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  • SPEAKER 1: We're in SFMOMA, and we're

  • looking at Frida Kahlo's portrait, "Frida

  • and Diego Rivera," from 1931.

  • SPEAKER 2: So it's an early Frida Kahlo.

  • And they were both in San Francisco,

  • so it's kind of a wonderful place to see this painting.

  • SPEAKER 1: And they were here because Rivera

  • was commissioned to paint murals here.

  • He was already an established painter

  • who was famous in Mexico, had been

  • invited to the United States.

  • SPEAKER 2: He was on the verge of a major one-person

  • exhibition at the Museum of Modern Art in New York.

  • And I think that was only the second solo exhibition

  • that the museum had held.

  • SPEAKER 1: That's right.

  • The first was of Matisse.

  • SPEAKER 2: And so that's quite extraordinary company.

  • Just a year or so later, Abby Rockefeller,

  • who was involved, of course, with the founding the Museum

  • of Modern Art, had wanted Picasso and then Matisse

  • to create a large mural in the lobby.

  • They both declined, but Rivera was her third choice,

  • which was pretty extraordinary company.

  • SPEAKER 1: Yeah.

  • SPEAKER 2: But this is not Rivera.

  • This is Frida.

  • SPEAKER 1: You know, she looks so small and diminutive

  • next to him, and so delicate.

  • And I'm sort of struck by the way she tilts her head

  • and looks at us, where he looks so stocky

  • and looks at us straight on.

  • SPEAKER 2: And I mean, she's really depicted him seeing him,

  • offering him to us as this incredibly solid figure.

  • And she floats in a way.

  • that he doesn't.

  • He is so rooted.

  • Those boots are so strong.

  • And there's something about the way in which her dress is

  • off the floor that gives her a kind of lightness.

  • And also the tilt of her head, as you mentioned.

  • SPEAKER 1: Yeah.

  • There's curving forms in that shawl

  • that she wears and in the necklace and in the headband

  • and in the frills of the skirt.

  • So she's got this feminine curviness to her

  • that seems really different than his blockiness, to me.

  • SPEAKER 2: And there's a lot of symbolism

  • in all of the clothing that you're talking about.

  • SPEAKER 1: For both of them.

  • SPEAKER 2: Absolutely.

  • So she's referencing her Mexican heritage.

  • She's referencing the folkloric, and, in a sense,

  • really trying to resurrect and give a sense of real pride

  • and of the importance of that heritage.

  • The double portrait, the way in which

  • they are against this very spare background

  • is coming right out of the colonial Mexican artistic

  • tradition, as well.

  • Diego is represented with this work shirt

  • under a suit, which is an interesting pairing, because it

  • really shows the sense of the working class,

  • but also a kind of seriousness.

  • SPEAKER 1: His tradition that he's

  • coming from of the Mexican mural painters from the 1920s, who

  • are trying to build an artistic tradition

  • on the Mexican Revolution of creating art for the people,

  • he's depicted as a sort of worker.

  • SPEAKER 2: I'm also struck by their hands.

  • Her hand is sort of light over his.

  • SPEAKER 1: It almost looks to me like she's letting go.

  • Interestingly, he's got the paint brushes and the pallet,

  • even though this is her painting.

  • She almost lets go and looks at us.

  • And it feels to me like she's establishing her independence.

  • Diego is sturdy and not moving.

  • He's got his hands there and open for her.

  • But when she tilts her head, she's

  • got a little movement to her.

  • She's the one who lifts her hand and cocks her head

  • and looks out at us.

  • SPEAKER 2: And if you look at the bird at the top,

  • the bird is flying in with a banner.

  • As the museum translates that into English,

  • it reads, "Here you see me, Frida Kahlo,

  • with my beloved husband, Diego Rivera.

  • I painted these portraits in the beautiful city

  • of San Francisco, California for our friend, Mr. Albert Bender.

  • And it was the month of April, in the year 1931."

  • SPEAKER 1: And Albert Bender was a founding trustee of SFMOMA,

  • where we stand.

SPEAKER 1: We're in SFMOMA, and we're

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B1 中級 美國腔

弗裡達-卡洛,弗裡達和迭戈-里維拉,1931年。 (Frida Kahlo, Frieda and Diego Rivera​, 1931)

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    Chia-Lin Hsin 發佈於 2021 年 01 月 14 日
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