Art & Culture
The unseen masterpieces of Frida Kahlo
Lost or little-known works by the Mexican artist provide fresh insights on her life and work. Holly Williams explores the rarely seen art included in a new book of the complete paintings.
You know Frida Kahlo – of course you do. She is the most famous female artist of all time, and her image is instantly recognisable, and unavoidable. Kahlo can be found everywhere, on T-shirts and notebooks and mugs. While writing this piece, I spotted a selection of cutesy cartoon Kahlo merchandise in the window of a shop, maybe three minutes’ walk from my home. I bet many readers are similarly in striking distance of some representation of her, with her monobrow and traditional Mexican clothing, her flowery headbands and red lipstick.
Partly, this is because her own image was a major subject for Kahlo – around a third of her works were self-portraits. Although she died in 1954, her work still reads as bracingly fresh: her self-portraits speak volumes about identity, of the need to craft your own image and tell your own story. She paints herself looking out at the viewer: direct, fierce, challenging.
All of which means Kahlo can fit snugly into certain contemporary, feminist narratives – the strong independent woman, using herself as her subject, and unflinchingly exploring the complicated, messy, painful aspects of being female. Her paintings intensely represent dramatic elements of a dramatic life: a miscarriage, and being unable to have children; bodily pain (she was in a horrific crash at 18, and suffered physically all her life); great love (she had a tempestuous relationship with the Mexican artist Diego Rivera, as well as many other lovers, male and female, including Leon Trotsky), and great jealousy (Rivera cheated on her repeatedly, including with her own sister).
Kahlo has become a bankable blockbuster topic, guaranteed to get visitors through the door
But thats not all they show – her art is not always just about her life, although you could be forgiven for assuming it was. Books are written about her trauma, her love life; she’s been the subject of a Hollywood movie starring Salma Hayek. Kahlo has become a bankable blockbuster topic, guaranteed to get visitors through the door of galleries, even if what they see is often more about the woman than her art.
But what about her work? For some art historians, the relentless focus on the person rather than the output has become tiresome, which is why a new, monumental book – Frida Kahlo: The Complete Paintings – has just been published by Taschen, offering for the first time a survey of her entire oeuvre. Mexican art historian Luis-Martín Lozano, working with Andrea Kettenmann and Marina Vázquez Ramos, provides notes on every single Kahlo work we have images of – 152 in total, including many lost works we only know from photographs.
Speaking to Lozano on a video call from Mexico City, I ask if a comprehensive survey of her work is overdue, despite there being so many shows about her all over the world?
“As an art historian, my main interest in Kahlo has been in her work as an artist. If this had been the main concern of most projects in recent decades, maybe I would say this book has no reason to be. But the truth is, it hasn’t,” he says. “Most people at exhibitions, they’re interested in her personality – who she is, how she dressed, who does she go to bed with, her lovers, her story.”
Because of this, exhibitions and their catalogues have often focused on that story, and tend to “repeat the same paintings, and the same ideas about the same paintings. They leave aside a whole bunch of works,” says Lozano. Books also re-tread the same ground: “You repeat the same things, and it will sell – because everything about Kahlo sells. It’s unfortunate to say, but she’s become a merchandise. But this explains why [exhibitions and books] don’t go beyond this – because they don’t need to.”
The result is that certain mistakes get made – paintings mis-titled, mis-dated, or the same poor-quality, off-colour photographs reproduced. But it also means that ideas about what her works mean get repeated ad infinitum. “The interpretation level becomes contaminated,” suggests Lozano. “All they say about the paintings, over and over, is ‘oh it’s because she loved Rivera’, ‘because she couldn’t have a kid’, ‘because she’s in the hospital’. In some cases, it is true – but there’s so much more to it than that.”
The number of paintings – 152 – is not an enormous body of work for a major artist. And yet, astonishingly, some of these havenever been written about before: “never, not a single sentence!” laughs Lozano. “It’s kind of a mess, in terms of art history.”
Offering a comprehensive survey of her work means bringing together lost or little-known works, including those that have come to light in auctions in the past decade or so, and others that are rarely loaned by private collectors and so have remained obscure. Lozano hopes to open up our understanding of Kahlo. “First of all – who was she as an artist? What did she think of her own work? What did she want to achieve as an artist? And what do these paintings mean by themselves?”
This means looking again at early works, which might not be the sort of thing we associate with Kahlo – but reveal how much she was inspired by her father, Guillermo, a professional photographer and an amateur painter of floral still lifes. Pieces such as the little-known Still Life (with Roses) from 1925, which has not been exhibited since 1953, are notably similar in style to his.
Kahlo continued to paint astonishing, vibrant still lifes her whole career – although they are less well-known to the general public than her self-portraits, less collectable, and less studied. An understanding of their importance to her has been strengthened since Lozano and co discovered documents revealing Kahlo’s life-long interest in the symbolic meaning of plants. She learnt this from her father, and discussed it in letters with her half-sister Margarita (her father’s child from an earlier marriage), who became a nun.
The missing links
Kahlo and Margarita’s letters “talk about the symbolic meaning of flowers and fruits and the garden of Eden, that our body is like a flower we have to take care of because it was ripped off from paradise,” says Lozano. “This is amazing, and proves why this topic of still lifes and flowers had such meaning to her.”
He offers a new interpretation of a painting from 1938, called Tunas, which depicts three prickly pears in different stages of ripening – from green and unripe to a vibrant, juicy, blood-red – as representing Kahlo’s own understanding of her maturation as an artist and person, but as also potentially having religious symbolism (the bloody flesh evoking sacrifice).
The Complete Paintings book also takes pains to reveal the depths of Kahlo’s intellectual engagement with art-world developments – countering the notion that she was merely influenced by meeting Rivera in 1928, or that her work is some self-taught, instinctive howl of womanly pain. Her paintings reveal Kahlo’s research into and experiments in art movements, from the youthful Mexican take on Modernism, Stridentism, to Cubism and later Surrealism.
“Frida Kahlo’s paintings were not only the result of her personal issues, but she looked around at who was painting, what were the trends, the discussions,” says Lozano. He points to her first attempts at avant-garde paintings – 1927’s Pancho Villa and Adelita, and the lost work If Adelita, both of which use sharp, Modernist lines and angles – as proof that “she was looking at trends in Mexican art even before she met Rivera”.
You can also see her interest in Renaissance Old Masters, which she discovered prints of in her father’s library, in early work: it’s suggested her 1928 painting, Two Women (Portrait of Salvadora and Herminia), depicting two maids against a lush, leafy background, was inspired by Renaissance portraiture traditions, as seen in the works of Leonardo da Vinci. Bought in the year it was painted, the location of this work remained unknown until it was acquired by the Museum of Fine Arts, Boston, in 2015.
Given she only made around 152 paintings, a surprising number are lost. But then, Kahlo wasn’t so successful in her lifetime – she didn’t have so many shows, or sell that many works through galleries and dealers. Instead, many of her paintings were sold or given away directly to artists, friends and family, as well as movie stars and other glittering admirers, often living abroad. That means less of a paper trail, making it harder to track down works.
There are some astonishing paintings still missing
In honesty, looking at black-and-white pictures of lost portraits probably isn’t going to prove revelatory to anyone beyond the most hard-core scholars – although there are some astonishing paintings still missing. One lost 1938 image, Girl with Death Mask II, depicts a little girl in a skull mask in an empty landscape; it chills, and we know Kahlo discussed this painting in relation to her sorrow at being unable to conceive. Check your attics, too, for Kahlo’s painting of a horrific plane crash – which we only have a photograph of now – which she’s known to have made in a period of great personal turmoil in the years after discovering her sister’s affair with Rivera in 1935.
Like another of her very well-known paintings, Passionately in Love or A Few Small Nips, depicting a woman murdered by her husband, The Airplane Crash was based very closely on a real-life news report; Lozano’s team have unearthed both original articles in their research. While Kahlo may have been drawn to these traumatic events because she was suffering pain in her own life, her degree of almost documentary precision in external news stories here should not be overlooked.
Kahlo was an avowed Communist, and politically engaged all her life, but it is in less well-known works from the final years of her life where you see this most explicitly emerge. At this time, she suffered a great deal of pain, and underwent many operations, eventually including amputation below the knee. But Kahlo continued painting till 1953, with difficulty but also with renewed purpose. Her biographer Raquel Tibol documented her saying: “I am very concerned about my painting.
More than anything, to change it, to make it into something useful, because up until now all I have painted is faithful portraits of my own self, but that’s so far removed from what my painting could be doing to serve the [Communist] Party. I must fight with all my strength so that the small amount of good I am able to do with my health in the way it is will be directed toward helping the Revolution. That’s the only real reason for living.”
This resulted in works like 1952’s Congress of the Peoples for Peace (which has not been exhibited since 1953), showing a dove in broad fruit tree – and two mushroom clouds, representing Kahlo’s nightmares about nuclear warfare. She became an active member of many peace groups – collecting signatures from Mexican artists in support of a World Peace Council, helping form the Mexican Committee of Partisans for Peace, and making this painting for Rivera to take to the Congress of the Peoples for Peace in Vienna in 1952.
Doves feature in several of her late still lifes – as do an increasing number of Mexican flags or colour schemes (using watermelons to reflect the green, white and red of the flag), suggesting Kahlo’s intention was that her work should show her nationalism and Communism. More uncomfortably, her final paintings include loving depictions of Stalin, as her politics became more militant.
Perhaps her most moving late painting, however, is a self-portrait: Frida in Flames (Self-portrait Inside a Sunflower). It’s harrowing, painted in thick, colourful impasto; shortly before her death, Kahlo slashed at it with a knife, scraping away the paint, frustrated at her inability to make work or perhaps in an acknowledgment that her end was nearing. Tibol, who was witness to this decisive, destructive act, called it “a ritual of self-sacrifice”. “It’s a tremendous image,” says Lozano.
“It’s very interesting in terms of aesthetics – when your body is not working anymore, when your brain is not enough to portray what you want to paint, the only source she’s left with is to deconstruct the image. This is a very contemporary, conceptual position about art: that the painting exists not only in its craft, but also what I think the painting stands for.”
We are left with a painting that is imperfect, certainly a world away from the fine, smooth surfaces and attention to detail of Kahlo’s more famous self-portraits – but it nonetheless is an astonishingly powerful work that deserves to be known. There is something tremendously poignant in an artist so well-known for crafting their own image using their final creative act to deliberately destroy that image. Even in obliterating herself, Kahlo made her work speak loudly to us.
Frida Kahlo: The Complete Paintings is published by Taschen.
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Art & Culture
“Confessions Beneath the Barrel” A city mourns as a poet captures the terror within a man’s own making—a chilling reflection on Karachi’s fractured heart.
Possessed by the devil,
I strode out to do evil.
With enmity written large on my face,
Somebody has to be dad in deaths embrace.
Just yesterday a child became an orphan,
And a couple were worried by the ransoms burden.
The fetters of depression behold the city,
Where everyday criminals like me enter captivity.
Karachi, Karachi of yore
Shall hot surface will not surface
Whilst I trigger my double barrel bore.
At the toughest, most turbulent time of his life, the Post-Impressionist painter was supported by an unlikely soulmate, Joseph Roulin, a postman in Arles. A new exhibition explores this close friendship, and how it benefited art history.
On 23 December, 1888, the day that Vincent van Gogh mutilated his ear and presented the severed portion to a sex worker, he was tended to by an unlikely soulmate: the postman Joseph Roulin.
A rare figure of stability during Van Gogh’s mentally turbulent two years in Arles, in the South of France, Roulin ensured that he received care in a psychiatric hospital, and visited him while he was there, writing to the artist’s brother Theo to update him on his condition. He paid Van Gogh’s rent while he was being cared for, and spent the entire day with him when he was discharged two weeks later. “Roulin… has a silent gravity and a tenderness for me as an old soldier might have for a young one,” Van Gogh wrote to Theo the following April, describing Roulin as “such a good soul and so wise and so full of feeling”.
Paying homage to this touching relationship is the exhibition Van Gogh: The Roulin Family Portraits, opening at the MFA Boston, USA, on 30 March, before moving on to its co-organiser, the Van Gogh Museum, Amsterdam, in October. This is the first exhibition devoted to portraits of all five members of the Roulin family. It features more than 20 paintings by Van Gogh, alongside works by important influences on the Dutch artist, including 17th-Century Dutch masters Rembrandt and Frans Hals, and the French artist Paul Gauguin, who lived for two months with Van Gogh in Arles.
Roulin wasn’t just a model for Van Gogh – this was someone with whom he developed a very deep bond of friendship – Katie Hanson
“So much of what I was hoping for with this exhibition is a human story,” co-curator Katie Hanson (MFA Boston) tells the BBC. “The exhibition really highlights that Roulin isn’t just a model for him – this was someone with whom he developed a very deep bond of friendship.” Van Gogh’s tumultuous relationship with Gauguin, and the fallout between them that most likely precipitated the ear incident, has tended to overshadow his narrative, but Roulin offered something more constant and uncomplicated. We see this in the portraits – the open honesty with which he returns Van Gogh’s stare, and the mutual respect and affection that radiate from the canvas.
A new life in Arles
Van Gogh moved from Paris to Arles in February 1888, believing the brighter light and intense colours would better his art, and that southerners were “more artistic” in appearance, and ideal subjects to paint. Hanson emphasises Van Gogh’s “openness to possibility” at this time, and his feeling, still relatable today, of being a new face in town. “We don’t have to hit on our life’s work on our first try; we might also be seeking and searching for our next direction, our next place,” she says. And it’s in this spirit that Van Gogh, a newcomer with “a big heart“, welcomed new connections.
Before moving into the yellow house next door, now known so well inside and out, Van Gogh rented a room above the Café de la Gare. The bar was frequented by Joseph Roulin, who lived on the same street and worked at the nearby railway station supervising the loading and unloading of post. Feeling that his strength lay in portrait painting, but struggling to find people to pose for him, Van Gogh was delighted when the characterful postman, who drank a sizeable portion of his earnings at the café, agreed to pose for him, asking only to be paid in food and drink.
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Between August 1888 and April 1889, Van Gogh made six portraits of Roulin, symbols of companionship and hope that contrast with the motifs of loneliness, despair and impending doom seen in some of his other works. In each, Roulin is dressed in his blue postal worker’s uniform, embellished with gold buttons and braid, the word “postes” proudly displayed on his cap. Roulin’s stubby nose and ruddy complexion, flushed with years of drinking, made him a fascinating muse for the painter, who described him as “a more interesting man than many people”.
Roulin was just 12 years older than Van Gogh, but he became a guiding light and father figure to the lonely painter – on account of Roulin’s generous beard and apparent wisdom, Van Gogh nicknamed him Socrates. Born into a wealthy family, Van Gogh belonged to a very different social class from Roulin, but was taken with his “strong peasant nature” and forbearance when times were hard. Roulin was a proud and garrulous republican, and when Van Gogh saw him singing La Marseillaise, he noticed how painterly he was, “like something out of Delacroix, out of Daumier”. He saw in him the spirit of the working man, describing his voice as possessing “a distant echo of the clarion of revolutionary France”.
The friendship soon opened the door to four further sitters: Roulin’s wife, Augustine, and their three children. We meet their 17-year-old son Armand, an apprentice blacksmith wearing the traces of his first facial hair, and appearing uneasy with the painter’s attention; his younger brother, 11-year-old schoolboy Camille, described in the exhibition catalogue as “squirming in his chair”; and Marcelle, the couple’s chubby-cheeked baby, who, Roulin writes, “makes the whole house happy”. Each painting represents a different stage of life, and each sitter was gifted their portrait. In total, Van Gogh created 26 portraits of the Roulins, a significant output for one family, rarely seen in art history.
Van Gogh had once hoped to be a father and husband himself, and his relationship with the Roulin family let him experience some of that joy. In a letter to Theo, he described Roulin playing with baby Marcelle: “It was touching to see him with his children on the last day, above all with the very little one when he made her laugh and bounce on his knees and sang for her.” Outside these walls, Van Gogh often experienced hostility from the locals, who described him as “the redheaded madman”, and even petitioned for his confinement. By contrast, the Roulins accepted his mental illness, and their home offered a place of safety and understanding.
The relationship, however, was far from one-sided. This educated visitor with his unusual Dutch accent was unlike anyone Roulin had ever met, and offered “a different kind of interaction”, explains Hanson. “He’s new in town, new to Roulin’s stories and he’s going to have new stories to tell.” Roulin enjoys offering advice – on furnishing the yellow house for example – and when, in the summer of 1888, Madame Roulin returned to her home town to deliver Marcelle, Roulin, left alone, found Van Gogh welcome company.
Roulin also got the rare opportunity to have portraits painted for free, and when, the following year, he was away for work in Marseille, it comforted him that baby Marcelle could still see his portrait hanging above her cradle. His fondness for Van Gogh shines through their correspondence. “Continue to take good care of yourself, follow the advice of your good Doctor and you will see your complete recovery to the satisfaction of your relatives and your friends,” he wrote to him from Marseille, signing off: “Marcelle sends you a big kiss.”
Van Gogh lived a further 19 months, producing a staggering 70 paintings in his last 70 days, and leaving one of art history’s most treasured legacies
Van Gogh’s portraits placed him in the heart of the family home. In his five versions of La Berceuse, meaning both “lullaby” and “the woman who rocks the cradle”, Mme Roulin held a string device, fashioned by Van Gogh, that rocked the baby’s cradle beyond the canvas, permitting the pair the peace to complete the artwork. The joyful background colours – green, blue, yellow or red – vary from one family member to another. Exuberant floral backdrops, reserved for the parents, come later, conveying happiness and affection – a blooming that took place since the earlier, plainer portraits.
Art history has also greatly benefitted from the freedom this relationship granted Van Gogh to experiment with portraiture, and to develop his own style with its delineated shapes, bold, glowing colours, and thick wavy strokes that make the forms vibrate with life. In the security of this friendship, he overturned the conventions of portrait painting, prioritising an emotional response to his subject, resolving “not to render what I have before my eyes” but to “express myself forcefully”, and to paint Roulin, he told Theo, “as I feel him”.
Had Van Gogh not felt Roulin’s unwavering support, he may not have survived the series of devastating breakdowns that began in December 1888 when he took a razor to his ear. With the care of those close to him, he lived a further 19 months, producing a staggering 70 paintings in his last 70 days, and leaving one of art history’s most treasured legacies.
Like the intimate portraits he created in Arles, the exhibition courses with optimism. “I hope being with these works of art and exploring his creative process – and his ways of creating connection – will be a heartwarming story,” Hanson says. Far from “shying away from the sadness” of this period of Van Gogh’s life, she says, the exhibition bears witness to the power of supportive relationships and “the reality that sadness and hope can coexist”.
Van Gogh: The Roulin Family Portraits is at the Museum of Fine Arts, Boston from 30 March to 7 September 2025, and at the Van Gogh Museum, Amsterdam from 3 October 2025 to 11 January 2026.
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Yolande Knell, Middle East correspondent, Reporting fromin Cairo, and Wael Hussein, Reporting fromin Cairo
- Published1 November 2025, 01:19 GMT
Near one of the Seven Wonders of the Ancient World – the Great Pyramid of Khufu at Giza – Egypt is officially opening what it intends as a cultural highlight of the modern age.
The Grand Egyptian Museum (GEM), described as the world’s largest archaeological museum, is packed with some 100,000 artefacts covering some seven millennia of the country’s history from pre-dynastic times to the Greek and Roman eras.
Prominent Egyptologists argue that its establishment strengthens their demand for key Egyptian antiquities held in other countries to be returned – including the famed Rosetta Stone displayed at the British Museum.
A main draw of the GEM will be the entire contents of the intact tomb of the boy king Tutankhamun, displayed together for the first time since it was found by British Egyptologist Howard Carter. They include Tutankhamun’s spectacular gold mask, throne and chariots.
“I had to think, how can we show him in a different way, because since the discovery of the tomb in 1922, about 1,800 pieces from a total of over 5,500 that were inside the tomb were on display,” says Dr Tarek Tawfik, president of the International Association of Egyptologists and former head of the GEM.
“I had the idea of displaying the complete tomb, which means nothing remains in storage, nothing remains in other museums, and you get to have the complete experience, the way Howard Carter had it over a hundred years ago.”
Costing some $1.2bn (£910m; €1.1bn), the vast museum complex is expected to attract up to 8m visitors a year, giving a huge boost to Egyptian tourism which has been hit by regional crises.
“We hope the Grand Egyptian Museum will usher in a new golden age of Egyptology and cultural tourism,” says Ahmed Seddik, a guide and aspiring Egyptologist by the pyramids on the Giza Plateau.
Apart from the Tutankhamun exhibit and a new display of the spectacular, 4,500-year-old funerary boat of Khufu – one of the oldest and best-preserved vessels from antiquity – most of the galleries at the site have been opened to the public since last year.
“I’ve been organising so many tours to the museum even though it was partially open,” Ahmed continues. “Now it will be at the pinnacle of its glory. When the Tutankhamun collection opens, then you can imagine the whole world will come back, because this is an iconic Pharoah, the most famous king of all antiquity.”
“It’s an absolute must-see,” says Spanish tourist, Raúl, who is awaiting the full public opening on 4 November.
“We’re just waiting to go and check out all of the Egyptian artefacts,” says Sam from London, who is on an Egypt tour. “It’s a once in a lifetime opportunity.”
Another British tourist says she previously saw the Tutankhamun exhibits on display at the neoclassical Egyptian Museum in bustling Tahrir Square.
“The old museum was pretty chaotic, and it was a bit confusing,” she comments. “Hopefully the Grand Museum will be a lot easier to take in and I think you will just get more out of it.”
The new museum is colossal, spanning 500,000 square metres (5.4m sq ft) – about the size of 70 football pitches. The exterior is covered in hieroglyphs and translucent alabaster cut into triangles with a pyramid shaped entrance.
Among the GEM showstoppers are a 3,200-year-old, 16m-long suspended obelisk of the powerful pharaoh, Ramesses II, and his massive 11m-high statue. The imposing statue was moved from close to the Cairo railway station in 2006, in a complex operation in preparation for the new institution.
A giant staircase is lined with the statues of other ancient kings and queens and on an upper floor a huge window offers a perfectly framed view of the Giza pyramids.
The museum was first proposed in 1992, during the rule of President Hosni Mubarak, and construction began in 2005. It has now taken nearly as long to complete as the Great Pyramid, according to estimates.
The project was hit by financial crises, the 2011 Arab Spring – which deposed Mubarak and led to years of turmoil – the Covid-19 pandemic, and regional wars.
“It was my dream. I’m really happy to see this museum is finally opened!” Dr Zahi Hawass, Egypt’s former long-time minister of tourism and antiquities, tells the BBC. The veteran archaeologist says it shows that Egyptians are equals of foreign Egyptologists when it comes to excavations, preservation of monuments and curating museums.
“Now I want two things: number one, museums to stop buying stolen artefacts and number two, I need three objects to come back: the Rosetta Stone from the British Museum, the Zodiac from the Louvre and the Bust of Nefertiti from Berlin.”
Dr Hawass has set up online petitions – attracting hundreds of thousands of signatures – calling for all three items to be repatriated.
The Rosetta Stone, found in 1799, provided the key to deciphering hieroglyphics. It was discovered by the French army and was seized by the British as war booty. A French team cut the Dendera Zodiac, an ancient Egyptian celestial map, from the Temple of Hathor in Upper Egypt in 1821. Egypt accuses German archaeologists of smuggling the colourfully painted bust of Nefertiti, wife of Egyptian pharaoh Akhenaten, out of the country more than a century ago.
“We need the three objects to come as a good feeling from these three countries, as a gift, as Egypt gave the world many gifts,” Dr Hawass says.
Another leading Egyptologist, Dr Monica Hanna, names the same objects, “taken under a colonialist pretext”, as ones which must be repatriated. She adds: “The GEM gives this message that Egypt has done its homework very well to officially ask for the objects.”
The British Museum told the BBC that it had received “no formal requests for either the return or the loan of the Rosetta Stone from the Egyptian Government”.
Egyptian Egyptologists voice their excitement about the new museum becoming a centre for academic research, driving new discoveries.
Already, Egyptian conservators based there have painstakingly restored items belonging to Tutankhamun, including his impressive armour made of textiles and leather. According to Egyptian law, such restorations can only be done by Egyptians.
“Colleagues from around the world have been in awe of the fantastic conservation work that has been done,” says Dr Tawfik, adding that the entire project is a source of great national pride. “As well as ancient Egyptian history, we are also showcasing modern Egypt because it’s Egypt that built this museum.”
This article is taken from BBC News https://www.bbc.co.uk/news/articles/ckg4q403rpzo
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