Indian Journal of Science and Technology, Vol 9(26), DOI: 10.17485/ijst/2016/v9i26/97327, July 2016
ISSN (Print) : 0974-6846
ISSN (Online) : 0974-5645
Analysis on the Semiotics for the Canvas of
Frida Kahlo and Diego Rivera -Focus on the
Icon·Index·Symbol of 3 classification Charles
S. Peirce’s Semiotic
Man-Ki Kim*
Department of Ads and PR, Namseoul University, 91 Daehak-ro, Seonghwan-eup, Sebus-gu, Cheonan-si,
Chungcheongnam-do, Korea; [email protected]
Abstract
Background and Objectives: This study is a semiotic analysis of paintings sublimated to art and love by Frida Kahlo,
female genius artist rising from despair, and Diego Rivera, master of Mexican muralist movement. Methods and Statistical
Analysis: For the subject and scope of analysis, we selected total 10 pieces of art. We interpreted the pieces based on
Charles S. Peirce’s triadic model of semiotics such as icon, index and symbol. Their paintings and the hyperreality image
of simulacra will present the standards for cultural meaning, social judgment and economic value as pop culture through
practices of looking and way of seeing of visual language in signifying practices. Findings: The limitation of this study is
that it added the emotions of researchers toward their paintings, as well as arbitrariness and polysemy felt in signification
in the cultural sense. Improvements and Applications: This shows that there are limitations in subjective interpretant of
a third party (researchers) to accurately capture the binomial relations of the différence in the extended sense of semiotics
and infinite imagery and inspirations of artists with referents like connotative riddles in pictures (signs).
Keywords: Icon/Index/Symbol, Image, Sign, Signification
1. Introduction
This study analyzes the paintings sublimated to art and
love by Frida Kahlo (1907~1954), female genius artist rising from despair, and Diego Rivera (1886~1957), master
of Mexican muralist movement1. As Frida Kahlo said in
1939, “I couldn’t express the things in paintings that I also
couldn’t with other means. This was all I wanted from
painting.” Her life that was the more real than the real is
reproduced today, by movie directors, composers, choreographers and fashion designers, through the image of
hyperreality with destroyed aura via simulacra that is more
original than the original in the process of simulation constantly recalled with her paintings. Frida Kahlo challenged
the Western Caucasian male-oriented art world1 with her
unmannered frankness and confidence by spiritualizing
Western folk art and experience of personal pain, and her
*Author for correspondence
abundant paintings are symbols of her own unique styles.
Symbolic interpretation is complicated. Nonetheless, we
must focus on symbols because they are the semantic system than only humans can create and interpret. Even if we
cannot interpret or explain the meaning of each symbolism, the symbols are signified deep in our consciousness
and enable sufficient communication2,3. Components such
as paintings, advertisements, images and films can also
be classified into icons (similarity), indexes and symbols.
In particular, paintings are depictions of the inner world
in the artist’s environment. They visually cannot serve as
symbols. Referents generally refer to natural objects out
there. These are objects that will be symbolized in Peirce’s
triadic model of semiotics(Table 1). In this model, referent is in a conflicting relationship with reference. The sign
represents the referent, and the sign always points at the
referent that it represents2,4.
interpretant (ternary)
Semantic process
method is a semiotic analysis of the paintings
attributes
facts
we interpret
the paintings by substituting
according
Peirce‟s phenomenology
(Table
Know to
by seeing
Know by inference
Analysis on the Semiotics for the Canvas of Frida Kahlo and Diego Rivera -Focus on the Icon·Index·Symbol of 3 classification
Photos, maps, blueprints,
Road signs, nose
Charles S. Peirce’s Semiotic
3. Interpretants:
Icon, Index,
Symb
Case
etc.
running-cold
Table.1 Triadic classification of semiotics according to Peirce’s phenomenology
Semiotic interpretation is the main agent tha
Phenomenological
existenceTriadic relational
structure of signs
Source: Kim Man-Ki, Pop Culture and Advert
painting or the consumer of the product. The
1(possibility)
2(actual existence)
3(rule of existence)
users according
to the
context
of dealing
By following the curious
eyes under
Frida
Kahlo‟s
signaturewit
product
intoalluring
audience
interpretation, we will
be ablesigns
to seeare
herclassified
colorful and
lifeand
and
Sign itself (unary)-hierarchical
Attribute sign (Quallsign) Only
Fact sign (sinsign)Actual
Rule sign (Legising) General
Figure
1
and
Figure
2
are
Frida
Kahlo‟s
s
order of sign occurrence
attribute
existence
rule
(language)
show exotic
and unique aspects of Kahlo.
2. Research Subject
and Method
Semantic relationship with
Physical
proximity
Causal
Symbol
Relationship
TheIndex
research
subjects
are
10Inpaintings
bypainting,
Fridaaccording
Kahlo
andportraye
Diego
Rivera.
the first
Kahlo
Icon Sharing the same attributes
subject (binary)
relation (Cause /effect
to customs and rules
method is a semioticgrapevine
analysis ofcovering
the paintings.
To analyze
binary
her naked
bodythe
with
leav
Relationship with interpretant Rheme Interpretant substitutes
Dicent
Argument
Interpretant
we interpret the paintings
by
substituting
them
to
icon,
index
an
symbol of eternal
life and a garment of hea
(ternary)
attributes
Interpretant substitutes facts
substitutes rules
according to Peirce‟sleaves
phenomenology
(Table 1).
are a metaphor
of Diego Rivera. He
Semantic process
Know by seeing
Know by inference
Must learn
meaning of wanting help. It also connotes e
3. Interpretants:symbolizes
Icon, Index,
Symbol
Languages,
national
eternity,
and
the flags,
grape leaves sym
Case
Photos, maps, blueprints, etc. Road signs, nose running-cold
mathematical
formulas
Semiotic interpretation
is
the
main
agent
that
interprets
a painting
old stones, conch shells and pebbles
shapedo
1
Source: Kim Man-Ki, Pop Culture and Advertisements, Lyceum, . painting or the consumer of5-7the product. The viewers and consumer
Rivera . The long stone symbolizes that Fri
users according to the context of dealing with the products, and th
b
4
By following the curious eyes under Frida Kahlo’sproduct signs are classified into audience and customers .
signature thick eyebrows with the joy of semiotic inter-Figure 1 and Figure 2 are Frida Kahlo‟s self-portraits with fancyd
pretation, we will be able to see her colorful and alluringshow exotic and unique aspects of Kahlo. These paintings were i
life and arts.
Rivera. In the first painting, Kahlo portrayed herself as naked andh
grapevine covering her naked body with leaves. Grape leaves are a s
2. Research Subject and Method symbol of eternal life and a garment of heaven along with figure Al
The research subjects are 10 paintings by Frida Kahlo andleaves are a metaphor of Diego Rivera. Her naked self symbolizec
Diego Rivera (7 by Kahlo and 3 by Rivera). The method ismeaning of wanting help. It also connotes eternity and that she is rs
a semiotic analysis of the paintings. To analyze the binarysymbolizes eternity, and the grape leaves symbolize eternal life, „expo
relationship between the subjects and signs, we interpretold stones, conch shells and pebbles shaped like a man‟s head symb
Figurewith
1. Self-Portrait
with
Braid, Frida a
5-7
the paintings by substituting them to icon, index andRiveraFigure
1. long
Self-Portrait
Braid, Frida
Kahlo,and
1941(left)
. The
stone symbolizes
that
Frida
Kahlo, 1941(left) Diego could notf
symbol, the triadic model of semiotic according to Peirce’s
them, but thats
Figure 2. Self-Portraitbetween
with Monkeys
phenomenology (Table 1).
Frida Kahlo distinctive
1943(right)hairstyle, wh
interesting in that the w
hair. The hair ornament
symbol of eternity in
According to Peirce‟s
Semiotic interpretation is the main agent that interprets
a painting or product sign, indicating the viewer of the
custom, rule or regulat
painting or the consumer of the product. The viewers and
referent is arbitrary2,8. ex
consumers are categorized into audience, buyers and users
of interpretant in an exa
according to the context of dealing with the products, and
1. Self-Portrait with Braid, Frida a lemniscate curve that
those repeatedly viewing and consuming the productFigureFigure
2. Self-Portrait with Monkeys Frida Kahlo
found that is similar to t
Kahlo, 1941(left)
signs are classified into audience and customers4.
1943(right)
shape<signifier> above
Figure 1 and Figure 2 are Frida Kahlo’s self-portraitsFigure 2. Self-Portrait with Monkeys
Frida
Kahlo
1943(right)
with fancy hair accessories and braids. The paintings show
The only thing protecting her is the grapevine covering
3. Interpretants: Icon, Index,
Symbol
exotic and unique aspects of Kahlo. These paintings were
done immediately after she reunited with Rivera. In the
first painting, Kahlo portrayed herself as naked and weak.
2
Vol 9 (26) | July 2016 | www.indjst.org
her naked body with leaves. Grape leaves are a cultural
custom that has been regarded as a symbol of eternal life
and a garment of heaven along with figure leaves since
Indian Journal of Science and Technology
Man-Ki Kim
the ancient times. Here, grape leaves are a metaphor of
Diego Rivera. Her naked self symbolizes her weakness
and implies a connotative meaning of wanting help. It also
connotes eternity and that she is still in love. The number
8 above her head symbolizes eternity, and the grape leaves
symbolize eternal life, ‘expressing eternal love.’ The necklace made of old stones, conch shells and pebbles shaped
like a man’s head symbolizes the essence of her relationship with Rivera5-7. The long stone symbolizes that Frida
and Diego could not communicate due to their blocked
intimacy between them, but that there was signification.
The fantastic and distinctive hairstyle, which led to the
agenda setting of the title, is interesting in that the wool
stick up without bending Frida’s stiff hair. The hair ornament is shaped like the number 8, which is a symbol of
eternity in that it can be written in one stroke5-7. According
to Peirce’s concept, symbol is made by a cultural custom,
rule or regulation as the relationship between sign and
referent is arbitrary2,8. expressed this hairstyle as a spiritual concept of interpretant in an exaggerated way. The
shape of 8 on her hair is a lemniscate curve that signifies
infinity. There is nothing to be found that is similar to the
concept<signified> of <eight> in the 8-shape<signifier>
above the head. It is just a custom and promise that comes
down. When rotated by 90 degrees, the 8-shape is the sign
for infinity ∞. In heraldry, such entangled rope is interpreted as a knot of love replaced by Peirce’s primary sign
(rheme) interpretant(Table1).The two circles connected
in the knot of love symbolizes the unity of lovers through
marriage. Nonetheless, Frida Kahlo’s hair is too messily tangled up to be a bride, and the way it does not seem
elaborately trimmed seems to show how something inside
her refuses to declare such eternity. The hair standing up
in spikes from the knot of love implies that the couple’s
relationship has faced multiple difficulties. It is uncertain
whether the second marriage will lead to true unity5-7.
Kahlo’s anxiety is shown in the naked body that represents
weakness and need for protection, where grape leaves represent the victim syndrome that someone is protecting
oneself or inwardly seeking an underdog who can help 9.
This is her reunited husband Diego Rivera.(Figure 2) This
self-portrait with monkeys is painted in 1943. This piece
is a representative painting by Kahlo, and the white dress,
traditional costume of Mexico, is a symbol of authority.
The painting includes bird of paradise, leaves, four monkeys and white dress missing wool. It is taken away on
purpose. The black wool on hair makes her proud with a
bachelor’s degree. The hair mixed with yarn symbolizes
Vol 9 (26) | July 2016 | www.indjst.org
her academic status like a graduation cap. She is a metaphor of queen, the bird of paradise is ‘flower of the queen,’
and the monkeys are her followers or her four students
(Los Fridos). The monkeys have their mouths open, seeking Kahlo’s teachings. Their tails are symbols of the four
creators in the legend of the inner wheels in the Aztec calendar, and having such students implies confidence, and
her eyes that calmly gaze like a queen vaguely reveal the
hidden irony that cannot be seen through. Kahlo mocks
herself by enjoying the conventional order that she has
mocked5-7.
Kahlo’s painting after miscarriage(Figure 3) is solemn
and beautiful, and the pure white dress seems to transcend
tedious things of daily life. Her eyes look directly at the
audience, and the face is young and fresh with dignity and
no signs of concern, when in fact her heart is heavy. The
heavy antique necklace represents the way she cannot easily let go of her daily life. The mustache and monobrow are
the index of strong and mature women who can broadly
love both men and women. The monobrow symbolizes
freedom and passion, and Frida represents independence
and distance from her husband, changed back from her
old signature that missed one letter to match the number
of letters in Diego’s name5-7. That is, it is an index symbol.
This painting(Figure 4) is in the theme of a traditional
still life painting of ‘memento mori’ that tells the audience
to remember death, revealing the bride that is frightened
when she sees life open. With various literary materials,
the painting portrays complicated thoughts and emotions
about sexual desires and love. The sensual arrangement of
various fruits reveals the essence of all things. Two halves
of watermelon and two coconuts morphologically form
the sign of ‘yin and yang,’ and ‘yang’ that indicates male is
symbolized with the bananas below, while ‘yin’ that repre-
Figure 3. Self Portrait with Necklace
Indian Journal of Science and Technology
3
Analysis on the Semiotics for the Canvas of Frida Kahlo and Diego Rivera -Focus on the Icon·Index·Symbol of 3 classification
Charles S. Peirce’s Semiotic
with yin and yang. The relationship between Frida and
The reunited
Love Embrace
of the
Universe,
the materEarth
Diego that
after divorce
became
more like
(Mexico),
Myself,
Diego
and
Senor
Xolotl(Figure
nal love, and Frida’s obsession over Diego grew bigger5-7.
5) is
based
on the
two painted
iconic motifs
of Christianity
Cruel
Fate
(Figure
6) was
by Frida
in July 1932.
and
Buddhism,
with
Virgin
Mary
as Mexico‟s
Frida had to be hospitalized at the Henry Ford
Hospital
earth
goddess
flowing
from
the
rich
breasts.
She is
in Detroit due to miscarriage. Lying in bed with endless
holding
The petcords
dog grow
SenoroutXólotl
is
tears, red
stringsRivera.
like umbilical
of Frida’s
peacefully
asleep
in
the
arms
of
the
universe
that
body, connected to shapes symbolizing miscarriage or
embraces
and protects
Xólotl is on the
other sexual
symbols
such as everything.
snail or flower.
knees
of Virgin
Mary, the
of the
eye‟ of
With
Frida
as if floating
inmyth
the air
the„third
background
The
painting
seeksthatsympathy
and
shows aShiva.
desolate
industrial
complex
more intensely
5-7
compassion,
worship
and
mysterious
reveals the despair and loneliness felt by Frida .
Figure 4. The Bride Who Became Frightened
Figure 4. The Bride
WhoShe
Became
When
She Kahlo,
When
SeesFrightened
Life Open,
Frida
Sees Life Open, Frida Kahlo,
1943(Right)
1943(Right)
Figure5.The Love Embrace of the Universe, the
Earth(Mexico)
Me and
sents female is expressed
as papaya cracked
openSenor
at theXólotl,
top.
Kahlo 1949(Right)
Both sides complementFrida
one another,
but can never become
4
identification, power and will of the universe,
request for help as well as sympathy and
compassion. The sun and the moon are embracing
LoveTheEmbrace of th
hurt and lonely Kahlo with yin andThe
yang.
(Mexico),
Myself, Diego a
relationship between Frida and Diego that reunited
one. This is dualism and binarity. The two halves of water5-7
5)
is
based
on the two icon
after
divorce
more piece
like maternal
and Frida‟s obsession over Diego grew bigger .
melon in the
painting
arebecame
not a single
cut into love,
halves,
and
Buddhism,
with Virg
Cruel Fate(Figure 6) was painted by Frida in July 1932. Frida had to be hospitalized at the Henry Ford Hospital
thereby unable
to become one. An owl is sitting in front of
goddess
in Detroit due to miscarriage. Lyingearth
in bed
with flowing from
the fruits as if thinking carefully about the arrangement of
Figure 4. The Bride Who Became
Frightened
holding
Rivera. The pet
endless tears, red
strings
umbilical
When
ShelikeSees
Life cords
Open,
Frida
Kahlo,of
The grow
Love
Embrace
the fruits. A katydid is trying to catch the owl’s attention.
asleep in the ar
out of Frida‟s 1943(Right)
body, connected peacefully
to
shapes
(Mexico),
Myself,
Diego
This scene describes the story of the owl and katydid from
embraces
and protects
ever
symbolizing
miscarriage
or Embrace
other sexual
symbols
Figure5.The
Love
of
the
Universe,
the
5) is based on the two ic
Aesop’s fables. In the fable, the owl invites the katydid that
Earth(Mexico) Meknees
and Senor
Xólotl,
such as snail or flower.
Virgin
Mary,
the m
andofBuddhism,
with
V
cries loudly with annoying sounds and eats it up. The two
Frida Kahlo
With Frida as if floating
in the 1949(Right)
air theShiva.
background
The
painting
earth
goddess
flowing
fr
pieces of watermelon cracked open in a fan shapeFigure
show 4. The Bride Who Became Frightened
shows a desolate industrial complex
that more
compassion,
worship
5. Life
The
Love
Embrace
ofKahlo,
the Universe,
the Earth
holding
Rivera.
The po
greedy lust and eternal desire for symbiotic mutuality, but
When Figure
She Sees
Open,
Frida
after
divorce
became
more
like
maternal
love,
and
Frida‟s
intensely
reveals
the
despair
and
loneliness
felt
by
identification,
power
and
(Mexico)
Me
and
Senor
Xólotl,
Frida
Kahlo
1949
(Right)
peacefully
asleep
in the
1943(Right)
putting the two pieces together does not lead to actual harCruel
Fate(Figure 6) was painted
by Frida
in July
1932.
Fr
Frida5-7
.
request
for
help
as
w
Figure5.The
Love Embrace of the Universe, the
mony or satisfaction. Like many other paintings done
by
embraces and protects e
This painting(Figure 7) shows children
playingThe sun and t
compassion.
Kahlo, this painting
is 6.
a symbol
of her
life in
1943. With Earth(Mexico) Me and Senor Xólotl,
knees
of Virgin Mary, th
Figure
Cruel Fate,
Frida
Kahlo,1932(Left)
with
big decorative sunflowers in the hurt
background.
and lonely Kahlo w
Frida Kahlo
1949(Right)
her energy andFigure
spirit 7.
exhausted
by Rivera’s
love, Kahlo
Shiva.
The painting
Sunflowers,
Diego Rivera,1943(Right)
A boy
is holding
mask in his hands,relationship
and a girl is
between Frida
Who
BecameaFrightened
desires to build a symbiotic relationship with him. AtFigure
the 4. The Bride
compassion,
worshi
looking
at
the
broken
leg
of
the
doll
in
her
arms
after divorce
became
more
like
maternal
love,
and
Frida‟s
obsession
over
Diego
grew big
When She Sees Life Open, Frida Kahlo,
identification,
power
a
same time, with
she suffers
from
great
inferiority
complex.
The
sad eyes. In the middle of this monumental
painting,
therepainted
is Rivera
planting
the 1932.
tree ofFrida
life with
actress
Cruel Fate(Figure
6) was
by Frida
in July
had to
be hospitalized at t
1943(Right)
request
for help as
katydid in the
painting
to attract
owl’s attention,
Figure5.The
Love
thethere
Universe,
the and girl
Goddard.
On tries
one side,
Fridathe
is standing
with
an easel, while
onEmbrace
the other of
side
is the boy
watching
in Detroit
due to miscarri
compassion.
The sun an
5-7
but the attempt
is
not
very
successful.
But
if
the
owl
recogMe and Senor
Xólotl, of conflicting
this scene . The characters and similar children inEarth(Mexico)
this painting symbolize
the harmony
endlessthings
tears, red strings lik
hurt
and
lonely
Kahlo
Frida
Kahlo
1949(Right)
nizes the katydid
at one point,
the result
be Vendor(Figure
fatal like in
and promising
future.
Callawill
Lily
8) shows
„lingam
and yoni‟ in Buddhism (symbolizing
out of Frida‟s body,
5-7
relationship
between Fri
Aesop’s fable,
because death
is the
only possible
ending
.
reproductive
organs
of male
and female
in Hinduism),
and the sensuality of rich and abundant nature
filled with miscarriage
symbolizing
o
after divorce became more like maternal love, and Frida‟s obsession over Diego grew
5-7Universe, the Earth (Mexico),
The Love
Embrace
of
the
such as snail or flower.
countless petals .
Figure
Fate,
Kahlo,1932(Left)
Figure
6. Cruel
Fate,
Frida
Kahlo,1932(Left)
6) 6. wasCruel
painted
by Frida
Frida
in July
1932.
Frida
had to be hospitalized a
Myself, Diego and Senor Xolotl (Figure 5) is basedCruel
on theFate(Figure
With Frida as if floating in
Landscape with
Cacti(Figure
9) Diego
Figure
7.
Sunflowers,
Rivera,1943(Right)
in Detroit due to misca
two iconic motifs of Christianity and Buddhism, with
shows a desolate industr
shows the love triangle
endless tears, red strings
Virgin Mary as Mexico’s earth goddess flowing from the
intensely reveals the despa
between Kahlo, Diego and
out5-7
of Frida‟spainting
body
with sad eyes. In the middle ofFrida
this
monumental
rich breasts. She is holding Rivera. The pet dog Senor
.
Nicholas Murray. One cactus is
symbolizing
Goddard. On one side, Frida is standing
with anmiscarriage
easel, 7)
whis
Xólotl is peacefully asleep in the arms of the universe that
This painting(Figure
shaped like breasts,
with two
5-7
such
as
snail
or
flower.
this
scene
.
The
characters
and
similar
children
in
this
p
Figure
6.
Cruel
Fate,
Frida
Kahlo,1932(Left)
embraces and protects everything. Xólotl is on the knees
with big decorative sunflow
other cacti seemingly shooting
With
Frida
as
if
floating
Figure
7.
Sunflowers,
Diego
Rivera,1943(Right)
and
promising
future.
Calla
Lily
Vendor(Figure
8)
sho
of Virgin Mary, the myth of the ‘third eye’ of Shiva. The
A boy is holding a mask in
admiring and amorous glances.
showsinaHinduism),
desolate indu
reproductive organs of male andlooking
female
and
painting seeks sympathy and compassion, worship and
at the broken leg
Fulang-Chang and I(Figure
10)
5-7
intensely
reveals
the
des
countless
petals
.
mysterious identification, power and will of thewith
universe,
sad eyes. In the middle
of this by
monumental
there is Rivera
planting the
was painted
Frida in painting,
the
5-7
Figure10.
Frida
.
Figure
8. Calla
Lily Vendor,
Diego
Rivera,
request for help
as well
as sympathy
and compassion.
TheOn one side,year
Goddard.
Fridashe
is standing
an easel,
on the other side there is th
met Leo with
Trotzki.
The while
Fulang-Chang
This painting(Figure 7
5-7
sun and the moon are 1943(Right)
embracing hurt and lonely
Kahlo
Figure
7. Sunflowers,
Diego
Rivera,1943(Right)
this scene . The
characters
and
similar
children
inorthis painting
and I symbolize the harmo
cactus
shaped
like
a penis
Figure
6.
Cruel
Fate,
Frida
Kahlo,1932(Left)
Figure 9. Landscape with Cacti, Diego Rivera
with big decorative sunf
and promising
Calla Diego
Lily Vendor(Figure
8) shows „lingam and yoni‟ in B
monkeys
symbolizing
Figure 7.future.
Sunflowers,
Rivera,1943(Right)
1931(left)
A boy is holding a mask
reproductive organs ofpromiscuous
male and female
in Hinduism),
sensuality
sexual
relations and
or the
desires
revealof rich and abu
looking at the broken le
5-7
5-7
Vol 9 (26) | July 2016 | www.indjst.org
countless petals . subtle eroticism . Indian Journal of Science and Technology
with sad eyes. In the middle of this monumental painting, there is Rivera planting t
Landscape with Cacti(Figur
Goddard. On one side, Frida is standing with an easel, while on the other side there is
shows the love trian
this scene5-7. The characters and similar children in this painting symbolize the harm
compassion. The sun and the moon are embracing
Earth(Mexico) Me andand
Senor
Xólotl, with Virgin
Buddhism,
Mary as Mexico‟s
hurt and lonely Kahlo with yin and yang. The
Frida Kahlo 1949(Right)
earth goddess flowing from the rich breasts. She is
relationship between Frida and Diego that reunited
holding Rivera. The pet dog Senor Xólotl is
after divorce became more like maternal love, and Frida‟s obsession over Diego grew bigger 5-7.
peacefully asleep in the arms of the universe that
Man-Ki Kim
Cruel Fate(Figure 6) was painted by Frida in July 1932. Frida had to be hospitalized at the Henry Ford Hospital
embraces and protects everything.
Xólotl
is
on
the
in Detroit due to miscarriage. Lying in bed with
knees
of
Virgin
Mary,
the
myth
of tears,
theand
„third
eye‟ of like
endless
red
strings
umbilical
cords grow
This painting (Figure 7) shows children playing with
shooting admiring
amorous
glances.
Fulang-Chang
Shiva.
The
painting
seeks
sympathy
andFrida
out 10)
of was
Frida‟s
body,
connected
tosheshapes
big
decorative
sunflowers
in
the
background.
A
boy
and
I
(Figure
painted
by
in
the
year
met
Figure 4. The Bride Who Became Frightened
compassion,
worship symbolizing
and
mysterious or other sexual symbols
miscarriage
is
holding
a
mask
in
his
hands,
and
a
girl
is
looking
at
Leo
Trotzki.
The
cactus
shaped
like
a
penis
or
m
­
onkeys
When She Sees Life Open, Frida Kahlo,
identification, power andsuch
willas of
universe,
snailtheor flower.
the
broken leg of the doll in her arms with sad eyes. In
symbolizing promiscuous
­
sexual relations or desires
1943(Right)
for help as well
as
sympathy
and in the air the background
With
Frida
as5-7if. floating
Figure5.The
Love Embrace
of the Universe,
the thererequest
the middle
of this monumental
painting,
is Rivera
reveal subtle
eroticism
compassion.
The
sun
and
the
moon
are
embracing
Earth(Mexico)
Meofand
shows a desolate industrial complex that more
planting
the tree
lifeSenor
with Xólotl,
actress Goddard. On one
hurt and lonely Kahlo with
yin and
yang.
Frida Kahlo 1949(Right)
intensely
reveals
the The
despair and loneliness felt by
side, Frida is standing with an easel, while on the other
4. Conclusion
and
Discussion
relationship
between
FridaFrida
and 5-7
Diego
that
reunited
5-7
.
side there is the boy and girl watching this scene . The
5-7
after divorce became more like maternal love, and Frida‟s obsession over Diego grew bigger
.
painting(Figure
children
playing
characters and similar children in this painting symbolize
This studyThis
semiotically
analyzed7)theshows
paintings
sublimated
Cruel Fate(Figure 6) was painted
by Frida
in July
1932.
Frida
had to be hospitalized at with
the Henry
Ford Hospital
Figure
6. Cruel
Fate,
Frida
Kahlo,1932(Left)
big
decorative
sunflowers
in
the
background.
the harmony of conflicting things and promising future.
to miscarriage.
art and love Lying
by Frida
Kahlo,
female genius artist, and
Figure 7. Sunflowers, Diego Rivera,1943(Right)
in Detroit due to
in bed
with
A
boy
is
holding
a
mask
in his hands,
and a girl
Calla Lily Vendor (Figure 8) shows ‘lingam and yoni’ in
Diego
Rivera,
master ofcords
Mexican
muralist
movement.
Asis
endless tears, red
strings
like
umbilical
grow
looking
at
the
broken
leg
of
the
doll
in
her
arms
Buddhism (symbolizing reproductive organs of male and
shown
in these
paintings, Frida’s
and Diego’s works are all
out
of Frida‟s
body,
connected
shapes
with sadand
eyes.
the middle
this
monumental
painting,
there
is Rivera to
planting
the tree of life with actress
female in Hinduism),
theInsensuality
of of
rich
and
abunsymbols oforinner
toward the two paintings such
symbolizing miscarriage
otheremotions
sexual symbols
Goddard.
On one side,
Frida
5-7 is standing with an easel, while on the other side there is the boy and girl watching
dant nature filled
with countless
petals
.
as
love,
hate
and
pain.
Thus,
we found connotative and
5-7
such as
snail orinflower.
. The characters
andlove
similar
children
this painting symbolize the harmony of conflicting things
Landscapethis
withscene
Cacti (Figure
9) shows the
triangle
implicative
meanings
of
these
paintings.
With
Frida as if floating
in the
air theand
background
andDiego
promising
future. Calla
Lily
Vendor(Figure
8) shows
„lingam
yoni‟ in Buddhism (symbolizing
between Kahlo,
and Nicholas
Murray.
One
cactus
This
studycomplex
is a hyperreality
world of connotative
shows
a
desolate
industrial
that
moreabundant
reproductive
organs
of
male
and
female
in
Hinduism),
and
the
sensuality
of
rich
and
nature filled with
is shaped like breasts, with5-7two other cacti seemingly
simulacrum
about
these
paintings.
This world is ‘a world
intensely
reveals
the
despair
and
loneliness
felt
by
countless petals .
more real than reality’ 10, 11. This is a cultural interpreFrida5-7.
Landscape with Cacti(Figure 9)
tation 7)and
socialchildren
judgment
as pop culture through
This painting(Figure
shows
playing
shows the love triangle
Figure 6. Cruel Fate, Frida Kahlo,1932(Left)
practices
of
looking
and
way
of seeing of visual lanwith big decorative sunflowers in the background.
between Kahlo, Diego and
Figure 7. Sunflowers, Diego Rivera,1943(Right)
in in
signifying
A boy is holdingguage
a mask
his hands,practices.
and a girlItisalso provides the clues
Nicholas Murray. One cactus is
to judge
value.
The
limitation of this study is
looking at the broken
legeconomic
of the doll
in her
arms
shaped like breasts, with two
that,
as
Frida
said
in
the
movie
Frida,
“women’s tears canwith sad eyes. In the middle of this monumental painting, there is Rivera planting the tree of life with actress
other cacti
2,12 seemingly shooting
be istrusted.
” and
. As
arbitrariness and polysemy
Goddard. On one side, Frida is standing with an easel, while on the other sidenot
there
the boy
girlsuch,
watching
admiring and amorous glances.
the researchers’
emotions
this scene5-7. The characters and similar children in this painting symbolize felt
the in
harmony
of conflicting
things and cultural interacFulang-Chang and I(Figure 10)
their paintings
must be added to this study,
and promising future. Calla Lily Vendor(Figure 8) shows „lingam and tions
yoni‟ toward
in Buddhism
(symbolizing
was painted by Frida in the
Figure10.
which
also a characteristic
of semiotics and
the artists’
reproductive organs of male Figure
and female
in Hinduism),
and Diego
the sensuality
andisabundant
nature filled with
8. Calla
Lily Vendor,
Rivera,of rich
year she met Leo Trotzki. The
Fulang-Chang
5-7 8. Calla Lily Vendor, Diego Rivera, 1943(Right)
Figure
paintings.
1943(Right)
countless petals .
and I
cactus shaped like a penis or
Figure 9. Landscape with Cacti,
Diego Rivera
Landscape
with Cacti(Figure
9)
monkeys
symbolizing
1931(left)
shows the love
triangle
promiscuous sexual relations or desires reveal
5. Acknowledgement
between Kahlo, Diego subtle
and eroticism5-7.
Nicholas Murray.Funding
One cactus
foris this paper was provided by Namseoul
shaped like breasts,
with two
University.
other cacti seemingly shooting
admiring and amorous glances.
6. References
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Figure10.
Figure 8. Calla Lily Vendor, Diego Rivera,
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The
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Figure 9. Landscape with Cacti, Diego Rivera 1931(left)
1943(Right)
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Analysis on the Semiotics for the Canvas of Frida Kahlo and Diego Rivera -Focus on the Icon·Index·Symbol of 3 classification
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