12016-09-15T05:03:02-07:00Angelia Mullered5cb113d48ec91158427c2bf225a8cba4decfe0113161Frida Kahlo, The Broken Column, 1944.
Oil on Masonite, 39.8 x 30.6 cm.
Museo Dolores Olmedo,Xochimilco, Mexico City, Mexico.plain2016-09-15T05:03:02-07:00Angelia Mullered5cb113d48ec91158427c2bf225a8cba4decfe0
1media/2ad4b2c438ce05176266b4a4e3545768.jpgmedia/TheBrokenColumn1944.JPG2016-09-15T03:46:49-07:00Angelia Mullered5cb113d48ec91158427c2bf225a8cba4decfe0Artworks: The Broken Column5image_header2017-01-07T07:24:07-08:00Angelia Mullered5cb113d48ec91158427c2bf225a8cba4decfe0
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1media/SlideB.JPG2016-09-15T04:13:11-07:00Artworks7Chapter Twoimage_header3231442017-01-05T02:00:03-08:00The following artworks will be discussed in terms of the abject and trauma as foundational to the affective potential of Kahlo’s work: What the Water Gave Me (1938), Memory (1937), The Broken Column (1944), Without Hope (1945), The Wounded Deer (1946) and The Love Embrace of the Universe, the Earth (Mexico), Myself, Diego and Señor Xólotl (1949).
1media/2ad4b2c438ce05176266b4a4e3545768.jpgmedia/TheBrokenColumn1944.JPG2016-09-15T03:46:49-07:00Artworks: The Broken Column5image_header2017-01-07T07:24:07-08:00Painted in 1944, The Broken Column could be one of the most affective pieces depicting pain and trauma. During this period, Kahlo had to wear a steel corset because of her constant back pain. In the painting, the corset seems to be the only thing holding her together and upright since the broken column – in place of her damaged spine – is fractured and broken in several places. The background portrays a vast land which symbolises loneliness and the nails embedded in her skin, on her face and body increase the affective appeal of pain.