The art of pain: A quantitative color analysis of the self-portraits of Frida Kahlo.

Frida Kahlo (1907-1954) was a Mexican artist who is remembered for her self-portraits, pain and passion, and bold, vibrant colors. This work aims to use her life story and her artistic production in a longitudinal study to examine with quantitative tools the effects of physical and emotional pain (rage) on artistic expression. Kahlo suffered from polio as a child, was involved in a bus accident as a teenager where she suffered multiple fractures of her spine and had 30 operations throughout her lifetime. She also had a tempestuous relationship with her painter husband, Diego Rivera. Her physical and personal troubles however became the texture of her vivid visual vocabulary-usually expressed through the depiction of Mexican and indigenous culture or the female experience and form. We applied color analysis to a series of Frida's self-portraits and revealed a very strong association of physical pain and emotional rage with low wavelength colors (red and yellow), indicating that the expression of her ailments was, consciously or not, achieved by increasing the perceived luminance of the canvas. Further quantitative analysis that used the fractal dimension identified "The broken column" as the portrait with higher compositional complexity, which matches previous critical acclaim of this portrait as the climax of her art. These results confirm the ability of color analysis to extract emotional and cognitive features from artistic work. We suggest that these tools could be used as markers to support artistic and creative interventions in mental health.

Could Frida Kahlo have had antiphospholipid syndrome?

Frida Kahlo's medical history shows sequelae of polio, a severe traumatic event that caused multiple fractures and a penetrating pelvic injury, as well as a history of countless surgeries. In her biographical accounts and her works, chronic disabling pain always appears for long periods. Besides, a chronic foot ulcer, gangrene that required amputation of the right leg, a history of abortions, and a positive Wasserman reaction suggest that the artist could have suffered from antiphospholipid antibody syndrome (APS).

Could Frida Kahlo have had antiphospholipid syndrome? / ¿Pudo Frida Kahlo padecer síndrome antifosfolípidico?

Frida Kahlo's medical history shows sequelae of polio, a severe traumatic event that caused multiple fractures and a penetrating pelvic injury, as well as a history of countless surgeries. In her biographical accounts and her works, chronic disabling pain always appears for long periods. Besides, a chronic foot ulcer, gangrene that required amputation of the right leg, a history of abortions, and a positive Wasserman reaction suggest that the artist could have suffered from antiphospholipid antibody syndrome (APS).(AU)

La historia clínica de Frida Kahlo muestra secuelas de polio, un evento traumático grave que causó múltiples fracturas y una lesión penetrante de pelvis, así como historia de incontables cirugías. En sus recuentos biográficos y en sus obras, siempre aparece dolor crónico incapacitante por largos periodos. Además, una úlcera crónica del pie, gangrena que requirió la amputación de la pierna derecha, la historia de abortos y una reacción de Wasserman positiva sugieren que la artista podría haber padecido síndrome antifosfolipídico (SAF).(AU)

O parceiro-sintoma e a concepção do artista: crônica do nascimento de Frida Kahlo / The partner-symptom and the conception of the artist: chronicle of Frida Kahlo's birth / Le partenaire-symptome et la conception de l'artiste: chronique de la naissance de Frida Kahlo

O Outro, como representante do gozo feminino, inalcançável e não-todo, exige o recurso ao gozo fálico como modo de se conceber em seu ser, ainda quando se está situado do lado feminino da sexuação. Frida Kahlo, sujeito cuja visada no plano da arte serve como objeto de análise deste artigo, parece demonstrá-lo por meio de suas telas. Sua fórmula consiste, em parte, em tentar atingir, com o apoio do parceiro amoroso, um dizer sobre o seu ser de gozo. No par Diego e Frida, a pintura aparece para dizer basta ao gozo masoquista da privação, devolvendo a artista à perspectiva do amor pelo pai, père-version, que enlaça de modo sintomático, em sua obra, amor, feminilidade e trauma.

The Other, as representative of feminine jouissance, unattainable and not-whole, demands an appeal to the phallic jouissance as a way to know itself, even when one is placed at the feminine side of sexuation. Frida Kahlo, subject whose view in the field of art is the object of analysis at this article, seems to demonstrate those facts through her pictures. Her formula consists, to a certain extent, in trying to reach with support of the loving partner a speech about her being of jouissance. In Diego and Frida partnership, painting appears to say enough to the masochist privation jouissance, sending the artist back to the perspective of love for father, père-version that enlace in a symptomatic way, in her work, love, femininity and trauma.

L'Autre, en tant que représentant de la jouissance féminine, inaccessible et pas-tout, requiert l'usage de la jouissance phallique comme une manière de se concevoir dans son être, même lorsqu'on est située du côté féminin de la sexuation. Frida Kahlo, sujet dont le but sur le plan d'art fait l'objet de l'analyse de cet article, semble le démontrer à travers ses toiles. Sa formule consiste, en partie, à essayer de réaliser avec le soutien du partenaire aimant un dicton sur son être de jouissance. Dans le couple Diego et Frida, la peinture semble dire basta au plaisir masochiste de la privation, ramenant l'artiste à la perspective de l'amour du père, père-version qui relie symptomatiquement dans son œuvre, l'amour, la féminité et le traumatisme.

Could Frida Kahlo Have Had Antiphospholipid Syndrome?

Frida Kahlo's medical history shows sequelae of polio, a severe traumatic event that caused multiple fractures and a penetrating pelvic injury, as well as a history of countless surgeries. In her biographical accounts and her works, chronic disabling pain always appears for long periods. Besides, a chronic foot ulcer, gangrene that required amputation of the right leg, a history of abortions, and a positive Wasserman reaction suggest that the artist could have suffered from antiphospholipid antibody syndrome (APS).

Frida Kahlo: considerações sobre o trauma e a reinvenção do corpo / Frida Kahlo: consideration about the trauma and the reinvention of the body / Frida Kahlo: consideraciones sobre el trauma e la reinvención del cuerpo

Este artigo tem como objetivo compreender a relação entre o corpo e o trauma na vida e obra da pintora mexicana Frida Kahlo. Adotamos como objeto de análise, análise psicanalítica, seus autorretratos - mais precisamente A coluna quebrada, de 1944. Do ponto de vista do método, utilizamos a noção de psicanálise extramuros ou extraclínica, que diz respeito a estudos em que o que se analisa não advém diretamente da clínica, mas da cultura. O que, então, se supôs serem traumas de Frida Kahlo foi tratado a partir da ideia de reconstrução do corpo sexual por meio da arte. Um acidente de ônibus aos 18 anos parece ter reativado o trauma da poliomielite, que sofrera aos 6 anos, fazendo retornar à artista o problema de seu corpo frágil. Neste sentido, a arte aparece como modo de lidar com este trauma ao mesmo tempo que simula um corpo, lócus originário da sexualidade.

This article aims to comprehend the relation between the body and the trauma in the life and work of the Mexican painter Frida Kahlo. We adopted as an object of analysis, psychoanalytical analysis, the self-portraits of Frida Kahlo - more precisely The broken column (1944). We used, from the point of view of the method, the idea of psychoanalysis extra-walls or extra clinic, which relaties to studies in which it is analyzed does not come directly from the clinic but the culture. We treated what we supposed being traumas of Frida Kahlo as a reconstruction of the sexual body throw art. A bus accident ate the age of 18 seems to reactivated the trauma of poliomyelitis that take place at 6 years old, returned to the artist the problem of a fragile body. In this sense, her artwork appears as a way to deal with the trauma at the same time that simulated the body, locus of the origin of sexuality.

Este artículo tiene como objetivo comprender la relación entre el cuerpo y el trauma en la vida y obra de la pintora mexicana Frida Kahlo. Adoptamos como objetivo de análisis, análisis psicoanalítico, los autorretratos de Frida Kahlo - y específicamente La columna quebrada (1944). Desde el punto de vista del método, utilizamos la noción del psicoanálisis extramural o extraclínica, que se refiere a los estudios en los que se analiza no viene directamente de la clínica, pero de la cultura. Aquello que se supone fueron traumas de Frida Kahlo fueron analizados a partir de la reconstrucción del cuerpo sexual a través del arte. Un accidente de bus a los 18 años parece haber reactivado el trauma de la poliomielitis que afecto a Frida a los 6 años haciendo retornar a la artista al problema de su cuerpo frágil. En este sentido su arte aparece como un modo de lidiar con este trauma al mismo tiempo en que simula un cuerpo, locus originario de la sexualidad.

Os amores de Frida Kahlo / Les amours de Frida Kahlo / Loves of FridaKahlo

O presente artigo pretende abordar o lugar do feminino na clínica contemporânea e os seus embaraços na realização da vida amorosa. Nesse contexto, a questão do amor e dos novos envoltórios sintomáticos demandamrespostas singulares, trazendo implicações para a práxis psicanalítica, convocandonovos ajustes na condução da cura. Orientamos nossa discussão a partir da vida de Frida Kahlo, uma vez que a arte produzida por ela encontra-se fundada em acontecimentos desua vida, acontecimentos de corpo e dor que, se articulam na constituição da sua feminilidade. Podemos assinalar dois encontros contingenciais, momentos cruciais que se inscrevem em sua economia psíquica, a saber: o acidente no ônibus e o amor por Rivera,que teriam, ambos, o estatuto de traumático. Identificada a um traço paterno, Kahlo ascende à feminilidade pelo viés da mascarada. Assim, sua obra configura-se como um tratamento frente ao limite da representação de seu sofrimento e de si mesma(AU)

Cet article a l’intention d’approcher laplace du féminin dans la clinique contemporaine et ses embarrasdansla réussitede la vie amoureuse. Dans ce contexte, la question de l'amour et des nouveaux enveloppements symptomatiques demandent des réponses uniques, apportant des implications pour la praxispsychanalytique, appelant desnouveaux ajustements dans la conduite de lacure. Nous orientons notre discussion dèsla vie de Frida Kahlo, une fois que l'art produite par elle est basée sur les événements de sa vie, des évènements de corps et ladouleur, ceux qui sont articulés dansla constitution de leur féminité. Nous pouvons souligner deux rencontrescotingentes, des moments cruciaux qui s’inscreventdans leur économie psychique, à savoir: l'accident d’autobus et l'amour pour Rivera, ceux qui auraient, tous les deux, le statut traumatique. Identifiée à une trace paternelle, Kahlo atteint la féminité par le biais de la mascarade. Ainsi, leur oeuvrese met en place en tant qu’untraitement face àla limite de la représentation de leursouffrance et de soi-même(AU)

This article aims to analyze the role of women in the contemporary clinic and their love life entanglements. In this context, the question of love and the new symptomatic wraps demand singular answers, bringing implications for psychoanalytic praxis and calling for new adjustments in the conduction of cure. We chose to guide our discussion on the life of Frida Kahlo, since her art is based on her life events, events related to the body and pain, that arearticulated in the constitution her femininity. We can point out two contingent meetings, two crucial moments that made a deep mark in her psychic economy, namely: the accident on the bus andthe love for Rivera, both having the status of trauma. Identified to a paternal trait, Kahlo ascends to femininity through the figure of the masked woman. Thus, her work is characterized as a treatment facing the limits of representation of her suffering and herself(AU)

Os amores de Frida Kahlo / Les amours de Frida Kahlo / Loves of FridaKahlo

O presente artigo pretende abordar o lugar do feminino na clínica contemporânea e os seus embaraços na realização da vida amorosa. Nesse contexto, a questão do amor e dos novos envoltórios sintomáticos demandam respostas singulares, trazendo implicações para a práxis psicanalítica, convocando novos ajustes na condução da cura. Orientamos nossa discussão a partir da vida de Frida Kahlo, uma vez que a arte produzida por ela encontra-se fundada em acontecimentos de sua vida, acontecimentos de corpo e dor que, se articulam na constituição da sua feminilidade. Podemos assinalar dois encontros contingenciais, momentos cruciais que se inscrevem em sua economia psíquica, a saber: o acidente no ônibus e o amor por Rivera,que teriam, ambos, o estatuto de traumático. Identificada a um traço paterno, Kahlo ascende à feminilidade pelo viés da mascarada. Assim, sua obra configura-se como um tratamento frente ao limite da representação de seu sofrimento e de si mesma.

Cet article a l’intention d’approcher laplace du féminin dans la clinique contemporaine et ses embarrasdansla réussitede la vie amoureuse. Dans ce contexte, la question de l'amour et des nouveaux enveloppements symptomatiques demandent des réponses uniques, apportant des implications pour la praxispsychanalytique, appelant desnouveaux ajustements dans la conduite de lacure. Nous orientons notre discussion dèsla vie de Frida Kahlo, une fois que l'art produite par elle est basée sur les événements de sa vie, des évènements de corps et ladouleur, ceux qui sont articulés dansla constitution de leur féminité. Nous pouvons souligner deux rencontrescotingentes, des moments cruciaux qui s’inscreventdans leur économie psychique, à savoir: l'accident d’autobus et l'amour pour Rivera, ceux qui auraient, tous les deux, le statut traumatique. Identifiée à une trace paternelle, Kahlo atteint la féminité par le biais de la mascarade. Ainsi, leur oeuvrese met en place en tant qu’untraitement face àla limite de la représentation de leursouffrance et de soi-même.

This article aims to analyze the role of women in the contemporary clinic and their love life entanglements. In this context, the question of love and the new symptomatic wraps demand singular answers, bringing implications for psychoanalytic praxis and calling for new adjustments in the conduction of cure. We chose to guide our discussion on the life of Frida Kahlo, since her art is based on her life events, events related to the body and pain, that arearticulated in the constitution her femininity. We can point out two contingent meetings, two crucial moments that made a deep mark in her psychic economy, namely: the accident on the bus andthe love for Rivera, both having the status of trauma. Identified to a paternal trait, Kahlo ascends to femininity through the figure of the masked woman. Thus, her work is characterized as a treatment facing the limits of representation of her suffering and herself.

Obra pictórica de Frida Kahlo: refugio artístico contra el dolor y la soledad / The pictorial work of Frida Kahlo: an artistic refuge against pain and solitude

RESUMEN Frida Kahlo, personalidad de las artes plásticas mexicanas, efectuó contribuciones significativas a la cultura universal sobreponiéndose a enfermedades y penurias que marcaron su existencia. Es propósito de las autoras destacar las facetas fundamentales de su individualidad particularizando en los aspectos que demuestran su lugar en la historia de México, a través de su creación artística y el vínculo que como paciente establece con el ejercicio de la Medicina. La revisión bibliográfica realizada permitió aseverar su trascendencia a partir de la defensa que hace del folclore de su país frente a los modelos europeos tradicionales.

ABSTRACT Frida Kahlo, personality of the Mexican plastic arts, made significant contributions to the universal culture overcoming to illnesses and penuries that marked her existence. It is the authors' purpose to highlight the fundamental facets of her individuality particularizing in the aspects that demonstrate her place in the history of Mexico, through her artistic creation and the links that she establishes with the exercise of Medicine as a patient. This bibliographical review allowed asserting her transcendence through the defense she makes of the folklore of her country in front of the traditional European models.

Frida Kahlo's neurological deficits and her art.

World-famous Mexican painter Frida Kahlo is an impressive example of a professional artist whose artistic subject matter was extremely influenced by her chronic, severe illness. Many of her best-known works depict her physical and mental suffering. She was one of those very uncommon artists who dared to show their nude, sick body. This chapter describes and explains the biographical events and works of Frida Kahlo that are closely related to neurology: congenital anomaly (spina bifida), poliomyelitis, spine injury, and neuropathic pain.

Frida Kahlo e Diego Rivera: paixão e dor / Frida Kahlo and Diego Rivera: passion and pain

Algumas ligações amorosas nos intrigam pela tenacidade em se manter apesar da grande intensidade de frustração e sofrimento que acarretam ao sujeito. A pergunta que surge é: o que determina a escolha insistente para objeto de amor de um parceiro que não corresponde ao afeto nele depositado? Este trabalho procura examinar a relação tumultuada de Frida Kahlo com seu marido Diego Rivera, que tomava um lugar central na vida da pintora e se caracterizava por experiências repetidas de dor. Ela sentia que ele representava “mais que sua própria pele”, como se esperasse reproduzir através da ligação com ele o sentimento de fusão inicial que um bebê estabelece com sua mãe nos primórdios de sua vida. O que se repetia, no entanto, era o fracasso em construir um elo primitivo suficientemente bom, que lhe faltou na sua relação inicial com a mãe. A tenacidade com que ela mantinha a ligação com Diego podia estar baseada em uma tentativa de dominar a situação traumática, ou ainda em uma forma de manutenção do elo com a “mãe morta”, a mãe ausente e deprimida. Por meio da pintura e de seus autorretratos, Frida Kahlo podia ser “mãe de si mesma”, e encontrava um canal criativo para lidar com suas emoções e sua dor.(AU)

Some liaisons intrigue us for their tenacity to remain, despite the great intensity of frustration and suffering they cause to the person. The question that arises is: what determines the persistent choice of a love partner that doesn´t correspond to the affection the partner gives? This work examines the tumultuous relationship between Frida Kahlo and her husband Diego Rivera, who was the central Frida’s life, that was characterized by repeated experiences of pain. Frida felt that Diego represented “more than her own skin,” as if she expected to reproduce through the link with him the initial fusion feeling established by the baby in his early life. What was repeated, however, was the failure to build a good enough primitive link, that lacked in Frida’s initial relationship with her mother. The tenacity with which Frida kept the connection with Diego seemed to be based on an attempt to master the traumatic situation, or in a way of maintaining the link with the “dead mother” who is seen as the absent and depressed mother. Through the paintings and her self-portraits, Frida Kahlo was a “mother of herself” and found a creative way to deal with her emotions and her pain.(AU)