In analyzing Frida and Diego (1931, San Francisco, Museum of Modern Art), the author complains that Herrera uses gender stereotypes–Rivera “the great maestro” and Kahlo “the genius’ adoring wife”–which are not necessarily hers, but almost certainly, Frida’s. For Lindauer, Frida included the caption in the painting to assert her profession as painter, when Kettermann read … Continue reading Analyzing Frida and Diego