Latest news with #Cubist
Spectator
28-05-2025
- Entertainment
- Spectator
Douglas Cooper – a complex character with a passion for Cubism
The collector, art historian and critic Douglas Cooper (1911-84) relished conflict. He was a formidable man, loud in speech and dress, with forceful views and a taste for ridicule. He could also be very funny. John Richardson, Picasso's biographer, who knew Cooper better than most, said it was as though an angel and a demon child were perpetually fighting for control of his personality. Physically robust, Cooper survived being stabbed in the stomach when he was 50 after unwisely propositioning a French soldier. He is remembered today, if at all, for his legendary collection of Cubist art, focusing on the four greats of the movement: Picasso, Braque, Léger and Gris. His taste was backed by intense scholarship and he was one of the earliest collectors of Cubism, a rare passion for an Englishman. He was a man of independent thought and opinions, though prey to paranoia and self-indulgent tantrums. He was apparently asked to resign from the Reform Club four times because of bad behaviour. Francis Bacon, with whom he had a very typical falling out, called him 'a prissy old voluptuary'. This complex figure is the subject of a new book which claims to be an objective biography. It is enriched by having two authors, although there is inevitably a degree of overlap between their texts. The first part is more or less straight biography, by Adrian Clark. The tone is relentlessly disapproving, a clear dislike of Cooper extending to his quondam partner Richardson. Clark calls Cooper a sociopath, a malign, vindictive and wilful person. He claims that the book 'displays' Cooper's life, rather than judges it, but he repeatedly tells us how unpleasant the man was.
The Advertiser
15-05-2025
- Entertainment
- The Advertiser
No trip to Ho Chi Minh City is complete without a dessert at this bar
If I could have only one dessert in my life, it would be tiramisu. I like everything about it: the coffee, the cream, the alcohol content - even the funny, squiggly name. But I didn't expect to find tiramisu in a dessert bar in Ho Chi Minh City, where the "Western" concept of dessert barely exists. Monkey Gallery Dessert Bar decorates the historic centre of the city, a couple of blocks west of the Saigon River. It's a wildly colourful storytelling art-gallery cafe bar. Among its intriguing selection of sweets (durian creme brulee, anybody?) is a "deconstructed tiramisu", a dish that sounds like somebody has already eaten it. In fact, it's a tiramisu stripped to its constituent parts: mascarpone mousse, coffee ice milk, bac xiu jelly, cocoa crumble and, er, 24k-gold-braided chocolate sticks. It's served with a pipette to inject coffee and coffee liqueur into a coffee sponge, and brilliantly paired with H20 Tiramisu, a cocktail comprising Baileys, amaretto, coffee, cocoa crumble, chocolate and salt. The artistically arranged bits of tiramisu on my plate remind me of a Cubist still life, or a delicate chocolate cake after I've dropped it on the floor. I squeeze the liqueur into the snowman-looking centre of the sponge and enjoy small spoonfuls of each ingredient, one piece at a time. When I put it all together in my mouth, it tastes like, uh, tiramisu. And my cocktail tastes like I imagine a velvet pillow might taste, if such a thing existed and was edible. All in all, it's an oddly exciting and satisfying experience. Head bartender Trung Hng tells me the biggest group of customers at Monkey Gallery are Singaporeans, followed by Australians. They tend to feel safe with the deconstructed tiramisu, but personally he would prefer them to try more "tropical" desserts. Like durian brulee? "Yes," he says. "Like the durian." If I could have only one dessert in my life, it would be tiramisu. I like everything about it: the coffee, the cream, the alcohol content - even the funny, squiggly name. But I didn't expect to find tiramisu in a dessert bar in Ho Chi Minh City, where the "Western" concept of dessert barely exists. Monkey Gallery Dessert Bar decorates the historic centre of the city, a couple of blocks west of the Saigon River. It's a wildly colourful storytelling art-gallery cafe bar. Among its intriguing selection of sweets (durian creme brulee, anybody?) is a "deconstructed tiramisu", a dish that sounds like somebody has already eaten it. In fact, it's a tiramisu stripped to its constituent parts: mascarpone mousse, coffee ice milk, bac xiu jelly, cocoa crumble and, er, 24k-gold-braided chocolate sticks. It's served with a pipette to inject coffee and coffee liqueur into a coffee sponge, and brilliantly paired with H20 Tiramisu, a cocktail comprising Baileys, amaretto, coffee, cocoa crumble, chocolate and salt. The artistically arranged bits of tiramisu on my plate remind me of a Cubist still life, or a delicate chocolate cake after I've dropped it on the floor. I squeeze the liqueur into the snowman-looking centre of the sponge and enjoy small spoonfuls of each ingredient, one piece at a time. When I put it all together in my mouth, it tastes like, uh, tiramisu. And my cocktail tastes like I imagine a velvet pillow might taste, if such a thing existed and was edible. All in all, it's an oddly exciting and satisfying experience. Head bartender Trung Hng tells me the biggest group of customers at Monkey Gallery are Singaporeans, followed by Australians. They tend to feel safe with the deconstructed tiramisu, but personally he would prefer them to try more "tropical" desserts. Like durian brulee? "Yes," he says. "Like the durian." If I could have only one dessert in my life, it would be tiramisu. I like everything about it: the coffee, the cream, the alcohol content - even the funny, squiggly name. But I didn't expect to find tiramisu in a dessert bar in Ho Chi Minh City, where the "Western" concept of dessert barely exists. Monkey Gallery Dessert Bar decorates the historic centre of the city, a couple of blocks west of the Saigon River. It's a wildly colourful storytelling art-gallery cafe bar. Among its intriguing selection of sweets (durian creme brulee, anybody?) is a "deconstructed tiramisu", a dish that sounds like somebody has already eaten it. In fact, it's a tiramisu stripped to its constituent parts: mascarpone mousse, coffee ice milk, bac xiu jelly, cocoa crumble and, er, 24k-gold-braided chocolate sticks. It's served with a pipette to inject coffee and coffee liqueur into a coffee sponge, and brilliantly paired with H20 Tiramisu, a cocktail comprising Baileys, amaretto, coffee, cocoa crumble, chocolate and salt. The artistically arranged bits of tiramisu on my plate remind me of a Cubist still life, or a delicate chocolate cake after I've dropped it on the floor. I squeeze the liqueur into the snowman-looking centre of the sponge and enjoy small spoonfuls of each ingredient, one piece at a time. When I put it all together in my mouth, it tastes like, uh, tiramisu. And my cocktail tastes like I imagine a velvet pillow might taste, if such a thing existed and was edible. All in all, it's an oddly exciting and satisfying experience. Head bartender Trung Hng tells me the biggest group of customers at Monkey Gallery are Singaporeans, followed by Australians. They tend to feel safe with the deconstructed tiramisu, but personally he would prefer them to try more "tropical" desserts. Like durian brulee? "Yes," he says. "Like the durian." If I could have only one dessert in my life, it would be tiramisu. I like everything about it: the coffee, the cream, the alcohol content - even the funny, squiggly name. But I didn't expect to find tiramisu in a dessert bar in Ho Chi Minh City, where the "Western" concept of dessert barely exists. Monkey Gallery Dessert Bar decorates the historic centre of the city, a couple of blocks west of the Saigon River. It's a wildly colourful storytelling art-gallery cafe bar. Among its intriguing selection of sweets (durian creme brulee, anybody?) is a "deconstructed tiramisu", a dish that sounds like somebody has already eaten it. In fact, it's a tiramisu stripped to its constituent parts: mascarpone mousse, coffee ice milk, bac xiu jelly, cocoa crumble and, er, 24k-gold-braided chocolate sticks. It's served with a pipette to inject coffee and coffee liqueur into a coffee sponge, and brilliantly paired with H20 Tiramisu, a cocktail comprising Baileys, amaretto, coffee, cocoa crumble, chocolate and salt. The artistically arranged bits of tiramisu on my plate remind me of a Cubist still life, or a delicate chocolate cake after I've dropped it on the floor. I squeeze the liqueur into the snowman-looking centre of the sponge and enjoy small spoonfuls of each ingredient, one piece at a time. When I put it all together in my mouth, it tastes like, uh, tiramisu. And my cocktail tastes like I imagine a velvet pillow might taste, if such a thing existed and was edible. All in all, it's an oddly exciting and satisfying experience. Head bartender Trung Hng tells me the biggest group of customers at Monkey Gallery are Singaporeans, followed by Australians. They tend to feel safe with the deconstructed tiramisu, but personally he would prefer them to try more "tropical" desserts. Like durian brulee? "Yes," he says. "Like the durian."
Yahoo
04-05-2025
- Entertainment
- Yahoo
At NYC art show, St. Paul artists with disabilities take international stage
Lucy Picasso was in her element. She was showing her paintings at the Outsider Art Fair, a high-profile international exhibition in New York City this February. Big-name curators, gallerists and critics were there; Susan Sarandon, Steve Buscemi and David Byrne reportedly stopped by. And Lucy Picasso was chatting away, giving out buttons with her artwork, selling original paintings and signing autographs. She and four other local artists were featured in the exhibition thanks to Interact Center for the Visual and Performing Arts, a St. Paul program that serves artists with disabilities, including Lucy Picasso. Art by Scott Sorensen, Carl Clark, Janice Essick and Matt Zimdars was also shown at the fair. (Lucy Picasso's birth name, Louann Johnson, went out the window years ago in favor of tributes to comedian Lucille Ball and the Cubist master.) Interact, founded in 1996, is a progressive art studio, part of a national movement of nonprofits dedicated to supporting artists with disabilities in building careers in the arts. Many staff members at the organization are both professional art instructors and disability support professionals, said Interact executive director Joseph Price. More broadly, the model aims to challenge perceptions of disability and the societal roles people with disabilities can hold. 'We believe that our artists are just as able and capable of creating great works of art as any professional, and we want to keep focused on the idea that our artistic standard is no different than any other professional artistic standard,' Price said. Take Lucy Picasso herself, for instance. Today she is, by any metric, a successful full-time professional artist. Fifteen years ago, she was working in downtown Minneapolis, vacuuming carpets at a furniture store. It was not until she joined Interact that she discovered her artistic talent, her sister Debb Masterson said — and without Interact, she, like others with intellectual disabilities, might still find herself stuck doing rote jobs like stuffing envelopes or taking out garbage. 'I don't want to do that, that's boring!' Lucy Picasso said, sitting next to Masterson. 'Or clean toilets, or wash floors, or put paper towels in the paper towel holder. Who wants to do that? There's lots of artwork I would like to do. That's my passion.' 'It's really transformed her life,' Masterson added. 'Without Interact, who knows what she'd be doing.' For the Outsider Art Fair, Lucy Picasso, Sorenson, their families and Interact staff including Price were in New York for about a week. And they made time for tourist stops at the Statue of Liberty, Empire State Building and plenty of art museums, Lucy Picasso and Masterson said. 'I really loved New York,' Lucy Picasso said. 'All the different museums and paintings really inspired me.' Interact's presence at this year's Outsider Art Fair is the result of more than a decade of effort, Price said. The show is extremely competitive and the organization has applied many times previously, he said; for this year's successful bid, Interact enlisted the help of guest curator and noted artist Lauren dela Roche. Besides generating potentially transformative buzz about the artists themselves, Price said the experience reinforces Interact's central message to both its roster of artists and the wider public: Creative, fulfilling careers in professional art are within reach for people with disabilities, too. 'Beyond the daily support that our folks need, they also deserve a life that is interesting and vital and where they get to call the shots,' Price said. 'We belong, and our artists belong, in a national conversation — an international conversation — when it comes to art collection and galleries.' Made in St. Paul: Portraits of Old Hollywood by oil painter Richard Abraham Meet the tattoo artists who have created a movement among Timberwolves fans Kennedy Center events scheduled for LGBTQ+ pride celebration have been canceled, organizers say PHOTOS: Pope Francis' image is everywhere as the Catholic faithful mourn him with art and thanks Hidden in Eagan office building, new Hagen Hus Gallery is a world art tour
India.com
28-04-2025
- Entertainment
- India.com
Mukesh Ambani, Nita Ambani's son Anant Ambani got expensive gift on his birthday worth Rs..., it was given by...,
Mukesh Ambani and Nita Ambani celebrated his 30th birthday on April 10. The youngest son of the chairman and managing director of Reliance Industries, Mukesh, marked his birthday with great zeal and celebrated it on a grand level in Jamnagar, the same venue where his pre-wedding celebration with Radhika Merchant took place. It was Anant's last year birthday when well-known names from the entertainment industry, such as Salman Khan, B Praak, and others, became a part of his celebration. One of the highlights of the event was when Anant received a special yet rare gift from his businessman-philanthropist friend Bharat Mehra. The thoughtful gift brought a smile on Anant's face. It was a painting of Lord Ganesh. However, what was intriguing was the person who made the painting and its cost. Let us tell you that Mehra took to Instagram and shared a post with Anant next to him. Both of them were seen holding M.F. Husain's painting. Sharing the post, Mehra wrote, 'MF Hussain Chiseled On Socotra Dragon Yemeni Tree Wood…Happy Bday.' Take a look here: The late legendary painter who was known as the Picasso of India, was among the most celebrated Indian artists known for his bold and vibrant paintings created in a modified Cubist style. Though the price of the painting is unknown, it is for sure that the price might run into crores. In September 2020, M.F. Husain's painting Voices was sold at auction for $2.5 million (around ₹20.85 crore).
Forbes
15-04-2025
- Entertainment
- Forbes
Diego Rivera, Frida Kahlo And Paris In Two Exhibitions
Frida Kahlo, 'Frieda and Diego Rivera (Frieda y Diego Rivera),' 1931. San Francisco Museum of Modern Art, Albert M. Bender Collection, gift of Albert M. Bender. © 2025 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York. Frida Kahlo and Diego Rivera. And Paris. Art history's most beloved and toxic couple both spent time away from their native Mexico in Paris. Rivera (1886–1957) lived there for roughly 10 years. He loved it. He made friends with figures who, like him, would become the icons of Modern art. He fell in love–not with Kahlo. Kahlo spent two months in Paris and mostly hated it. In typical Kahlo fashion, she fell ill. Kahlo's and Rivera's experiences with Paris are brought to life in vivid, intimate detail through a pair of unconnected exhibitions on view at the Arkansas Museum of Fine Arts (Rivera) and the Art Institute of Chicago (Kahlo). Diego Rivera (Guanajuato, Mexico, 1886 - 1957, Mexico City, Mexico), 'Dos Mujeres (Two Women),' 1914, oil on canvas, 77 3/4 x 63 1/2 in., Arkansas Museum of Fine Arts Foundation Collection: Gift of Abby Rockefeller Mauzé. 1955.010. Arkansas Museum of Fine Arts The Arkansas Museum of Fine Arts in Little Rock's interest in Rivera stems from his Cubist masterpiece, Dos Mujeres (Two Women) (1914). Yes, Rivera had a Cubist phase, a phase developed in Paris during the height of the Cubist movement. Yes, the Arkansas museum possesses the painting as part of its permanent collection. The painting was gifted to AMFA by Abigail 'Babs' Rockefeller Mauzé (1903-1976), daughter of Standard Oil heir John D. Rockefeller, Jr. (1874-1960) and Abigail 'Abby' Greene Aldrich Rockefeller (1874-1948), in 1955. It was the first art donation to the Museum by a member of the Rockefeller family and the first genuinely modernist work of art to enter an Arkansas museum collection; a masterpiece at that. It is one of Rivera's largest and most important Cubist works, a picture that would be prized at The Met or the Louvre or the Prado or anywhere else in the world. Other members of the Rockefeller family later gifted artworks to the Museum, many of which are now foundational to the collection. Babs Rockefeller was the older sister of Winthrop Rockefeller, who first moved to Arkansas in 1953 for business pursuits and later became the state's governor. The painting was given to Babs by her mother. How Abby Rockefeller acquired Dos Mujeres is not precisely known. AMFA research suggests she purchased it through Frances Flynn Paine, Rivera's American sales agent and a close friend of the Rockefellers. Rivera and the Rockefellers have a storied history. Famously, in 1932, Nelson Rockefeller commissioned Rivera to paint a giant mural on the lobby wall of the RCA Building at Rockefeller Center. Into the mural, Rivera, a communist, painted a portrait Russian revolutionary Vladimir Lenin. This had not been part of Rivera's initial design. Discovering this, avowed capitalist Nelson Rockefeller asked the artist to change or remove it. No dice. Rivera was taken off the project and the mural–a treasure, a room-filling testament to artistic brilliance, a would-be, should-be, bucket list pilgrimage for art lovers worldwide–was subsequently destroyed. Despite this, many Rockefellers continued collecting and supporting Rivera throughout his career. The centerpiece of AMFA's 'Rivera's Paris' exhibition, on view through May 18, 2025, and free to visit, is Dos Mujeres (Two Women). Diego Rivera (Mexican, 1886–1957), 'Portrait of Ilya Ehrenburg,' 1915. Oil on canvas, 43 3/8 x 35 1/4 in. (110.2 x 89.5 cm). Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.68.12. Photography by Michael Bodycomb. As an artist, Rivera was a child prodigy. Following formal training at the Academia de San Carlos in Mexico City and showing great promise, Rivera's teacher, Gerardo Murillo, provided his pupil a letter of introduction to Spanish painter Eduardo Chicharro y Agüera. With money from a three-year study abroad grant provided by the Veracruz government and further supported financially by the sale of all 26 works he presented in his student exhibition, a 20-year-old Rivera arrived in Spain. He spent two years studying in Chicharro's Madrid studio with off hours at the Prado museum studying Velázquez, El Greco, and Goya. Rivera travelled widely throughout the country. He met Spain's famous 'master of light,' Joaquín Sorolla. In 1909, Rivera moved to Paris, at that time, a hotbed of radical artistic experimentation and the center of the Western and Modern art worlds. Cubism was at its peak. Picasso's Cubist and modernist masterpiece Les Demoiselles d'Avignon was produced in 1907. It shocked the world and remains one of the most important paintings in art history. 'I've never believed in God, but I believe in Picasso,' Diego Rivera said. He considered Picasso his 'idol.' The two met in Paris and became good friends. Rivera also befriended Amedeo Modigliani. And Piet Mondrian. Rivera's Paris circle additionally included Juan Gris, Jacques Lipchitz, and Jean Cocteau–the exhibition has a fantastic portrait of Cocteau by Rivera. Marc Chagall was there. And Matisse. Paris at the time was bursting with artists from Russian, Poland, Italy, Spain, Japan, and Latin America. Hundreds of Latin American artists like Rivera. Along with drawings and paintings by Rivera, works by his influences and contemporaries including Modigliani, Cézanne, Picasso, Chagall, Sorolla, and others are featured in 'Rivera in Paris,' providing a rich portrait of the artist's life at the time. In addition to the artworks, detailed wall text and contemporary photographs of the artists, their studios, and Paris taken at the time add delicious context. Between 1908 and 1914, Cubism was all the rage in the City of Lights. Substituting single-point perspective, Cubist artists portrayed subjects from multiple perspectives, usually using abstracted and fragmented forms. Rivera's Cubist period is little-known; this exhibition and Dos Mujeres seeks to correct that. One of the two women in Dos Mujeres is Russian artist Angelina Beloff (1879–1969). She stands at the right. She was also a Paris transplant. She and Rivera met through his Spanish artist-friend, María Gutierrez Blanchard, in Bruges, Belgium 1909. Beloff would become Rivera's common law wife in 1911, long before he met Kahlo. The other woman in Dos Mujeres, seated, is their close friend, fellow artist, and neighbor, Alma Dolores Bastián. Rivera briefly returned to Mexico in 1910-1911, a period that coincided with the Mexican Revolution. A massively successful show emboldened him financially and artistically to return to Paris. He also missed Beloff. Reunited in Paris, the couple lived together for the next 10 years, though never officially married. 'During all that time, she gave me everything a good woman can give to a man. In return, she received from me all the heartache and misery that a man can inflict upon a woman,' Rivera, as quoted in exhibition wall text, said. As Kahlo would be, Beloff was treated shabbily by Rivera. Perhaps along with Cubist theory he and Picasso commiserated over drinks on the Left Bank about their shared terrible mistreatment of women. Rivera and Beloff's relationship produced a son, Diego, who died at 14-months. This strained the couple and resulted in their separation. Rivera, typically, soon took a lover and had an on-again, off-again, multi-year relationship producing a daughter. As would be the case many years later with Kahlo, an ill-fated reconciliation with Beloff was attempted. AMFA organizers went through great pains in securing the loan of a wonderful 1914 still life with bottle by Beloff from a private collection in Mexico. Beloff ultimately moved to Mexico and had a relatively successful career there. Rivera's time in Paris coincided with the onset of World War I which brought terrible devastation to the city. Fortuitously, Rivera, Beloff, and a group of friends had left for Mallorca just prior to the war's beginning. Throughout his time in Paris, Rivera travelled widely across Europe. Shortly before leaving for good and returning to Mexico, the artist received a grant to visit Italy and saw and studied murals there. That's where he picked up the skill that would lead to his becoming the world's greatest muralist and one of its most famous artists–then and now. 'He didn't descend from the heavens fully formed as the Mexican muralist that we know him to be,' Catherine Walworth, Jackye and Curtis Finch, Jr. Curator of Drawings at the Arkansas Museum of Fine Arts, told 'Rivera in Paris' and Chicago's Kahlo in Paris exhibitions show how the two were both part of wide communities of artists, all sharing and shaping each other's work, defeating the 'Lone Genius' myth of artmaking. From the Renaissance through today, the world's greatest artists have influences, teachers, mentors, and colleagues they take direction and inspiration from. 'It's a cacophony of voices (in Paris) and (Rivera and his circle are) picking up on different influences, and some of those influences are Spanish religious paintings, El Greco, it's not always the extremely modernist sources we expect,' Walworth said. By the time Rivera returned to Mexico in 1921, he had spent most of his adulthood in Paris. 'What I love about this era, what everyone thinks of New York in the 1950s with the Abstract Expressionists being rowdy and competing with each other and hanging out at Cedar Tavern, there was a whole even wilder bunch of people in Paris doing that in the aughts and teens and twenties,' Walworth said. 'This moment is incredibly exciting, and Paris is not monolithic. It's not a story about one identity. These people came from all over the world.' Frida Kahlo, 'Self-Portrait with Cropped Hair (Autorretrato con pelo cortado),' 1940. The Museum of Modern Art, New York, Gift of Edgar Kaufmann, Jr. © 2025 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York. Digital Image © 2025 MoMA, N.Y. A 15-year-old Frida Kahlo first met 37-year-old Diego Rivera in 1922, the year after his return from Paris. Rivera was flush with all the currents of Modernism, gargantuan talent, career success, and stories of hobnobbing with fellow legends of the day while barnstorming around Europe. This was before the bus accident that nearly took Kahlo's life. The couple were reintroduced in 1927, entering a passionate love affair. Marriage, affairs, miscarriages, abortions, divorce, remarriage. 'Frida Kahlo's Month in Paris: A Friendship with Mary Reynolds,' on view through July 13, 2025, at the Art Institute of Chicago focuses on a pivotal period in 1939 when Kahlo resided at the Paris home of Mary Reynolds (1891–1950), an American avant-garde bookbinder, whose home was a hub for the city's artistic community. Kahlo was invited to visit Paris by André Breton, the architect of European Surrealism. He had visited Kahlo in Mexico the year prior. Rivera did not accompany her. The show illuminates the period of Kahlo's rise as an international artist and her chance meeting with Reynolds, a lesser known, but highly compelling artist and maker of innovative, one-of-a-kind book bindings. During Kahlo's first and only trip to Paris for two months early in 1939, she fell ill and was invited by Reynolds to recover at her home. This home—where Reynolds lived with long-time partner Marcel Duchamp—was a living work of art and abundantly installed with their own artworks, from unique books to paintings and sculptures from close friends and artists. In this space and in her friendship with Reynolds, Kahlo found new inspiration and set off down a new artistic path for the remainder of her career. The exhibition features extraordinary loans from public and private collections across the United States, Mexico, and Europe, and also draws on the Art Institute's own extensive Mary Reynolds Collection. Reynolds was born in Minneapolis. Following her death in 1950, Reynolds's brother, Art Institute of Chicago Trustee Frank Brookes Hubachek, collaborated with Duchamp to place her bindings and collection of books and papers at the Ryerson and Burnham Libraries of the Art Institute of Chicago. On view are 100 objects, including seven of Kahlo's most important self-portraits, a stupefying assemblage of her greatest works on loan from the greatest art museums in the world–the paintings for which she's become an icon, an unsurpassed self-portraitist, the best of the best, art history textbooks come to life–letters written by Kahlo recounting her time in Paris, book bindings, works on paper, photographs, and more. In addition to works by Kahlo and Reynolds, the exhibition also incorporates many artworks created for Reynolds by artists who socialized in her home and welcomed Kahlo into their circle, including Man Ray, Yves Tanguy, and Constantin Brâncuși. These works form a collective portrait of the Paris avant-garde during Kahlo's time in Europe on the eve of World War II, particularly the Surrealists, a generation after Rivera first arrived there.
