In Who Was Her Own Work of Art? Terry Blas (writer) and Ashanti Fortson (illustrator) provides a colorful snapshot of Frida Kahlo’s rise to recognition, centering largely around her decision to pursue a solo art career and bring her work to a global audience. When Blas’s story begins, Frida Kahlo is at the cusp of her breakout into the art world. She calls the likes of Georgia O’Keefe and Marcel Duchamp friends, yet struggles to step out of her muralist husband’s shadow, constantly being addressed as “Mrs. Rivera.”
Who Was Her Own Work of Art not only provides an engaging introduction to Frida Kahlo’s life and art, but also dips its toes into nuanced topics such as class divisions, mixed heritage, and difficult marriages. Frida’s keen observations about the world around her are illustrated through subtle reactions and overheard conversations, creating ample opportunity for its young readers to engage in critical thinking.
It also dips its toes into nuanced topics such as class divisions, mixed heritage, and difficult marriages.
The first fully illustrated page of Who Was Her Own Work of Art? offers an image of Frida Kahlo that gives the reader a taste of what is to follow. Frida sits at a table with her back mostly turned, her attention fully on the work in front of her. Ashanti Fortson’s gorgeous illustrations capture the lush warmth and sanctuary of La Casa Azul, Frida’s home and workspace in Coyoacán, which I was lucky enough to visit myself last April. Fortson’s delicate perspective allows us to watch Frida from a distance enough to observe her artistry without encroaching, an approach that remains consistent throughout the book as Blas’ handling of Frida decidedly refuses the tendency to frame Kahlo as an artist who paints nothing but her own pain and trauma.
Aptly, the first voice we hear is not Frida’s, but her husband, Diego Rivera. The complicated relationship between Frida Kahlo and Diego Rivera is one that may often be swept under the rug in texts meant for young readers, but Blas effectively adapts the complexity of the marriage for his audience.
The interactions between husband and wife delicately straddle the line between Frida’s desire for Diego’s approval and her desire not to be chained to her description as “Diego’s German-Mexican wife who likes to paint.”
Who Was Her Own Work of Art? is as educational as it is narratively and aesthetically delicious. Blas effortlessly weaves bios on notable figures or art movements into the story, giving young readers an understanding of how this snapshot of Frida’s life fits into a larger context. Further, the bibliography highlights texts that are intended for young readers, opening the door for curious young minds to delve deeper into Frida and her legacy as a Mexican artist. I would heartily recommend this book to young readers interested in art history and important female figures, and to Frida fans old and new.
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