'An Analysis of Frida Kahlo and Carmen Lomas Garza Essay\r'

'Cultural Versus Opportunities: An Analysis of Frida Kahlo And Carmen Lomas Garza haggle 1,715 Both of these pictures show the love and desire to practice on to nonp areils heritage and family traditions which is extremely important in Hispanic families. Both with vivid colors and images. In Kahlo’s â€Å" egotism Portrait on the rim Line amongst Mexico and the unite States”, even though she is a Mexi send packing woman living in a non-Mexi feces country, she is able to accept both sides and uphold on to her avow Mexi stop heritage and subtlety which it seems she preferred.\r\nIn Garza’s â€Å" camas Para Suenos”(Beds for Dreams), Garza is showing the love and closeness she had with her babe and how her beat allowed them to daydream and reach after those dreams as they kept in touch with their heritage and culture which is evident in her work. Holding on to ones own culture is important. It should non be forgotten. It should be embraced and tought to ones own children. As Kahlo’s word-painting depicts, learning of others heritage and culture can be another way of embracing your own and learning to appreciate and discover it all over. The vent of culture can be devastating to the identity element of nations and families.\r\nBrief facts ab forbidden artist Frida Kahlo’s childhood and adult years introduce her complex disembodied spirit of the mind and spirit. Frida. ( Dec 4, 2002) The Christian Century from delightful Arts and Music Collection via Gale) The artwork evokes magical realism without attempting to imitate the gifted Mexican artist, who multicolored â€Å"what she sees in her heart, on top of what she sees with her eyes. ” Kahlo’s Self Portrait on the Border Line Between Mexico and the join States, painted in 1932, is a precise(prenominal) revealing work that gives a glimpse into the heart, mind, and nous of Kahlo herself.\r\nThe painting speaks of the connection, or the lack on that pointof, between Mexico and the united States. It is a rattling subtle, yet amazingly sizable painting. Kahlo did this painting while she waited for her husband, Diego Rivera, to finish painting his wall painting in Detroit. During this time she suffered a traumatic spontaneous abortion and was admitted to the Henry Ford hospital. She felt very solitary(a) and isolated from life and all that she knew. This painting is an conceptualisation of how Kahlo viewed herself stuck somewhere in limbo, in a seat far away from her beloved Mexican homeland. P 34(1) In the front, at the render, of each side of the painting lies root.\r\nOn the side that is connected with the get together States the root are actually cables or corduroys that get by from some industrial object. The roots of these objects are stark and take different shapes such as farseeing and reaching or curled. They are clear standardised industrial cords and are not needs reflective of boththing that is natural. On the other side, the Mexican side, the roots are actual roots of engrafts that grow out like natural roots, reaching into the ground. What makes these roots significant, parenthesis from their self-explanatory differences, lies in the fact that one of the cords reaches down, and under Kahlo, touching the roots of another plant.\r\nThat plant appears to have brown pods which could easily represent how the industrial unnatural reality of the United States is smothering and cleanup spot all that is natural, and in this case Mexico as well. It is distri exclusivelyive and dark in nature. This is further emphasized by the fact that Mexico’s roots are very natural and organic, whereas the United States’ roots are dark, and intelligibly manmade and unnatural. In this painting, show Kahlo wearing an decorate that is very reminiscent of an American trim. It is a simple cause hardly it is pink and has many ruffles along the bottom of the skirt.\r\nI n some ways it seems reflective of the civilized War era, without the presence of a powerful gang skirt underneath, or perhaps a dress of the old West days in the United States. Whatever the case it is not a dress that is reflective of Kahlo but of the United States . In addition, in the hand that is facing towards Mexico Kahlo holds a Mexican flag. In the hand that is facing towards the United States she holds a cigarette. Her hold are crossed. This all suggests influences she likes, dislikes, and is perhaps confused by.\r\nShe is, in this picture, part of both worlds and clearly the side that is comparative to Mexico is patriotic and very Mexican in spirit. moreover the hand that holds a cigarette clearly speaks of the industrial and damaging nature of the United States, perhaps suggesting the negatively charged influence the United States has on Mexico. As it pertains to unearthly icons or images there are no obvious religious images on the side with the United States. How ever, when one asks that question, regarding religious, one may well argue that industrialization, manufacturing, and smokestacks, is the piety of the United States.\r\nOn the Mexican side are many references to the history and the religion of Mexico. There is what appears to be a goddess statue with two infants, a statue from old-fashioned Aztec religions perhaps, and the ancient architectural elements of Mexico. The entire natural presentation of Mexico is offered in a religious nature, even incorporating a skull which could well relate to the Day of the Dead, a religious spend for Mexico. The religion of the United States, in this case, would be visual modality production, destruction of the earth, and money.\r\nThe fact that Kahlo is in the center of the painting does not suggest any common ground, but rather speaks, it would seem, of some internal struggle inside Kahlo as she sees her nation influenced and perhaps destroyed by the United States. She is clearly a part of the United States and if one looks at her life one can see that her involvement with Diego clearly put her in close relationship with the dealings of the United States. But, she is clearly sending an image that indicates she is not happy with the United States and finds far more peace and beauty in Mexico, her home.\r\nSchjeldahl, P. (Nov 5, 2007) Kahlo is authentically a national treasure of Mexico, a country that her work expresses not merely as a culture but as a complete civilization, with profound roots in some(prenominal) pasts and with proper styles of modernity. P (92) In Carmen Lomas Garzas painting â€Å"Camas Para Suenos” (Beds for Dreams), two children can be spotted, seated on the detonator of their home, gazing up at the skilful moon. Beneath them in the fareroom, their mother is making the bed ready for the children to sleep in, and a crucifix can be seen hanging on the wall nates her.\r\nThis image recalls a time of simplicity, where children can peacefully sit and star gaze, while their apron-wearing mothers make the beds in which they will sleep in. The image is portrayed by the scope of a child, and its message calls for Mexicans to remember their culture. Roback, D. (July 13, 1990). In the midst of racism and discrimination, Garza tries not to draw upon any of that; instead, she looks to the family for resolution Mexican-American Garza has generously afforded readers a glimpse of her hold dear childhood in a poor countryfied Hispanic community.\r\nHer daily activities and fond memories are related to in paintings . Of the painting Garza stated â€Å"My sister and I used to go up on the roof on summer nights and just stay there and talk about the stars and the constellations. We also talked about the future. I knew since I was 13 years old that I wanted to be an artist. And all those things that I imagine of doing as an artist, I’m finally doing now. My mother was the one who inspired me to be an artist. She made up ou r beds to sleep in and have regular dreams, but she also laid out the bed for our dreams of the future. P 54(2) This painting was inspired by youthful conversations with her sister and their desire to become artists and focuses on the joyful memories of frequent life with her family. The two sisters, Garza being one, are sit on the roof close to the moon and stars, manduction their dreams with on another. The fact that they were Mexicans, in the United States did not change the fact that they had dreams they wished to accomplish.\r\n'