Between the Borderline of Mexico and the United States

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"Image in a self portrait generally communicates to the viewer information about the identity, character, environment, feelings and interests of the artist." In the case if "Between the Borderline of Mexico and The United States" Frida Kahlo expresses her feeling that she holds towards hr alien environment, and her cultural identity. This will now be proven through analyzing the portrait to prove the above quote.

Frida Kahlo's full name was Magdalena Carmen Frida Kahlo y Calderón de Rivera. She was born in Mexico on July 6, 1907. Kahlo's work was mainly centered on creating self portraits, but she did on occasions paint her family and friends. She married world famous Mexican muralist Diego Rivera, he frequently visited the United States and Frida joined him on these trips to America which at the time was experiencing a machine age, so there were many factories and large buildings around. Frida was not accustomed to this and thus she painted Self Portrait between the Borderline of Mexico and the United States to show her discomfort when visiting this foreign and unusual land. This conveys a sense of Frida Kahlo's environment which she was subject to because of her husband.

Self Portrait between the Borderline of Mexico and the United States was painted in 1932. Frida chose to paint the painting on a small piece of tin that was 11 3/4 x 13 ½, painting on metal is a traditional way of painting in Mexico and this technique is given the name Retablos.

The subject matter within the painting can be split into to separate parts. On the left is Mexico, it is primary to do with nature and the Mexican landscape. The foreground is dominated by a colourful arrangement of plants and flowers, which roots go into the ground. The middle ground is a dark earthy brown colour and has to other figures in it they both seem to be of a young age, one resembles an ape like figure the other is a young white girl. Behind her is the skull of a human, and a pile of rocks which are...
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