalley in exchange for a fair and unbiased review.

Frida Kahlo in America: The Creative Awakening of a Great Artist
by Celia Stahr
St. Martin's Press
On Sale: 03/03/2020
ISBN: 9781250113382
hardcover $29.99; $14.99 ebook

Frida Kahlo, Self-Portrait on the Borderline between Mexico and the United States of America (1932) 

Learn more about the DIA exhibit at
https://www.mlive.com/news/detroit/2015/03/diego_rivera_and_frida_kahlo_i.html

One Hundred and One Famous Poems

"Preface: This is the age of science, of steel--of speed and the cement road, The age of hard faces and hard highways. Science and steel demand a medium of prose. Speed requires only the look--the gesture. What need then, for poetry?  

Great need!"

The summer I turned eleven my family moved from Tonawanda, NY to Michigan. For several months we lived with my grandparents while my folks looked for a new house. All my possessions, save for my Barbie dolls, were in boxes in my grandparents' garage. I was a great reader and perused my grandfather's books for something to read. I found One Hundred and One Famous Poems and read it so often that my grandfather gave it to me.

My grandfather's bookplate

The poems entertained me, taught me to love language, and extolled traditional American values of home, country, initiative, and community. I learned history. I learned about experiences very unlike my own.

My earliest favorite was Eugene Field's The Duel. Otherwise known by its protagonists, the Gingham Dog and the Calico Cat, who "side by side on the table sat." They started a fight that upset the Dutch Clock and the Chinese plate. Next morning there was no trace of dog or cat. "The truth about the cat and pup is this: they ate each other up!"

Now, if that does not warn against the horrible end of those who engage in senseless fights! (find the poem at http://www.mamalisa.com/field/)

The Spider and The Fly by Mary Howitt is a warning to beware falling victim to flattery. The spider entices a fly into "the prettiest little parlor that ever you did spy" with "fine and thin sheets." When that does not work, the spider talks about the fly's 'robes of green and purple and eyes like the diamond bright.' She finally is seduced and enters...never to be seen again. The dear children are then warned to take a lesson and "unto an evil counselor close heart, and ear, and eye." http://www.ocf.berkeley.edu/~aathavan/poems/The%20Spider%20and%20The%20Fly%20A%20Fable.htm

I loved the story poems. Especially Alfred Noye's The Highwayman, a romantic tale of the robber who loves Bess, the landlords' dark-eyed daughter. When the Redcoats tie Bess up and wait for the highwayman to return to her, she warns him by fingering the rifle trigger, sacrificing her own life. I adored the language of the poem: "The wind was a torrent of darkness among the gusty trees, the moon was a ghostly galleon tossed upon cloudy seas,/the road was a ribbon of moonlight over the purple moor." http://www.poetryfoundation.org/poem/171940

The language of Edgar Allen Poe's The Raven was also gorgeous. "It was in the bleak December, and each separate dying ember wrought its ghost upon the floor". "And the silken sad uncertain rustling of each purple curtain /Thrilled me--filled me with fantastic terrors never felt before." I soon discovered a complete set of Poe on my grandfather's shelves, and ended up taking them home permanently as well. http://www.eapoe.org/works/poems/ravent.htm

Edgar Allan Poe quilt by Nancy A. Bekofske

I suffered terrible nostalgia and homesickness for over two years after our move. Out To Old Aunt Mary's by James Whitcomb Riley allowed me to indulge my own fond remembrances of a childhood home so recently lost. He spoke of willow trees, which had surrounded my own home.
http://www.jameswhitcombriley.com/youth.htm

my old home with the willow tree

Little Boy Blue by Eugene Field describes the vacant chair and waiting toys of the absent boy, who I did not realize was dead when I first read it; I thought he had grown up as I was growing up--quite against my wishes. The poem's sweet nostalgia transported me to my own future. And John Greenleaf Whittier's Barefoot Boy speaks of the lost freedom of childhood, lost to the "mills of toil." http://www.poetryfoundation.org/poem/174752

And the volume warned about the adult responsibilities and horrors that awaited.

Like War. Did the Light Brigade also  have a 'rendezvous with death' when they charged forward? Was their death gentle, as Alan Seeger wrote? This was a world of poppies in Flanders' fields, and of grass-covered graves in Gettysburg so that people asked "what place is this" and did not remember the violence it had seen.

The suffering of the poor in Thomas Hood's Song of the Shirt, "with fingers weary and worn" a women in rags sewed "in poverty, hunger, and dirt." "It is not linen you're wearing bout,/But human creature's lives!"
http://www.victorianweb.org/authors/hood/shirt.html
And immediately follows Shakespeare's "The quality of mercy is not strained, it droppeth as the gentle rain from heaven."
http://www.poets.org/viewmedia.php/prmMID/21707

What is our purpose on earth? Abou Ben Adhem asks the Angle if his name was in the book of those who loved the Lord and was told, "Nay, not so." He asks to "write me as one that loved his fellow men" and lo! his name led the list of those whom God had blessed. http://www.poetryfoundation.org/poem/173698

I was taught social consciousness.

The "slings and arrows of outrageous fortune" may have given Hamlet pause. But every other poem condemns his indecision. "It isn't the fact you're dead that counts,/But only, how did you die?" asks Edmund Vance Cooke. "It's how did you fight and why' and "how did you take" the troubles life throws at you. "Come up with a smiling face, to lie there--that's disgrace."
http://allpoetry.com/poem/8619995-How_Did_You_Die_-by-Edmund_Vance_Cooke_

"Be strong!" admonishes Maltbie Davenport Babcock, "we are not here to play, to dream, to drift: we have hard work to do and loads to life. Shun not the struggle--face it; 'tis God's gift."
http://acacia.pair.com/Acacia.Vignettes/Be.Strong.html

"Taint no use to sit an' whine," Frank Stanton encourages in Keep a-Goin, "drain the sweetness from the cup.
"http://royceferguson.blogspot.com/2012/01/keep-goin.html

"Yours is the Earth and everything in it!" Rudyard Kipling cries. "If you can dream, and not make dreams your master."
http://www.kipling.org.uk/poems_if.htm

"Act--act in the living Present!" proclaims Henry Wadsworth Longfellow in Psalm of Life. "We can makes our lives sublime/ And, departing leave behind us/Footprints on the sands of time!"http://www.potw.org/archive/potw232.html

Natural beauty was extolled in these poems.

"Poems are made by fools like me/But only God can make a tree." Joyce Kilmer will always be remembered for this simple poem.  "What does he plant who plants a tree?" ashed Henry Cuyler Bummer in The Heart of the Tree. "He plants the glory of the plain; He plants the forest's heritage, the harvest of a coming age;/ The joy that unborn eyes shall see--"
http://www.theotherpages.org/poems/bunner01.html

William Wordsworth "wandered lonely as a cloud" and comes across "a crowd a host of golden daffodils" which like Shelley's skylark taught him gladness and "unbodied joy."

The book is tattered with bent edges and the paper cover of the book has separated from the spine. Yet it is one of my most treasured possessions, for it brought me to an early love of poetry.

The 1922 edition of  One Hundred and One Famous Poems from The Cable Company is found at the Library of Congress and can be downloaded in many formats.
http://archive.org/details/onehundredonefam02cook