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The author believes that Frida Kahlo was the creator of a visceral and deeply dramatic type of painting, in which the artistic creation and personal life of the artist cannot be separated. Monteforte describes her work as "universally popular," as the union of the rudimentary and the delicate, just like other artistic expressions that were purely Mexican. According to the article, her works exemplified an inexhaustible curiosity and an innate talent. These concepts reinforced the perception of Kahlo as a self-taught, "naïve," and "Mexican-like" painter.
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The criticism of the time this article was published and the assessments of her colleagues regarding Frida Kahlo’s (1907–1954) works were strongly influenced by the ups and downs in the painter’s personal life, revealing aspects of her life that she had used as a basis for creation. Both primitive and Mexican elements were regarded as central to her painting; however, this was due to a conscious process of appropriation, not only of thematic elements but also of forms and visual languages used by popular artists. In many senses, Diego Rivera (1886–1957) guided Kahlo’s process of appropriation. He was the one who established the link between votive offerings and the works of his companion; even advising Kahlo to experiment for the first time with a metallic support in the same manner as folk “offerings.”
The article is important because it was one of the first published on Kahlo and it helped to establish her legend as a candid Mexican painter.