Frida Kahlo - an affair with pain. Part 2. Nobody's husband
"In fact, he is no one's husband," Frida Kahlo once said of Diego Rivera, whom she had married twice. It is impossible to consider her life and work without her husband, the famous artist Diego Rivera, who participated in the political life of revolutionary and post-revolutionary Mexico.
Part 1
"In fact, he is no one's husband," Frida Kahlo once said of Diego Rivera, whom she had married twice. It is impossible to consider her life and work without her husband, the famous artist Diego Rivera, who participated in the political life of revolutionary and post-revolutionary Mexico, who became her unofficial cultural ambassador to North America, Europe and the USSR. Diego, according to Vladimir Mayakovsky, who was familiar with the artist - a monumental muralist and saw his work, in his work was able to "marry rough characteristic antiquity with the last days of French modernist painting."
Frida was not going to become an artist, but took preparatory courses to enter the medical faculty. Rumor has it that she took up painting only in order to get to know Diego Rivera, who, shortly before the first meeting with fifteen-year-old Senorita Calo, returned from Europe, dragging with him a train of the most bizarre gossip and fables, the glory of a libertine who lived for 14 years in Paris.
The devil girl behaved very boldly with a man suitable for her fathers.
Frida's urethral courage, bordering on impudence, a burning gaze, an amazing face with eyebrows fused on the bridge of the nose, reminiscent of thrush wings, could not fail to attract the attention of the famous "eater of women." Frida knew how to shock not only with her demonstratively hooligan visual behavior and memorable appearance, but also with her speech, calmly expressing herself in the slang of the lower classes, knowing a lot about “strong expression and obscene gesture”, shocking even such a hardened oralist as Diego Rivera.
The anal-skin-sound-visual with orality and muscularity "cannibal-giant", who has seen a lot in his life, the General Secretary of the Communist Party of Mexico, one of the first artists of the country, known all over the world - this is how he appears in the chronicles of the first quarter of the 20th century Diego Rivera.
A huge, massive figure, large face, fleshy lips of a liar and a lover of tasty food. He was not just ugly, he was ugly, but he had some kind of special appeal, had a myriad of romances, intrigues, promiscuous relationships, two marriages and four children.
Women were attracted to him as if they were magnetized. They were captivated by everything in him: sexual passion, the social status of one of the first people in the country, money, social circle with celebrities, politicians, the richest people in North America, the first persons of the Soviet Union, famous European artists and writers.
"A man with a monstrous mind … either a mythologist or a mythomaniac," recalled Rivera one of his contemporaries - Elie Faure, a French doctor, writer and art critic, whom Diego drove into a stupor with his confessions. Eli Faure compared him with the folk storytellers of antiquity. "A liar, a braggart, a writer of incredible stories, living by his own inventions," writes Jean-Marie Leclezio about him, confirming the assumption that Diego has an oral vector.
Rivera not only supported all kinds of rumors about himself, but also spread them with pleasure himself. Like a real oralist, he bathed in a sea of gossip about himself, stirring up even more interest from the ladies who were already interested in him. Diego teases his Parisian environment, half-starved artists like himself: he tells all sorts of horrors about himself, like the fact that, studying anatomy at medical school in Mexico City, he persuaded fellow students to eat human meat. And his most favorite delicacy is female breasts and brains cooked in vinegar. What a topic for a person with an oral vector living in the modern world! And what a clear articulation of one's own shortcomings!
Seeing Frida's paintings for the first time, Diego considered her to be a greater artist than himself until the end of his life. They were connected with Frida not only by imaginative, creative sound attraction, but also by ideological one.
Admiration for the new revolutionary Mexico makes Diego leave Paris and Europe, go home, join the Communist Party of Mexico, and then rush to Russia, so that, there, combining his artistic talent with Marxist-Leninist ideology, splash it with colors that are too bright for Moscow on the walls of the houses of the capital of the young Of the Soviet state. Alas, the latter was not destined to come true.
Diego was one of the most educated people of his country and his time. It was Rivera who instilled in Frida the love for philosophy, Marxism, for rebuilding the world in an explosive, revolutionary way, even if statically, on canvas and walls.
Frida, as an artist, as a wife, as a party associate, deeply experienced the destruction of Diego's frescoes in the Radio City building (now Rockefeller Center) in New York, which shocked bourgeois America with an abundance of revolutionaries and ideologists of communism: Lenin, Trotsky, Engels, Marx … against the background of a red banner with the appeal "Workers of all countries, unite in the Fourth International!"
Diego and Frida. Son's promise
It takes a very brave woman to take the risk of conceiving and hoping to have a baby in such poor health. In fact, there were three pregnancies, and no matter how doctors forbade her to have children, Frida still hoped to give birth to Dieguito - little Diego, being sure that it would definitely be a boy. The passionate desire to give birth to a son for Diego was not actually Frida's true desire. Here she was cunning twice.
Firstly, many women on the American and European continents, with whom Diego entered into endless promiscuous relations, tried in every way to keep him near them, using all means: from the birth of children to the attempt on his life. She could not resist the temptation to keep her husband and Frida. Aborted pregnancies took away her fragile health, destroying the structure of her bones.
If Frida did not have such serious consequences due to the accident, it is possible that she could have children. The inability to do without outside help drove the artist into a black melancholy, the only way out of which was painting. Thematically, it was built on its own physical pain and stories about all the same unborn children. Frida drove herself into these painful swings, enjoying physical and mental pain, replicating her drama on canvases and small tin plates called retablos.
Desiring motherhood, she is afraid of him at the same time, having absolutely no idea what she will do with the child. To some extent, she was relieved after another forced termination of pregnancy. It is strange that neither Diego nor Frida herself, who, according to her statement, dreamed of a son, never came up with the idea of adoption. This further confirms that she herself did not need a child, probably, she wanted to give birth to her husband and prove to everyone her feminine worth.
Diego, during his wanderings in Europe, managed to create a family with the Russian artist Angelina Belova. However, the semi-bohemian, semi-impoverished lifestyle in unheated apartments in Montmartre, the death of the firstborn from meningitis, which he could not forgive his wife, threw them on different sides. They dragged their mutual grievances and reproaches with them all their lives, in an anal way not wanting and not being able to forgive each other.
The artist remembered Dieguito's birthday and told Frida what his own skills he would like to pass on to his son. This paternal grief formed Frida's obsession with giving birth to Diego's son.
Returning from Europe, Diego defined his own style in painting. The echoes of the Mexican revolution were to be expressed in the painting that the people would see. The monumental scope and grandeur of the painted walls, on which the ideas of revolutionary Mexico are closely intertwined with folklore, inspired the artist and determined his creative direction.
Diego Rivera itself had something of the urethral recklessness of the leaders of the Mexican revolution. If you love - so all women on both continents, if you walk - so stupid, and then, pumped up with tequila, shoot all the street lamps and open the gramophone at your own wedding with Frida, dispersed and frightened all the guests together with the bride, who took refuge in parental home. He could give all the money he earned in the States to Mexican workers who met in America at the train station and did not have the means to return to Mexico.
To share the last piece of bread and shelter, as in the previous hungry years in Paris with Modigliani and his companion Jeanne Hébuterne, was quite in his spirit. He provided his modest home and simple food for Trotsky and his family at a time when neither he nor Frida had orders and, therefore, money, realizing how difficult it is to be a homeless person who, because of his revolutionary views, did not want accept no country in the world.
The briskness of the skin vector, the need for novelty with a change in pictures, faces, impressions and sensations, powerful anal libido, muscle endurance that allows you to stand on the woods and work 16-18 hours a day - this is how Diego Rivera, the most famous artist, appears before his contemporaries. monumentalist.
The themes of his canvases are the Mexican and world revolutions. The heroes of his canvases are the people. Ideology - Marxist-Leninist teaching. If Frida, having no other topics and models, depicted only herself and her experiences, then for Diego there were no boundaries, and Lenin, Trotsky, Marx, Ford, Rockefeller and, of course, women are present on his canvases.
In his work, politics and sexuality are very closely intertwined. In compositions, where specific portraits of Frida, Tina Madotti, and his other friends and comrades-in-arms in communist views were not prescribed, women, often naked, are depicted in only two guises: either a mother or a prostitute.
A person with an anal vector has two extremes: clean and dirty. And a woman can be either clean or dirty, which is well observed in the works of Diego Rivera. According to the memoirs of the artist himself, he had a difficult relationship with his own mother. She was too despotic, jealous, reproached her husband for treason and prophesied Diego a repetition of his father's fate.
Part 3. Holy White Death
