Después
de que Frida Kahlo descubriera que su amado esposo Diego Rivera había conducido
un romance con su hermana menor Cristina, pintó "The Wounded Table" y
luego desapareció.
Desde el principio, la relación de Frida
Kahlo y Diego Rivera fue una mezcla excepcional de pasión y turbulencia. Sólo
unos días después de la reunión, el famoso muralista mexicano inició un romance
con el estudiante de arte de 18 años de edad, de 20 años de edad. Su historia
de amor de tres décadas se convertiría en uno de los mejores romances de la
historia del arte. -No lo sabía entonces, pero Frida ya se había convertido en
el hecho más importante de mi vida. Y seguiría siendo, hasta el momento en que
murió, veintisiete años más tarde ", escribió Rivera después de conocer a
la adulta Frida durante sólo unos días. (Rivera pronto reconoció a Frida como
la misma niña que lo había visto atentamente mientras pintaba un mural varios
años antes). Pero mientras que eran los amores más grandes de cada uno,
encontraron más que algunas colisiones de camino a través de sus vidas juntas.
Rivera era un mujeriego notorio y sin remordimientos; Kahlo respondió en
especie, llevando a cabo enlaces ilícitos de su propia que supuestamente
incluyó tristes con el revolucionario comunista Leon Trotsky y la famosa
bailarina Isadora Duncan. La agitación emocional de su matrimonio y su amor a
Rivera inspiraron gran parte del trabajo de Kahlo, incluyendo “The Wounded
Table”, una de las piezas más grandes e intrincadas del artista que no se ha
visto desde que desapareció a mediados de los años cincuenta. La primera década
del matrimonio Rivera-Kahlo tuvo muchos altibajos. La pareja viajó por el mundo
mientras Rivera estaba de fiesta por su cada vez más reconocido trabajo y las
pinturas de Kahlo comenzaron a llamar la atención. Kahlo luchó con la pérdida
de dos embarazos y la realización de que ella no iba a ser capaz de tener un
hijo debido a las lesiones graves que sufrió cuando era joven, las lesiones que
en última instancia, dejarla lisiada y en la necesidad de innumerables cirugías
sobre el Curso de su vida. Y, por supuesto, a pesar de su eterno fervor el uno
por el otro, cada uno tenía dalliances en el lado. Pero Rivera llevó sus
infidelidades un paso demasiado lejos. Kahlo descubrió que su amado esposo
había conducido un romance con su hermana menor Cristina. A finales de 1939,
los dos decidieron divorciarse. En última instancia, Rivera y Kahlo no podrían
permanecer separados, el divorcio sólo duró un año. Pero la división sacudió la
vida de Kahlo hasta su núcleo y dio lugar a su pintura emocional, The Wounded
Table, creada para la Exposición Internacional del Surrealismo en la Ciudad de
México en 1940.
Diego era el motor de su vida. No es una
cosa feminista decir, y las feministas la hicieron una heroína. Pero de hecho
ella lo adoraba, estaba perdida sin él ", dijo la historiadora de arte
Frances Borzello en un video para Lost Art, un proyecto de la Tate en Londres.
“La tabla herida” es un guiño a la última cena de Leonardo da
Vinci, con las figuras en la pintura que miran fijamente hacia fuera el
espectador detrás de una tabla de madera que es apoyada por lo que parecen ser
piernas humanas con los tendones y el hueso expuestos. Kahlo se pintó en el
centro de la mesa en la posición del mártir.
Ella está vestida en traje tradicional
del folk con su pelo negro largo característico y unibrow prominente. La sangre
se filtra por los cortes en la mesa, se agita en el suelo junto a su falda
blanca y cae por la cara de la figura a su derecha.
Ese hombre, destinado a significar a
Judas, está vestido con overoles que lo identifican como Rivera. A la izquierda
de Kahlo hay una escultura azteca y un esqueleto. Las cuatro figuras están
entrelazadas, con el cabello del pintor envuelto alrededor de la mano del
esqueleto, el brazo derecho de la escultura cruzando su frente para fundirse
con su propio brazo derecho, y el brazo gigante de Rivera le cubría
posesivamente el hombro. Las únicas figuras que se destacan de este cuadro son
las de su querida sobrina y sobrino que parecen jóvenes e indemnes en el lado
derecho de la mesa, y un cervatillo similarmente inocente que mira al
espectador desde la izquierda. La imagen es teatral, con cortinas rojas
gigantes atadas a cada lado como si la escena se llevara a cabo en el escenario
contra un telón de fondo de cielos tempestuosos y plantas indígenas, un motivo
común en la obra de Kahlo. "La Tabla Herida es ante todo un cuadro de
traición", dijo Borzello. Ella nunca quiso lástima. Ella es desafiante
después del divorcio. Ella dice que puedo hacer estas cosas gigantes, puedo
hacer cualquier cosa. Se puede ver que ha alcanzado realmente una madurez.
" Kahlo trabajó frenéticamente para terminar la pintura a tiempo para la
exposición de Ciudad de México, pero, una vez allí, no estaba enteramente satisfecho
con su recepción. "Desafortunadamente, no creo que mi trabajo haya
interesado a nadie. No hay razón por la que deberían estar interesados y
mucho menos que yo deba creer que lo son ", escribió Kahlo en una carta a
Rivera.Menos de un año después de su divorcio, Kahlo y Rivera reavivaron su
romance y se casaron de nuevo a finales de 1940 en San Francisco. Un trove de
cartas personales descubierto en 2004
After Frida Kahlo
discovered that her beloved husband Diego Rivera had conducted an affair with
her younger sister Cristina, she painted ‘The Wounded Table.’ Then it
disappeared.
From the beginning, Frida Kahlo and Diego Rivera’s
relationship was an exceptional blend of passion and turbulence. Only a few
days after meeting, the famous Mexican muralist began an affair with the 18-year-old
art student 20 years his junior. Their three-decade love story would go on to
become one of the greatest romances in the history of art.
“I did not know it then, but Frida had already become the
most important fact in my life. And she would continue to be, up to the moment
she died, twenty-seven years later,” Rivera wrote after knowing the adult Frida for only
a few days. (Rivera soon recognized Frida as the same young girl who had
watched him intently as he painted a mural several years earlier.)
But while they were each others’ greatest loves,
they encountered more than a few road bumps throughout their lives together.
Rivera was a notorious and unapologetic womanizer; Kahlo responded in kind,
conducting illicit liaisonsof
her own that allegedly included trysts with communist revolutionary Leon Trotsky and famed dancer Isadora Duncan.
The emotional turmoil of her marriage and her all-consuming
love for Rivera inspired much of Kahlo’s work, including The Wounded Table, one of the
artist’s biggest and most intricate pieces that hasn’t been seen since it
disappeared in the mid 1950s.
The first decade of the Rivera-Kahlo marriage had many ups
and downs. The couple traveled the world as Rivera was feted for his
increasingly renowned work and Kahlo’s paintings started to gain attention.
Kahlo struggled with the loss of two pregnancies and the
realization that she wasn’t going to be able to have a child due to severe
injuries she suffered when she was young, injuries that would ultimately leave
her crippled and in need of countless surgeries over the course of her life.
And, of course, despite their undying fervor for each other, they each had
dalliances on the side.
But Rivera took his infidelities one step too far. Kahlo
discovered that her beloved husband had conducted an affair with her younger
sister Cristina. At the end of 1939, the two decided to divorce.
Ultimately, Rivera and Kahlo wouldn’t be able to stay
apart—the divorce only lasted a year. But the split shook Kahlo’s life to its
core and resulted in her emotional painting, The Wounded Table,
created for the International Exhibition of Surrealism in Mexico City in 1940.
“Diego was the motor of her life. It’s not a feminist thing
to say, and the feminists made her a heroine. But in fact she adored him, she
was lost without him,” said art historian Frances Borzello in a video for Lost Art, a project of the Tate in
London.
The Wounded Table is a nod to Leonardo da Vinci’s The Last Supper, with the
figures in the painting staring out at the viewer from behind a wooden table
that is supported by what appear to be human legs with exposed tendons and
bone. Kahlo painted herself in the center of the table in the position of the
martyr.
She’s dressed in traditional folk attire with her
characteristic long black hair and prominent unibrow. Blood seeps out of cuts
in the table, pools on the ground next to her full white skirt, and drips down
the face of the hulking figure to her right.
That man, meant to signify Judas, is dressed in overalls
that identify him as Rivera. To Kahlo’s left are an Aztec sculpture and a
skeleton. All four figures are intertwined, with the painter’s hair wrapped
around the skeleton’s hand, the sculpture’s right arm reaching across her front
to fuse with her own right arm, and the giant arm of Rivera draped over her
shoulder possessively.
The only figures who stand apart from this tableau are those
of her beloved niece and nephew who appear young and unscathed on the right
side of the table, and a similarly innocent fawn that stares out at the viewer
from the left.
The image is a theatrical one, with giant red curtains tied
back on either side as if the scene is taking place on stage against a backdrop
of stormy skies and indigenous plants,
a common motif in Kahlo’s work.
“The Wounded Table is
first and foremost a painting of betrayal,” Borzello said. “She never wanted to
be pitied. She’s defiant after the divorce. She’s saying I can do these giant things,
I can do anything. You can see she’s achieved really a maturity.”
Kahlo worked frantically to finish the painting in time for
the Mexico City exhibition, but, once there, she wasn’t entirely pleased with
its reception. “Unfortunately, I don’t believe my work has interested anyone.
There’s no reason why they should be interested and much less that I should
believe that they are,” Kahlo wrote in a letter to Rivera.
Less than a year after their divorce, Kahlo and Rivera
rekindled their romance and were married again in late 1940 in San Francisco.
A trove of personal letters discovered in 2004 revealed that Kahlo’s doctor
helped convince the artist to return to the love of her life—and also that
Rivera wasn’t going to change his womanizing ways.
“Diego loves you very much, and you love him. It is also the
case, and you know it better than I, that besides you, he has two great loves:
1) painting 2) women in general. He has never been, nor ever will be,
monogamous,” Dr. Leo Eloesser wrote to Kahlo. The two would remain married
until Kahlo’s death in 1954 at the age of 47.
But while their love was saved, the fate of The Wounded Table was not quite so lucky. In 1946, Kahlo handed the
painting over to the
Russian Ambassador to Mexico; it was last seen at an exhibition in Warsaw in
1955. From there, no one knows what happened to the piece and it has since been
classified as lost.
After Kahlo’s death, her work dramatically increased in
popularity and she attained something of a cult following. In 2016, Kahlo’s
painting Dos Desnudos en el
Bosque (La Tierra Misma) sold
for $8 million, making her one of the top 10 most expensive women artists of
2016 according to artnet News.
So, any Kahlo paintings that turn up are sure to be met with
eager interest, and as with all lost art, there’s hope that one day it will be
found. Maybe it will be discovered in the corner of a museum basement or a home
attic where it was stashed away and forgotten all these years, maybe in a
shipping crate that was thought empty and overlooked since that Polish
exhibition decades ago.
But, if it does turn up, that doesn’t mean it will be all
smooth sailing for The Wounded
Table. One major question remains: Who actually owns the painting?
Little is known about the deal Kahlo made with the Russian
ambassador. What was surely just an administrative detail to the artist at the
time has become a larger question as the specifics of that agreement have been
lost with her death. Did the artist entrust the painting to the ambassador
merely as a loan for a few years? Or was it a gift from Kahlo, an avowed
communist supporter, to the motherland? Without knowing the answers to these
questions, there’s sure to be a major fight for the painting if it ever does
resurface.
Until then, we are left with only a few images of the
painting that were taken before it vanished and the trove of love letters and
paintings by Kahlo and Rivera that have kept their love alive long past their
deaths.
As Frida once wrote to Diego, “I sing, sang, I’ll sing
from now on our magic—love.”
Allison
McNearney
is a
freelance editor and writer based in New York City. Previously, she was editor
of BeastStyle and Deputy Managing Editor of The Daily Beast.
