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Frida Kahlo is probably the most idolised artist of her time. At the root of the scholarly speculation and pop-culture paraphernalia lies this text, first published in Mexico in 1983 and now available in an English-language paperback for the first time. This irreplaceable, eclectic collection reveals the complexities, profound sadness, and immutable creative spirit of the famed Mexican painter. The intimate picture of the often enigmatic Kahlo presented in this book has become an invaluable source for scholars. The author, a prominent Mexican art critic and historian, befriended Diego Rivera, Kahlos husband, in Chile and in 1953 came with him to Mexico City, where she met and interviewed Frida Kahlo a year before Kahlos death. This book uses medical records, journals, letters, interviews, and personal recollections to bring us closer than ever to the Mexican artist and her milieu.
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Armando Romero's paintings often juxtapose his re-painting of historical works by Old Masters like Velazquez, Bosch, and Veronese with images from popular culture; consequently, the adjective most commonly used to describe his work is 'irreverent.' This practice is typified in series like Las Nuevas Tentaciones De San Antonio (2000) in which he re-paints and re-presents Bosch's triptych The Temptations of St. Anthony (1501) but in addition to the fantastic imagery typical of Bosch already in the original, Romero adds Tweety, Pokemon, various Looney Tunes and Disney characters - Daffy Duck, Porky Pig, Bugs Bunny, Woody Woodpecker, and Goofy - superheroes including Superman, Spiderman, and the Fantastic Four, the Jetsons, Topcat, Penelope Pitstop, the Flintstones, Smurfs, the gang from Scooby-Doo and Jerry from Tom and Jerry. At first glance, irreverent certainly seems like an appropriate description of such work but further consideration of his historical source here - particularly because Romero frequently returns to Bosch - suggests that we consider not only quite how irreverent describe the work of an artist as irreverent in the 21st century.