These beliefs would both alienate their American patrons, as in Rivera’s case, and attract the avant-garde, as in Kahlo’s case in New York, where she had her first solo show in 1938. Diminutive in stature and unwell due to an early bout of polio and a terrible car accident in her late teens, Kahlo, like Rivera, was deeply devoted to her Mexican identity as well as socialist ideals. As the author shows, she moved into this uneasy public role while also passionately pursuing her own difficult work. of San Francisco) captures Frida Kahlo (1907-1954) in all her ambiguity at age 23, when she embarked on her first American tour with her new husband, famous muralist Diego Rivera. Stahr (Modern American and Contemporary Art/Univ. An art historian parses the famed artist’s complicated psychological and emotional states while in America as a young wife and emerging artist in the early 1930s.
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