Frida Kahlo's Self-Portrait with Monkey: Analysis

Introduction

Self-Portrait with Monkey by Frida Kahlo was painted in 1938. The work is an oil on masonite painting commissioned by Conger Goodyear, who served as the head of the Museum of Modern Art in New York City (PBS, 2005). Frida painted numerous self-portraits throughout her career, but this one depicted something unique about the artist: the monkey perched just behind her shoulder represented a kind of protective spirit. Frida herself has a look in her eyes that warns the viewer not to try to fool her — for she sees everything that everyone is up to. This paper explains the self-portrait and what its content, composition, and style communicate to the viewer.

Content, Composition, and Style

In terms of content, Frida's self-portrait with monkey communicates something important and special about the artist herself. As Lazzari and Schlesier (2017) note, Frida Kahlo's self-portrait reveals "the inner self of a unique, deeply feeling person" (p. 322). It is not just the person depicted in the portrait that shows the personality of the artist, but also the surroundings — the foliage and the monkey — and the style in which her hair is braided: all of it communicates a message to the viewer and suggests something about the artist that Kahlo herself wanted to express.

The foliage represents her roots in Mexico. The monkey — a symbol of lust — represents her spirit and free soul. Her stern glare represents her unapologetic stance. Zamora (1993) points out that the nature of Kahlo — her personality — is evident in this painting. Although there is no secret smile playing on her lips the way one plays on the lips of the Mona Lisa by Leonardo, Kahlo's stern face and pursed lips serve as a contrast to the full foliage and the amusing monkey perched delightfully upon her shoulder, one paw thrown over the artist's other shoulder. In the image is the suggestion that Frida was being very still and reserved while posing for the public — yet she wanted everyone to know that her spirit animal, the monkey, was ready to play, and that her heart was tied to the land, to Mexico, and to the people.

Indeed, Frida considered herself part of the peasant class, which is indicated by the way her hair is braided in the self-portrait — a common style worn among that class (Lazzari & Schlesier, 2017). Moreover, she herself had a peasant-class type of soul: she "was delighted by dirty words and phrases, she had a malicious, intelligent sense of humor that brought smiles to her lips, smiles that [ironically] never appear in her self-portraits" (Zamora, 1993, p. 9). People remembered her for being "sweet and tender" and also for being brave (Zamora, 1993, p. 9). She made no effort to present herself to the world in a way that conformed to conventional rules and norms. She stated, "I like myself the way I am" (Zamora, 1993, p. 10) — and that is why in her self-portrait she is so steadfast, so focused, so zeroed in on the eyes of the viewer, confirming that she will be who she will be, and that is all there is to it.

In terms of composition, the painting uses color to create an exotic mood: the lush greenery of the background gives the portrait a vivid brightness that couples with the rich, dark blue of the sky and contrasts with the deep black of the hair and the monkey. The whiteness of the dress is reflected in the white vines just over the rear of the left shoulder. The full, dark red lips cap off the rich vibrancy and full-bodied hue of the color scheme. Blues, greens, reds, blacks, and whites — these are bold, primarily primary colors — and they reflect the boldness of Frida's own spirit.

In terms of style, the painting can be considered a work of fine art, as it was commissioned by the Museum of Modern Art to be housed among its collections. Kahlo had already won fame as a modern artist, and her reputation stretched far and wide — both as a painter and as a person. To own a painting by Kahlo was considered to own a work of fine art.

Conclusion

Frida Kahlo's Self-Portrait with Monkey is a work that dares one to look back. At first, the viewer may feel shy or tempted to turn away. The viewer may feel put off by the boldness of the colors or by the sternness of the subject's gaze. However, if the viewer dares to meet Kahlo's gaze, he or she is likely to feel drawn into it — and drawn into the wild, animal spirit hovering all around her. She is calm and self-composed, but one can feel the electric energy pulsating through the composition, its colors, and its content.

References

Lazzari, M., & Schlesier, D. (2017). Exploring art: A global, thematic approach. Boston: Nelson.

PBS. (2005). Self-portrait with monkey. Retrieved from https://www.pbs.org/weta/fridakahlo/worksofart/monkey.html

Zamora, M. (1993). Frida Kahlo: Brush of anguish. Chronicle Books.