“Painted in blue, inside of out, it appears to be to host a bit of sky,” modernist Mexican poet Carlos Pellicer once wrote of La Casa Azul, the longtime residence of Frida Kahlo. It is where the artist was born, the place she grew up, and exactly where she returned as her career as a earth-well-known artist flourished at the exact same time as her relationship with Diego Rivera fell aside. And it’s where, at the age of 47, she died from pulmonary embolism following a unpleasant lifetime plagued with health and fitness challenges. La Casa Azul wasn’t just her home, it was the “artistic and aesthetic universe that nurtured Kahlo’s work,” explains art background expert Luis-Martín Lozano.
When Lozano wrote Frida Kahlo: The Entire Paintings*—*a in depth chronicle that pairs in-depth analyses of Kahlo’s is effective with intimate facts from her personalized diaries and archives, released this September by Taschen—he knew her tale wasn’t total with out that of her dwelling. So tucked within its substantial web pages are many fascinating and hardly ever-ahead of-viewed pictures of the cobalt compound.
Some images exhibit off its character-stuffed, eccentric interior detailing: Kahlo adorned Casa Azul with everything from historic Aztec artifacts to indigenous plants and Beaux Arts objets uncovered at flea markets. Some others clearly show the artist present in her personal oasis, Rivera normally by her aspect. (“The photographs of Kahlo and Rivera in the Casa Azul invite the reader into this remarkable and complicated romantic relationship,” claims Lozano.)
As a result, the reader receives an unprecedented glimpse into the historical haven of not only Kahlo and Rivera, but a whole cohort of the mid-20th century’s unstable vanguard: Trotsky lived there for two several years soon after his expulsion from Russia and, for a limited period of time, so did Nobel Prize in Literature winner Octavio Paz. “Kahlo created an idyllic and aesthetic ecosystem at the Casa Azul,” says Lozano. “It was a distinctive, cosmopolitan environment and a vision of common tradition.”
Now, La Casa Azul is museum. Thousands flock there each day to wander all over its ten rooms. Some have been retrofitted into gallery areas, when other folks are created to look the identical as they have been when Kahlo died in 1954. With Kahlo’s virtually mythical status as an artist—“Fridamania” is even now going sturdy, even nearly 70 several years just after her death—for lots of, a take a look at is nearly a spiritual knowledge: “La Casa Azul has turned into rather of a pilgrimage of persons seeking to face Kahlo herself,” Lozano suggests. “The photos in the reserve make it possible for the reader to definitely enter this universe.”
Underneath, see photos of Casa Azul—many of which have never ever been witnessed before.