Frida Kahlo was a revolutionary individual. She reacted against the pain she faced throughout her life.
Born on 6th July 1907 in Coyocoan, Mexico City. Even though she declared to be born in 1910 to be a symbol of the Mexican Revolution
Frida, as many Mexican artists working after the Revolutionary decade that began in 1910, was influenced by the nationalistic fervor of the Mexicanidad. These artists rejected European influences and found expressivity in folk tradition, as well as, in their country’s native roots.
She grew up at the Blue House: now a museum dedicated to her life and to Mexican art. The house is blue, like the open sky.
Frida suffered from poor health since she was a child: she caught poliomyelitis when she was six, causing a foot deviation. This is the reason why she wore long skirts. She used to paint self-portraits to depict the subject she knew the most: herself. The portraits often captured her strong brows and deep stare.
As for education, she attended the National Preparatory School of Mexico City in 1922 where she distinguished herself for her bravery, this is where she met Diego Rivera for the first time.
Kahlo joined Los Cachuchas when she was 14, it was a political group named after the peaked cloth caps they wore, as a sign of subversion against the rigid dress code of the period. One of the most influential participants at this party was Gómez Arias, with whom she had a relationship.
In 1925 she was injured badly at a tram crash: her spine, pelvis, and hips were permanently harmed. She had to stay in hospital for a long time, so she started painting in bed, not to think about the pain she was going through.
She reconnected with Diego Rivera in 1928, they were free together traveling the world, fighting for the Mexican Revolution. Although their relationship was conflictual: they both had affairs with other people and were separated a lot of times, but they still always went back together.
It is possible to see Frida’s influences and her artistic process in her personal diary. Frida never stopped expressing herself in the truest way possible, influenced by Surrealism, her mind was an open pond.
Her art was displayed for the first time in 1931 at the yearly meeting of the Women Artist Society, today. Between our items we considered also the photographs displaying Frieda with the exiled Russian revolutionary leader Leon Trotsky. She wanted peace, that’s why she changed her name to Fried(a), to protest against German Nazis. When Frida had a miscarriage, she painted the Henry Ford Hospital (1932) in which the main subjects are her blood and interrupted pregnancies, in this desolate environment, she finds the courage to use blood to nourish plants.
Nickolas Murray was a lover and a good friend for Frida, they had epistolary exchanges since 1937. Murray was a photographer and took more than 60 pictures of Frieda during their 10 years of relationship.
Her portraits became more symbolic when she painted the Broken Column in 1944: the religious imagery and desolate landscape are a mirror of her mental state. She started wearing corsets to protest and offer her truest emotions. Her pain is a constant in all her works.
"I'm not sick. I'm broken. But I'm happy to be alive, as long as I can paint." | 27 April 1953.
The following are the 10 selected items we have picked for the domain of study
This documentary is a journey throughout Frida’s life. It depicts her turbulent but independent existance, her colorful paintings’ vibrancy, her intimacy sphere and the truth behind this iconic character.
This biography, written by the Mexican art critic Raquel Tibol, describes in detail Frida's medical conditions, while also analysing her letters, interviews and journals. This collection reveals Frida’s complexity: from sadness to her immutable creative spirit.
Although her relationship with the Communist Revolutionary, Leon Trotsky, only lasted a few months, the artist was deeply influenced by the Mexicanidad movement. Frida and her husband Diego, hosted Trotsky and his wife. Frida and Trotsky had an affair, but after some time they remained friends. As Stalin’s power grew, Trotsky’s supportered diminuished: he eventually got killed. Frida was questioned about his death but it was stalinist supporter who accomplished the murder. After their affair, Frida painted Trotsky: the Mexican Revolutionist kept on living through her art.
“Feet, what do I need you for when I have wings to fly?” This video from TED is a throughout description of Frida Kahlo’s experiences and sufferings, while also depicting the creative process behind her art.
In this letter to her lover, Frida talks about her illness and her feelings toward the sculptor-painter Marcel Duchamp. She references an upcoming exhibition to be held at Pierre Colle, and her ambition to organize an exhibition in London. She thanked Nickolas for sending her money with a pseudonym, but she also tells him that she has finances and doesn't need help.
La Casa Azul is the ultimate universe of Frida Kahlo. It is the place where she was born and where she spent the majority of her life. It was her intention to leave it as a memorial to herself, that’s why Rivera turned it into a museum after her death. This house contains both artists’ paintings, pre-Columbian sculptures, photographs, books, and clothes (corsets and Tehuana dresses).
In this article, Diego firstly displays the history of the founding cultures of the Pre-hispanic and Spanish periods and the 19th century. Mexican artists reclaimed their independence after colonialism. There were 2 main art streams: those who copied Picasso and Dalì, and those who expressed their personality and mind through art, like Frida did. This article represents one of the first art critics on Kahlo's Art.
In 1925 Frida was injured on a tram accident which crashed on a car at 18 years old. Pain and suffering are a constant topic in Frida’s painting. In this symbolic painting the split in her torso looks like an earthquake fissure. Dressed with a hospital sheet, a broken column is put in place of her spine, looking like she is breaking into pieces. She has tears on her face, but she sends a message of moral triumph.
Nickolas Muray was Kahlo’s friend and longtime lover. He took photos of the mexican artist between 1937 (after 6 years into the relationship) and 1948, they worked together in order to frame and compose the pictures. These 90+ scenes show Kahlo's resilience and individuality, as well as the most vulnerable moments of her life. Her Tehuana dresses are shown often.
Frida’s diary is a collection of notes and drawnings. It was a way of connecting with her own feelings, and conveying her ideas in her artistic practice. Symbolism is present throughout her diary. Blue is the color of electricity and purity, while yellow represented madness, illness, fear, sometimes the sun, and happiness. This online exhibition hosted by Google Arts and Culture keeps Kahlo's memory alive.
The main topic of our project is Frida Kahlo: a Mexican revolutionary painter. The items we have chosen are all relevant in order to tell the truth about her story. The purpose of our conceptual map is to represent the extracted data, all in natural language. This step represents data as extracted from the items and also the relationips between them. All purple nodes in the graph represent the items, while orange nodes represent important events and people related to the main subject.
This second model displays data and relationships from the conceptual map in a more abstracted layer. Here we represent people, dates, subjects, places etc. as entities and the connections between them as relationships.
All standards allow computational modeling, helping mediate through different cultural heritage sources. All standards refer to cultural works.
The documentary hosted by Imdb-online informative database links television series, home video and television content online- we chose to use Schema.org because it is an appropriate schemas to deal with cinematographic items. Regarding the bibliography, it was under the Internet archive institution, it followed MARC standard.
As for Trotsky and Kahlo photography, the representation of Wikimedia Commons doesn’t follow any specific standard, hence we chose CIDOC-CRM suited for archival data. The portrait of Frida Kahlo is held by the MET Museum: an institution that adopts the CCRel license properties, but enhanced through Getty vocabularies; for this reason we selected CDWA to be the fittest standard. The Ted Educational Video is present both on Youtube and Ted-Talk: these institutions don’t follow any specific standard, but we decided to opt for the highly general Dublin Core standard.
The Diary is both an exhibition and an object itself, we chose the exhibition as an item event, being hosted on Google Arts and Culture, the museum "La casa Azul" did not have a standard, so we chose to adopt CCO- Catalogue for Cultural Objects: content standard for the descriptionof works of art, architecture and material culture. Its attempt is that of meeting the needs of both usual resources and museum communities.
The letter held by the American Archive of Arts, but we could not find their used metadata standard, so we decided to use the MARC standard to represent it; while the museum represented by ISNII follows Marc21.
As for the Article we e-mailed ICAA to know their adopted standard, they were under the supervision of Getty vocabularies for property choices, so we decided to adopt CDWA.
The order of metadata standards is equal to their relevancy to the project. In order to display the standards we retrieved ourselves we have displayed them with a (*).
Item | Type | Source | Metadata Standard |
---|---|---|---|
Documentary on Frida Kahlo | Documentary | IMDB | Schema.org |
Biography of Frida Kahlo | Book | Internet Archive | MARC-XML |
Photo of Kahlo and Trosky | Photo | Wikimedia Commons | CIDOC-CRM* |
Ted-Ed on Frida Kahlo | Video Object | Youtube/TED-Ed | Dublin Core* |
Frida Kahlo's letter to Nickolas Murray | Correspondence | American Archive of Arts | MARC* |
Frida Kahlo Museum | Building | International Standard Name Identifier | MARC21 |
Article by Diego Rivera | Article | International Center For The Arts Of The Americas | CDWA |
The Broken Column | Painting | Museo Dolores Olmedo | CDWA* |
Frida Kahlo portrait | Photo | MET Museum | CDWA* |
Frida Kahlo's Diary | Book | Google Arts and Culture/ La Casa Azul | CCO* |
After having found the linked institutions and corresponding standard, this last fundamental step allows the final description and interconnection between items. The whole purpose of this project was to adopt shared semantic ontologies in order to deliver coherent data.
Regarding the standards, where we could not find the metadata alignement we wrote N/A on the table below.
Property | Dublin Core | CDWA | Schema.org | Marc/Marc21 | CCO | CIDOC-CRM |
---|---|---|---|---|---|---|
Creator | dcterms:creator | Creator Description Creator Identity Creator Role | creator | 100 - Main Entry - Personal Name | Creator display Creator Extent | E39 Creator P94 has created (was created by) P14 carried out by (performed) |
Contributor | dcterms:contributor | Creator Description Creator Identity Creator Role | contributor | 511 - Participant or Performer | Role | N/A |
Ownership | dcterms:provenance | Owner/Agent Owner/Agent Role | N/A | 600 - Subject Added Entry - Personal Name | N/A | P52 has current owner (is current owner of) P51 has former or current owner (is former or current owner of) |
Publisher | dcterms:publisher | Creator Description Creator Identity Creator Role | publisher | 710 - Added Entry - Corporate Name | N/A | N/A |
Property | Dublin Core | CDWA | Schema.org | Marc/Marc21 | CCO | CIDOC-CRM |
---|---|---|---|---|---|---|
Rights | dcterms:rights | Copyright Statement Copyright Holder Name | license | 561 - Ownership and Custodial History | N/A | E30 Right |
Title Variant | dcterms:alternative | Preference | alternateName | 246 - Variation form of title | Title Type | N/A |
Title | dcterms:title | Title Text | name | 240 - Uniform Title | Title | E35 Title P102 has title (is title of) |
Type | dcterms:type | Classification Term | category | 336 - Content Type | Type | E55 Type |
Subject | dcterms:subject | Subject Display | about | 072 - Subject Category Code | Subject | P129 is about (is subject of) P104 is subject to (applies to) |
Physical Description | dcterms:medium | Dimensions Type Dimensions Description | materialExtent | 300 - Physical Description | Measurements display Materials and Techniques display Physical Description | E16 Measurement E54 Dimension |
Language | dcterms:language | Inscription Language | inLanguage | 377 - Associated Language | Language | E56 Language P72 has language (is language of) P43 has dimension (is dimension of) |
Identifier | dcterms:identifier | Repository Numbers Number Type | identifier | 003 - Control Number Identifier | N/A | E42 Identifier P35 has identified (was identified by) |
Format | dcterms:format | Format/Size | encodingFormat | 006 - Fixed-Length Data Elements | Format | E26 Physical Feature |
Event | dcterms:event | Historical/Cultural Events | event | N/A | Event | E5 Event |
Description | dcterms:description | Descriptive Note Text Abstract Description | description | 300 - Physical Description | Description | N/A |
Property | Dublin Core | CDWA | Schema.org | Marc/Marc21 | CCO | CIDOC-CRM |
---|---|---|---|---|---|---|
Location | dcterms:spatial | Place Qualifier | spatial | 852 - Location | Place/Location | E53 Place E94 Space Primitive |
Creation Location | N/A | Creation Place/Original Location Place Qualifier | locationCreated | 260 - Publication, Distribution, etc. (Imprint) | Creation Location | P168 place is defined by (defines place) |
Collection | dcterms:isPartOf | Work Broader Context | isPartOf | 830 - Series Added Entry - Uniform Title | N/A | E78 Curated Holding |
Depicted Location | dcterms:subject | Current Location Description | contentLocation | 850 - Holding Institution | Current Location display | P74 has current or former residence (is current or former residence of) |
Property | Dublin Core | CDWA | Schema.org | Marc/Marc21 | CCO | CIDOC-CRM |
---|---|---|---|---|---|---|
Creation Date | dcterms:created | Creation Date Date Qualifier | dateCreated | 388 - Time Period of Creation | Display Date Earliest Date Latest Date Date Qualifier | E4 Period E52 Time-Span |
Publication Date | dcterms:created | Creation Date Date Qualifier | datePublished | 362 - Dates of Publication and/or Sequential Designation | Display Date Earliest Date Latest Date Date Qualifier | E4 Period E52 Time-Span |
The theoretical model displays a new level of interpretation. The model is enriched with information from the Web. The goal is to answer these questions:
From natural language to an Entity/Relationships model again. Similar to the previous E/R model additional information is inserted.
Finally we reach the deepest level of abstraction through this formal representation. This model is ontological because it represent entities and relationships according to the final adopted standards and classes of the corresponding institutions. The adopted properties are drawn from existant schemas, ontologies and vocabularies.
In the knowledge representation part we will be creating new data based on the items we have selected. We produce a table for each item where we produce statements in the form of subject-predicate-object.
In order to download the table information in csv format, please click on download table button placed at the bottom of each table
Subject | Predicate | Object |
---|---|---|
Documentary | cdwa:classification term | Documentary |
Documentary | dcterms:created | 2020 |
Documentary | dcterms:creator | Ali Ray |
Documentary | dcterms:creator | Phil Grabsky |
Documentary | dcterms:creator | Díana Bermudez |
Documentary | Schema:About | Kahlos family members |
Documentary | Schema:hasPart | Frida's letters |
Documentary | Schema:About | Frida Kahlo |
Documentary | dcterms:extent | 90 minutes |
Subject | Predicate | Object |
---|---|---|
Biography | dcterms:title | Frida Kahlo: An Open Life |
Biography | dcterms:type | Book |
Biography | dcterms:created | 1993 |
Biography | Schema:Author | Raquel Tibol |
Biography | dcterms:isPartOf | HathiTrust Digital Library |
Biography | Schema:publishedBy | Albuquerque: University of New Mexico Press |
Biography | dcterms:language | Englih |
Biography | Schema:About | Frida Kahlo |
Subject | Predicate | Object |
---|---|---|
Trotsky and Kahlo Photo | dcterms:title | Frida Kahlo and Trotsky |
Trotsky and Kahlo Photo | dcterms:type | Photo |
Trotsky and Kahlo Photo | dcterms:created | January 24, 1937 |
Trotsky and Kahlo Photo | cdwa:creator identity | Bettman |
Trotsky and Kahlo Photo | Schema:about | Leon Trotsky |
Trotsky and Kahlo Photo | Schema:about | Natalia Sedova |
Trotsky and Kahlo Photo | Schema:about | Frida Kahlo |
Subject | Predicate | Object |
---|---|---|
Ted-Ed | cdwa:title text | Frida Kahlo: The woman behind the legend |
Ted-Ed | CRM:P55 has current location | YouTube |
Ted-Ed | dcterms:language | English |
Ted-Ed | dcterms:created | 2019 |
Ted-Ed | dcterms:type | Educational Video |
Ted-Ed | dcterms:creator | Iseult Gillespie |
Ted-Ed | Schema:About | Frida Kahlo |
Ted-Ed | dcterms:extent | 3 minutes, 54 seconds |
Subject | Predicate | Object |
---|---|---|
Letter to Nickolas Muray | dcterms:title | Frida Kahlo, Paris, France letter to Nickolas Muray, New York, N.Y. |
Letter to Nickolas Muray | dcterms:type | Correspondence |
Letter to Nickolas Muray | dcterms:created | 1939 |
Letter to Nickolas Muray | CRM:P55 has current location | Archives of American Art, Smithsonian Institution |
Letter to Nickolas Muray | dcterms:language | English |
Letter to Nickolas Muray | Schema:Author | Frida Kahlo |
Letter to Nickolas Muray | CRM:P26 moved to | Nickolas Muray |
Letter to Nickolas Muray | CRM:P67 refers to | Marcel Duchamp |
Letter to Nickolas Muray | Schema:hasPart | André Bréton, illness |
Subject | Predicate | Object |
---|---|---|
Kahlo Museum | dcterms:title | Casa Azul |
Kahlo Museum | CRM49:has former or curator | Mexican Government |
Kahlo Museum | dcterms:type | Art Museum |
Kahlo Museum | cdwa:creation date | 1957 |
Kahlo Museum | dcterms:creator | Carlos Pellicer |
Kahlo Museum | CRM:P19 was intended use of (was made for) | Kahlo's Home |
Kahlo Museum | Schema:Offer | Frida Kahlo |
Subject | Predicate | Object |
---|---|---|
Diego Rivera's Article | dcterms:title | Frida Kahlo y el arte mexicano |
Diego Rivera's Article | dcterms:type | Journal Article |
Diego Rivera's Article | dcterms:created | 1943 |
Diego Rivera's Article | dcterms:language | Spanish |
Diego Rivera's Article | CRM:P55 has current location | Instituto de investigaciones Bibliográficas |
Diego Rivera's Article | Schema:About | Frida Kahlo |
Subject | Predicate | Object |
---|---|---|
The Broken Column | dcterms:title | The Broken Column |
The Broken Column | CRM:P90 has value | 40cmx30.7cm |
The Broken Column | cdwa:subject display | Pain and Streght |
The Broken Column | Schema:About | Frida's Spinal surgery |
The Broken Column | dcterms:type | Painting |
The Broken Column | dcterms:type | Oil on basonite |
The Broken Column | dcterms:created | 1944 |
The Broken Column | CRM:P55 has current location | Museo Dolores Olmedo Patino |
The Broken Column | dcterms: creator | Frida Kahlo |
Subject | Predicate | Object |
---|---|---|
Frida Kahlo Portrait | Schema:About | Frida Kahlo |
Frida Kahlo Portrait | dcterms:created | 1939 |
Frida Kahlo Portrait | CRM:P55 has current location | MET Museum |
Frida Kahlo Portrait | cdwa:classification term | Photograph |
Frida Kahlo Portrait | dcterms:title | Frida Kahlo |
Subject | Predicate | Object |
---|---|---|
Frida Kahlo's Diary | CRM:P65 is shown by | A peek at Frida's diary |
Frida Kahlo's Diary | dcterms:type | Biographic |
Frida Kahlo's Diary | dcterms:type | Online Exhibition |
Frida Kahlo's Diary | CRM:P55 has current location | Google Arts&Culture |
Frida Kahlo's Diary | dcterms:creator | Museo Dolores Elmedo |
Frida Kahlo's Diary | Schema:Author | Frida Kahlo |
In this step we select 4 items from our given list as RDF subjects: La Casa Azul, the Portrait, the Biography and the Documentary. We create the following URIs to describe the items and their significant entities
https://w3id.org/fridakahlolodchamber
https://w3id.org/fridakahlolodchamber/item/casa-azul
https://w3id.org/ fridakahlolodchamber/item/frida-kahlo-portrait
https://w3id.org/ fridakahlolodchamber/item/frida-kahlo-an-open-life
https://w3id.org/ fridakahlolodchamber/item/documentary-frida-kahlo
https://w3id.org/ fridakahlolodchamber/place/mexico
https://w3id.org/ fridakahlolodchamber/place/new-york
https://w3id.org/ fridakahlolodchamber/language/english
https://w3id.org/ fridakahlolodchamber/year/1939
https://w3id.org/ fridakahlolodchamber/year/1957
https://w3id.org/ fridakahlolodchamber/year/1993
https://w3id.org/ fridakahlolodchamber/year/2020
https://w3id.org/ fridakahlolodchamber/person/nickolas-muray
https://w3id.org/ fridakahlolodchamber/person/frida-kahlo
https://w3id.org/ fridakahlolodchamber/person/carlos-pellicer
https://w3id.org/ fridakahlolodchamber/person/raquel-tibol
https://w3id.org/ fridakahlolodchamber /person/ali-ray
https://w3id.org/ fridakahlolodchamber /person/phil-grabsky
https://w3id.org/ fridakahlolodchamber/institution/met-museum
https://w3id.org/ fridakahlolodchamber/institution/mexican-government
https://w3id.org/ fridakahlolodchamber/institution/hathitrust-digital-library
https://w3id.org/ fridakahlolodchamber/institution/albuquerque-university-of-new-mexico-press
In this step we use the URIs that were produced in the previous step and produce RDF statements in the form of triples according to turtle serialization. These statements also include other authorities and sources which we link to our existing item's data.
Finally, below is the visualization of the RDF statements to have a better understanding of the knowledge
Here is the team that worked on the project