The Work of Graphic designers Piet Zwart and April Greiman

Though Guillermo trained Kahlo as being a photographer, she in no way created a quite powerful interest within the profession. Kahlo's mother was an illiterate, deeply religious woman with a quite practical process to life. Kahlo was proud of her friendship with her mother, but their relationship had suffered after Matilde fell ill shortly following her daughter's birth. In accordance with some analyses the early failure to bond with her mother resulted in "an insatiable longing for connectedness" and a would like to recreate the nurturing ambiance of childhood (Herrera 14). On the other hand, her father's attendance on her during a childhood bout with polio made a powerful identification with him that was centered around the concept of disease and suffering combined with artistic productivity. Guillermo was afflicted with epilepsy and subject to normal attacks and Kahlo, who learned to cope with them when she accompanied him in his work, may possibly have found that his condition "made her own childhood illness much more acceptable--or even admirable--to her"(Herrera 21).

Helland concedes that Kahlo's "frequent and explicit use with the heart may also relate to her emotional and physical suffering" (10). But it is hardly necessary to make a concession within the matter. For, like most aspects of Kahlo's iconography, the heart readily evoked several iconographic traditions. And it is the lack of strain with which Kahlo combined so numerous elements and meanings that may be one of the most outstanding features of her success being a painter. Grimberg, for example, has detailed the manner in which, from the painting Memory (1937), Kahlo drew on the tradition of European mysticism as exemplified by Teresa of Avila, in whose mystical visions an angel plunged an arrow into the saint's heart. In Memory modest cupids straddle the ends of the spear that pierce Kahlo's exposed heart. The picture represents Kahlo as "the recipient of the fusion of profane and religious love" (Grimberg 3). The Kahlo in the painting is afflicted with a painful vision that represents her very own physical pain, her emotional pain over Rivera's recently revealed affair with Kahlo's sister, the general pain of adore (with the cupids, doubling for Teresa's angels, representing the popular Western ideal of romantic love), the life-sustaining power from the heart symbol in Aztec imagery, as well as the colonial Mexican tradition of retablos, the symbolic representations of afflicted system parts exactly where the heart was often depicted "realistically--dripping blood with veins and arteries exposed" (Grimberg 3).

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