![We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.. ..and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair. (1950) (Frida Kahlo)](https://cdn.quotesdtb.com/img/quotes_images_webp/41/frida-kahlo-bald-begin-426541.webp)
We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.. ..and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair. (1950)
Frida KahloRelated topics
bald begin cane chair finish flies furniture house influence lost mexican once painting showing sister sitting street third three time while things self-portrait diegoRelated quotes
When I went to America, her message had so sunk into my ears that I became a radical. I went to America to study at the University of California, where a jurist of international law was teaching. I wanted to take my degree in international law. And that was the period of McCarthyism, of the communist witch hunts-my choices were laid out. To get away from Sunset Boulevard, from the girls with red nail polish, I ran off to Maxwell Street and lived among the Negroes. A week, a month. I felt good with them-they were real, they knew how to laugh. And the day in San Diego when I wasn't able to get a hotel room because I have olive skin and looked like a Mexican ... well, that helped.
Zulfikar Ali Bhutto
One room after another in the British museum took my enthusiasm. The Royal College of Art meant nothing in comparison. Every Wednesday, Saturday, and Sunday I would go to the British Museum. But not till after three months did things begin to settle into any pattern of reality for me. Till then everything was wonderful – a new world at every turn. That is the value of the British Museum: you have everything behind you; you are free to try to find out your own way and, after a while, to find what appeals to you most. And after the first excitement it was the art of ancient Mexico that spoke to me most – except perhaps Romanesque, or early Norman. And I admit clearly and frankly that early Mexican art formed my views of carving as much as everything I could do.
Henry Moore
The most dangerous and at the same time most stupid explanation of fascism is the propaganda theory. In the first place, I have never been able to find anyone who could reconcile it with the fact that right up to the fascist victory-and in Italy beyond it-literally all means of propaganda were in the hands of uncompromising enemies of fascism. There was not one widely-read newspaper but poured ridicule on Hitler and Mussolini while the Nazi and the fascist press were unread and on the verge of bankruptcy. The radio in Germany, owned by the government, issued one anti-Nazi broadside after the other. More powerful than both, the established churches used all the enormous direct influence of the pulpit and the confessional to fight fascism and Nazism.
Peter Drucker
José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up.
Frida Kahlo
My Drawings expressed my despair, hate and disillusionment, I drew drunkards; puking men; men with clenched fists cursing at the moon ... I drew a man, face filled with fright, washing blood from his hands ... I drew lonely little men fleeing madly through empty streets. I drew a cross-section of tenement house: through one window could be seen a man attacking his wife; through another, two people making love; from a third hung a suicide with body covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel arms; two medical soldiers putting a violent infantryman into a strait-jacket made of a horse blanket ... I drew a skeleton dressed as a recruit being examined for military duty. I also wrote poetry.
George Grosz
