FRIDA KAHLO MUSEUM: A WORLD BETWEEN WALLS

What makes La Casa Azul special is that Frida Kahlo was born, lived and died here. Between these walls, the artist built her world, and in this place she breathes the creative spirit that animates her work. Here not only the paintings of one of the most renowned Latin American painters are exposed, but also the everyday and almost anonymous part of a woman, a family, a marriage and the friends that surrounded the couple Kahlo-Rivera is discovered . The Blue House is above all that : a house, a space where objects speak and invite an intimate journey.

In La Casa Azul are the paintings that made the artist famous: Viva la Vida , Frida and the caesarean section , but there is also her bed -flanked by the portraits of Lenin, Stalin, Mao Tse Tung- and the easel that Nelson gave her Rockefeller. There are the mirrors -small, full-body, the one on top of his bed- with which he was carefully observed, and there are his brushes, with which he reinvented himself. There is her collection of butterflies, which she discovers as a lover of nature, and her collection of dresses, which betrays her as a woman of certain vanities.

In this house full of contrasts, the painful corsets – some of plaster decorated, others of leather and metal – coexist without grievance with the hullabaloo that is guessed in kitchen and dining room. Each object speaks and many – such as toys, handicrafts, kitchen utensils, jewelry – were so part of Frida’s world that they are even inside their fabrics.

A tour of things and paintings also speaks of the origins of Frida. The Blue House was owned by the Kahlo family since 1904, three years before the painter was born. The father, Guillermo, was a photographer. In the Portrait of family picture , Frida presents a curious genealogical tree where the Hungarian blood of the father and the Oaxacan mother are mixed.

At first the house was white, but Diego and Frida painted it blue, as a tribute to the bright colors of the Mexican aesthetic tradition. The construction already has this tone in the 1936 painting, My grandparents, my parents and me.

Portrait of Agustín M. Olmedo , in room 1, is a silent witness of the strong personality of Frida. The canvas shows a rip made by the artist when she learned that for the man in the portrait she “was not worth a penny”