Self-Portrait in a Velvet Dress

Introduction

Frida Kahlo painted Self-Portrait in a Velvet Dress in 1926 and gave it to Alejandro Gómez Arias, asking him to hang it low enough to look at as though he were looking at her. The dark-red figure and blue-green moving background make a carefully composed encounter, not simply a record of how she looked after the accident of 1925. Words on the back—her dedication, a surprising claim about her age and a short German phrase—make the portrait's intended relationship to its recipient unusually tangible. ^{[1] [2] [3] [4]}

This is Kahlo's first known self-portrait, not her first artwork. The painting is privately owned in Mexico and was documented on loan to Tate Modern's Frida: The Making of an Icon in 2026; its earlier gift and later descent have a concise institutional provenance, but no complete history of custody or technical examination has been inspected here. The recto and reverse provide different evidence for the portrait's appearance and address to Gómez Arias. ^{[1] [3] [5] [6]}

At a Glance

Contents

1. Introduction
2. The Portrait as Seen
3. Recovery and the First Known Self-Portrait
4. A Portrait Made to Be Looked At
5. The Words on the Back
6. The Photograph Kahlo Kept
7. Botticelli and Other Comparisons
8. Dress and Self-Presentation
9. Ownership and Selected Exhibitions

The Portrait as Seen

Kahlo appears from about the waist up in a tall format, her torso angled slightly while her face turns toward the viewer. Her dark hair is parted centrally and drawn close to her head; joined brows, steady eyes, red lips and warm cheek colour are sharply rendered. The gaze meets the viewing position, but neither intelligence, defiance, serenity nor seduction can be read as a fact from the eyes. ^{[2] [5]}

An elongated neck rises above the deep V of a burgundy velvet dress. Patterned red, gold-toned and dark bands edge the opening and one cuff, while a forearm crosses the lower body and a long-fingered open hand extends toward the viewer's right. These contours give the still pose a controlled linear rhythm; the garment's velvet identity comes from institutional description, not a fibre analysis of the digital image. ^{[2] [5]}

Behind her, blue-green scrolls cross a nearly black field. Tate describes the forms as waves or a night sky, and the reproduction allows water-like, cloud-like and ornamental associations without fixing a horizon or named place. The face and hand remain comparatively still against those curves, while the dress trim and background are articulated rather than blurred around a single sharply painted face. ^{[2] [5]}

Blue-green writing at the lower left visibly signs and dates the front. The reproduction is adequate for that description but not for a confident transcription of every letter and punctuation mark. Nor does it establish Kahlo's pigments, layering, the painting's present condition or the original status of its frame. ^[5]

Watch: Frida Kahlo

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Frida Kahlo’s The Two Fridas: Great Art Explained

Great Art Explained

A focused visual introduction to the painting and its context.

▶01 · The Two FridasLooking at The Two FridasGreat Art Explained▶02 · Global iconThe making of an iconThe Museum of Fine Arts, Houston▶03 · Fashion and colourKahlo’s colourful wardrobeFashionUnited TV▶04 · Clothes and contextAppearances Can Be DeceivingFine Arts Museums of San Francisco▶05 · U.S. yearsFrida in AmericaUC Berkeley CLACS

Self-Portrait in a Velvet Dress in Kahlo’s career

Year

1925193019351940194519501955

Self-Portrait in a Velvet Dress

1926

Frieda and Diego Rivera

1931

My Grandparents, My Parents, and I

1936

The Two Fridas

1939

The Broken Column

1944

Marxism Will Give Health to the Sick

1954

Timeline source: Museo Frida Kahlo chronology ^[27].

Recovery and the First Known Self-Portrait

Museo Frida Kahlo dates the traffic accident to 17 September 1925 and says Kahlo spent about a month in the Red Cross hospital. As she recovered at home over following months, her mother installed a mirror and her parents arranged a special easel. Those changes help explain the practical setting in which sustained self-portrait painting became possible; they do not show that every part of this canvas was painted in bed or that Kahlo had made no art before. ^{[9] [10]}

The museum calls the 1926 work her first self-portrait; the Virginia Museum of Fine Arts more cautiously calls it her first known self-portrait. That distinction matters because the institutional chronology and Nieves Limón Serrano's research record earlier drawings, watercolours, portraits and photographic activity. The canvas is an early threshold in a known body of self-images, not Kahlo's first creative act or a documented professional commission. ^{[6] [9] [11]}

The portrait's significance also comes from its intended recipient. Gómez Arias was a close correspondent and the named person to whom the work was given, not a commissioner established by a contract. The short account of recovery provides context for the making; the fuller accident history and the whole Gómez Arias relationship belong on their own cluster pages. ^{[1] [3] [9]}

A Portrait Made to Be Looked At

A letter dated 28 September 1926 connects the painting with the space in which Kahlo expected it to be seen. In Nuria Rodríguez Calatayud's transcription from Raquel Tibol's edited correspondence, Kahlo tells Gómez Arias that the portrait will soon be at his house, apologises that it will arrive without a frame and asks him to place it low. She wants him to look at the painting as though he were looking at her. ^[3]

The letter establishes a proposed use for the picture, not a complete account of either person's feelings. Read beside the direct gaze and the figure's substantial scale, it supports the inference that the self-portrait was designed to sustain an exchange of looks during separation. It also cautions against treating the present frame as necessarily the one planned in 1926: Kahlo specifically expected an unframed delivery, and no frame history has been inspected. ^{[1] [3] [5]}

The following day's correspondence speaks of a painful transparent planet, a vivid phrase in the accident-and-relationship exchange. Nothing in the letter identifies the portrait's blue-green scrolls as that planet, however, and the dark backdrop cannot be decoded by proximity to a letter alone. That is one reason to keep the observed movement of the painting separate from the emotional vocabulary of the correspondence. ^{[3] [5]}

Kahlo referred to the portrait again in March 1927, calling it her “Botticelli” and saying it remembered Gómez Arias. The published route runs through Limón and Sharyn Udall to Tibol's edition rather than an inspected original letter; it nonetheless confirms that the image still figured in their correspondence months after the gift. Her nickname introduces an art-historical point of comparison without naming a particular Botticelli painting. ^{[11] [12]}

The Words on the Back

The reverse is not a blank piece of canvas. In a museum-supplied reproduction, a red dedication runs down the left stretcher, a longer inscription appears at the upper right and German words stand below it in four short lines. Wear and the image's resolution limit an independent letter-by-letter transcription, but the visible writing can be compared with Limón's and Udall's published readings. ^{[4] [11] [12]}

The dedication addresses Alejandro Gómez Arias. Limón transcribes the longer Spanish text as “Frieda Kahlo a los diecisiete años en septiembre de 1926,” with a reference to Coyoacán. “Frieda” is the spelling in that scholarly transcription and seventeen is the age written on the work; Kahlo, born on 6 July 1907, was actually nineteen in September 1926. The evidence does not explain whether she misstated her age deliberately, made an error or had another reason, so the inscription and the biographical fact should remain side by side. ^{[4] [9] [11]}

The German text reads HEUTE / IST / IMMER / NOCH, or Heute ist immer noch when placed on one line. Udall translates it as “Today still goes on,” while Limón offers Spanish senses closer to “today continues” and “the present still exists.” Udall reads the phrase in terms of continuity and time that is not simply linear; that is a scholarly interpretation of an enigmatic inscription, not a unique meaning guaranteed by the words themselves. ^{[4] [11] [12]}

Tate's public loan listing nevertheless says there are no identifying marks. The visible reverse and the scholarly transcriptions make that public field incomplete, although they do not tell us what appears in Tate's private registrar or conservation files. The inscriptions matter more than a catalogue correction: they name the recipient, date the image, expose the age discrepancy and add a short meditation on the continuing present to a portrait intended to be looked at after a separation. ^{[1] [4] [11] [12]}

The Photograph Kahlo Kept

The painting was not the only version of this early self-image. Museo Frida Kahlo says that before Kahlo gave the canvas to Gómez Arias, she had it photographed and coloured the photographic print herself. The museum's Casa Azul archive record identifies that separate object as a photograph coloured with oil, measuring 125 × 170 millimetres. ^{[10] [13]}

The small, worked photograph was neither a second oil-on-canvas portrait nor the painting now in a private collection. It suggests a practical way of keeping and remaking an image that was about to leave her possession, although the record does not establish precisely when or why she coloured it. Its size, technique and archive location must not be transferred to the larger canvas. ^{[1] [13]}

Limón places the episode within Kahlo's familiarity with the photographic studio and deliberate self-presentation before her self-portraits became numerous. On that reading, posing, painting, photographing and colouring were related acts of image-making, not a simple progression from an accidental likeness to a finished masterpiece. The distinct photographic copy documents another act of self-presentation, not a second state of the canvas. ^{[8] [11] [13]}

Botticelli and Other Comparisons

Kahlo's own “Botticelli” nickname deserves to come before later searches for an Old Master model. Museo Frida Kahlo's bilingual teaching label says that the 1926 portrait recalls Italian Renaissance painting, especially Botticelli. A French education dossier prepared for the 2013 Orangerie exhibition goes further, comparing the long neck, hand and sea-like setting with The Birth of Venus; the specific Botticelli comparison comes from that exhibition guide, not from a painting named in Kahlo's letter. ^{[11] [14] [15]}

Other viewers have traced different formal affinities. The Virginia Museum of Fine Arts says Bronzino and El Greco are believed to have influenced the picture; Udall makes the more specific comparison with Bronzino's A Young Woman and Her Little Boy. The long fingers, neck and poised body make such comparisons intelligible, but similar forms cannot by themselves establish that Kahlo studied a particular canvas or copied its design. ^{[5] [6] [12]}

There is, however, a later artist-linked reason to take Bronzino seriously. A UNAM thesis transcribes a letter of 4 June 1927, citing Tibol's edition at p. 68, in which Kahlo responds to Gómez Arias's European travels and says she is pleased he has seen Bronzino's “marvellous portrait of Eleonora de Toledo.” The letter postdates the September 1926 canvas; it documents the work's place in their shared art-historical conversation, but does not by itself prove that the Eleonora portrait was a model seen before Kahlo painted hers. ^[26]

In 2017, INBAL curator Dafne Cruz Porchini described the portrait as cosmopolitan and informed by Renaissance painting, attending to its controlled composition and sculptural face. Mercedes Iturbe has suggested Bronzino's Eleonora of Toledo, an Art Nouveau quality in the dress and Japanese inspiration in the background. The Casa Azul record of the photographic copy additionally mentions Parmigianino and Modigliani; those are further curatorial analogies, not evidence of sources confirmed by Kahlo. ^{[13] [16] [17]}

The painting can therefore be situated among European portrait conventions without being reduced to a single borrowed formula. Kahlo's nickname, museum teaching comparison and later art-historical proposals occupy different levels of evidence. They also leave room for her own construction of the viewing encounter: whatever the formal debts, this particular portrait was made for Gómez Arias and addressed to him in writing. ^{[3] [11] [14]}

Dress and Self-Presentation

The velvet dress occupies much of the canvas, and the patterned V neckline directs attention back to the elongated neck and face. Its visible colour and trim belong to the description of this work; no identified maker, surviving garment or textile analysis establishes its precise fabric composition beyond the title and institutional identification. Limón's account of controlled pose, hands and photographic self-presentation helps explain why clothing and bodily arrangement can be considered choices in an image, without revealing Kahlo's private motive for each choice. ^{[2] [5] [11]}

Curatorial accounts have described the early image as cosmopolitan, sensual or alluring. Those words register how later viewers have read its formal address, not emotions that can be extracted unambiguously from the sitter's eyes or dress. Nor should the velvet garment be used to set up a simple story in which a supposedly European young Kahlo only later became authentically Mexican: her subsequent Tehuana dress has its own layered history and belongs in the dedicated dress article. ^{[6] [15] [16]}

The pictured body is composed rather than anatomically neutral. Neck, fingers, shoulders and dress opening form a pattern of vertical and diagonal lines, while the open hand and direct gaze offer two points of encounter. Such visible arrangement supports a discussion of self-fashioning, but it does not diagnose illness, concealment, seduction or a psychological condition from style alone. ^{[5] [11]}

Ownership and Selected Exhibitions

The public provenance is short but unusually clear at its beginning and end. Tate records Kahlo as the maker and Gómez Arias as the person to whom she gave the work in 1926; it says the painting passed by descent to the current owner in 1990 and identifies that owner only as a private collection in Mexico. This does not establish a continuous account of where the canvas was kept, every person who held it or when the present frame was attached. ^[1]

The known public appearances show how a gift made for one room later entered international exhibition histories. A 2010 Vienna retrospective credit lists the work under German, Spanish and English titles, with private ownership and a slightly different measurement from Tate's current record. The Musée de l'Orangerie's official page for its 2013–14 Kahlo–Rivera exhibition identifies the portrait in its image credit as privately owned; it associates the object with that exhibition without supplying a full loan file. ^{[1] [7] [18]}

In 2017, Mexico's Instituto Nacional de Bellas Artes y Literatura discussed the painting as part of Pinta la Revolución: Arte moderno mexicano, 1910–1950 at the Palacio de Bellas Artes, organised with the Philadelphia Museum of Art. The official government announcement also names it among the works, so this appearance rests on more than a generic touring-show description. The INBAL discussion is also where Cruz Porchini's reading of the portrait's cosmopolitanism and formal control was published. ^{[16] [19]}

The Virginia Museum of Fine Arts included an object-specific label in the guide to Frida: Beyond the Myth in Richmond in 2025. The exhibition had an earlier Dallas presentation, but the Richmond label alone should not be made to prove this painting's inclusion at that venue. For 2026, Tate's loan record and object page directly document London inclusion in Frida: The Making of an Icon; the exhibition's prior Houston dates are known, but an object-specific Houston record has not been checked. ^{[1] [2] [6] [20] [21]}

The Tate loan is scheduled through 3 January 2027, not a permanent acquisition. Anyone planning a visit should verify the current exhibition and object status with Tate, because a temporary listing can change. The available records do not establish a complete exhibition history or owner-side conservation account. ^{[1] [21]}

Why This Early Self-Portrait Matters

The canvas's early place in Kahlo's known self-portrait sequence is important, but its value is not merely that it came first. The September letter explains a specific future encounter: the gifted painting would hang where Gómez Arias could look at it as though Kahlo herself were present. The recto's direct gaze, the reverse's address to him and the small coloured photographic version together show several ways in which the image could travel, remain and be encountered. ^{[3] [4] [10] [13]}

Its formal language also resists a neat retrospective label. Kahlo's “Botticelli” name links it to one portrait tradition, while the velvet dress, patterned trim, still hand and moving blue-green backdrop create an arrangement that is particular to this work. Later critics have made productive comparisons, but none replaces the evidence of what Kahlo painted, inscribed, wrote and gave. ^{[2] [3] [5] [11]}

There are limits to what can be concluded. A full technical study, complete provenance and the current exhibition catalogue have not been consulted, and the open questions of the written age and German phrase have no definitive explanation in the sources read. Those limits leave a substantial documented story: a nineteen-year-old painter, recovering after a severe accident, made her first known self-portrait for an identified recipient and treated its continued visibility as part of their correspondence. ^{[1] [3] [4] [9] [11]}

Books and Further Study

For a fuller object-catalogue account, the priority is Luis-Martín Lozano, Andrea Kettenmann and Marina Vázquez Ramos's Frida Kahlo: The Complete Paintings. The publisher identifies a 624-page volume, but its entry for this portrait has not been read here; it may help test the inscriptions, catalogue identity, provenance and exhibition history rather than presently settling them. Raquel Tibol's edited correspondence, Ahí les dejo mi retrato, is the underlying source for the 1926 and 1927 letters quoted through Rodríguez Calatayud and Limón; those scholars provide exact edition-and-page routes, but Tibol's volume has not been independently acquired. ^{[3] [11] [22]}

Gannit Ankori's Frida Kahlo and Imaging Her Selves are relevant to biography and self-fashioning, while Laura E. Pérez's Eros Ideologies has a chapter on Kahlo's self-portraits. Their publisher records identify further reading but do not establish object-specific arguments. The 2026 Tate/Museum of Fine Arts, Houston exhibition catalogue is another priority because the painting is currently documented in the London show, but its complete entry remains uninspected. ^{[1] [23] [24] [25]}

The open academic work used here is different: Limón's Spanish dissertation provides a sustained analysis of photography, staging and the inscriptions; Rodríguez Calatayud transcribes the September 1926 correspondence with exact Tibol pages; and Udall's peer-reviewed article discusses the German phrase and art-historical parallels. Future access to an owner file, conservation report or original letters could refine this account, particularly its physical history and the precise wording on the back. None is presumed to be in hand. ^{[3] [11] [12]}

Questions About Self-Portrait in a Velvet Dress

Related Reading

The Frida Kahlo overview puts the portrait beside the 1925 accident and early painting. Fashion and Tehuana Dress examines her later clothing choices without making this velvet dress a mere prelude. ^{[3] [9] [11]}

References

1. Tate, immunity-from-seizure loan list, X102252, Autorretrato (con vestido de terciopelo): title, date, oil-on-canvas medium, image and frame dimensions, private collection, artist-to-Gómez Arias gift, descent in 1990, and 2026–27 London loan. The public “Identifying marks: none” field is incomplete against reference 4. View source text.
2. Tate Shop, Self-Portrait (With Velvet Dress) object page, title, 1926, oil on canvas, 79.5 × 59.5 cm, private collection, visual description and exhibition association. The object page is an independent museum route, not publication permission for its image. View source text.
3. Nuria Rodríguez Calatayud, Archivo y memoria femenina (Universitat Politècnica de València, 2007), printed/PDF p. 466, transcribing Kahlo's 28 and 29 September 1926 letters to Alejandro Gómez Arias from Raquel Tibol, ed., Ahí les dejo mi retrato (2005), pp. 66–67. The original letters and Tibol volume were not independently inspected. View source text.
4. Museo Dolores Olmedo / Google Arts & Culture, institution-supplied image of the painting's reverse, inspected for the left dedication, upper-right Spanish age/date text and four-line German phrase. The institutional image credit does not establish present ownership or publication rights. View source text.
5. Tate Shop, Self-Portrait (With Velvet Dress) recto image and object text, compared with the Museo Dolores Olmedo-supplied reverse image at reference 4. These views support visual description, not pigment, original-frame or condition findings, psychological certainty or image-publication rights. View source text.
6. Virginia Museum of Fine Arts, Frida: Beyond the Myth large-print guide (2025), English p. 19 and Spanish p. 21: object label, first-known-self-portrait wording, gift context and the attributed Bronzino/El Greco comparison. View source text.
7. Bank Austria Kunstforum Wien, Frida Kahlo retrospective image credits (2010), Self-Portrait in a Velvet Dress German/Spanish/English entry: oil on canvas, 79.7 × 59.9 cm, private collection and Galería Arvil courtesy. This preserved credit differs slightly in size from Tate's current record. View source text.
8. Museo Frida Kahlo, Casa Azul archive record for Kahlo's hand-coloured photograph, documenting a distinct 125 × 170 mm photographic object rather than another state of the canvas. Citation does not establish reproduction permission. View source text.
9. Museo Frida Kahlo, artist chronology, birth entry of 6 July 1907 and 1925–27 accident, recovery, painting and earlier-art entries; English chronology, corresponding entries. The birth date combined with September 1926 gives nineteen, not the inscription's seventeen. View source text 1; View source text 2.
10. Museo Frida Kahlo, museum collection narrative, passage on Self-Portrait (with Velvet Suit), 1926, the Gómez Arias gift and Kahlo's photographed-and-coloured version; narrative context rather than a full catalogue record. View source text.
11. Nieves Limón Serrano, Estrategias de autorrepresentación fotográfica: El caso de Frida Kahlo (Universidad Carlos III de Madrid, 2014), PDF p. 81/printed discussion around p. 85 and n. 65: photographic staging, reverse transcription, age correction and the 29 March 1927 “Botticelli” letter, routed to Tibol's 1999 edition, p. 54. The complete dissertation was consulted; the underlying correspondence volume was not. View source text.
12. Sharyn R. Udall, “Frida Kahlo's Mexican Body: History, Identity, and Artistic Aspiration”, Woman's Art Journal 24, no. 2 (Autumn 2003–Winter 2004): 10–14, especially p. 10: German-phrase translation and time reading, Botticelli correspondence and Bronzino comparison. Her interpretation is attributed, not treated as inscriptional fact. View source text.
13. Museo Frida Kahlo / Google Arts & Culture, Self-portrait wearing a velvet dress, Casa Azul archive record for a distinct 125 × 170 mm photograph coloured with oil. Its “first professional work,” sea symbolism and further artist comparisons are qualified institutional commentary, not painting metadata. View source text.
14. Museo Frida Kahlo, bilingual children's labels, Room 1 Self-Portrait in a Velvet Dress label, first self-portrait, Gómez Arias gift and Italian Renaissance/Botticelli educational comparison. View source text.
15. Académie de Normandie, Frida Kahlo / Diego Rivera teacher dossier (2013), PDF p. 7, compares the neck, hand and sea-like backdrop with Botticelli's Birth of Venus. This is a pedagogical interpretation, not Kahlo's named source image. View source text.
16. Instituto Nacional de Bellas Artes y Literatura, “Autorretrato con traje de terciopelo de Frida Kahlo, una razón más para visitar la muestra Pinta la Revolución”, 21 April 2017, object-specific exhibition report and curator Dafne Cruz Porchini's formal and Renaissance readings. View source text.
17. Mercedes Iturbe, “La imagen revelada”, La Jornada Semanal, 17 October 2004, passage on Self-Portrait in a Velvet Dress proposing Bronzino's Eleonora of Toledo, Art Nouveau dress details and Japanese-inspired background. Her allusion to Kahlo's letter has the more exact route at reference 26; neither text proves a pre-1926 source image. View source text.
18. Musée de l'Orangerie, Frida Kahlo / Diego Rivera: Art in Fusion, 9 October 2013–13 January 2014, official image credit for Self-Portrait in a Velvet Dress identifying a private-collection work. It is not a complete loan checklist. View source text.
19. Secretaría de Cultura, Gobierno de México, opening announcement for Pinta la Revolución, named-work list corroborating Self-Portrait in a Velvet Dress and the Palacio de Bellas Artes/Philadelphia Museum of Art collaboration. View source text.
20. Virginia Museum of Fine Arts, Frida: Beyond the Myth, Richmond exhibition, 5 April–28 September 2025, with the portrait established by the object label at reference 6; Dallas Museum of Art, earlier exhibition itinerary. The Richmond label is not an object-specific Dallas checklist. View source text.
21. Tate, Frida: The Making of an Icon, 25 June 2026–3 January 2027, read with the object-specific loan record at reference 1; Museum of Fine Arts, Houston, earlier exhibition record, 19 January–17 May 2026. The Houston event page does not independently prove this painting's inclusion there. View source text 1; View source text 2.
22. Luis-Martín Lozano, Andrea Kettenmann and Marina Vázquez Ramos, Frida Kahlo: The Complete Paintings (TASCHEN), publisher record, 624 pages, English ISBN 9783836574204. The complete volume and its portrait entry have not been consulted; no catalogue facts inferred from its description. View source text.
23. Gannit Ankori, Frida Kahlo (Reaktion Books, Critical Lives), and Imaging Her Selves (Praeger/Bloomsbury), publisher records only; the complete books and portrait passages have not been consulted. View source text 1; View source text 2.
24. Laura E. Pérez, Eros Ideologies (Duke University Press, 2019), publisher record and chapter list, including “Decolonizing Self-Portraits”; complete chapter unread. View source text.
25. Beatriz García-Velasco and Tobias Ostrander, eds., Frida: The Making of an Icon exhibition catalogue (Tate Publishing, 2026), publisher/product metadata only. Any entry for this portrait in the complete catalogue has not been consulted. View source text.
26. Carlos Omar Segoviano Rodríguez, La fridomanía: Difusión y comunicación de la imagen de Frida Kahlo (UNAM undergraduate thesis, 2011), printed p. 41/PDF p. 56 and n. 85, transcribing a 4 June 1927 letter to Gómez Arias through Tibol, Ahí les dejo mi retrato, p. 68. The complete thesis PDF and passage were inspected; the edited correspondence and autograph letter remain uninspected. View source text.
27. Museo Frida Kahlo, Frida interactive chronology, selected work dates used for the comparison timeline. The current work's date follows its cited object record. View source text.

Frida Kahlo

Explore Kahlo’s paintings

Continue with twelve key works, from early portraits to paintings of identity, illness and the natural world.

1. 01The Two FridasRead the painting →
2. 02The Broken ColumnRead the painting →
3. 03Self-Portrait with Thorn Necklace and HummingbirdRead the painting →
4. 04Self-Portrait with Cropped HairRead the painting →
5. 05Henry Ford HospitalRead the painting →
6. 06What the Water Gave MeRead the painting →
7. 07Self-Portrait in a Velvet DressRead the painting →
8. 08Fulang-Chang and IRead the painting →
9. 09Self-Portrait as a TehuanaRead the painting →
10. 10Roots (Raíces)Read the painting →
11. 11The Wounded DeerRead the painting →
12. 12Viva la VidaRead the painting →

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