Frida: Long Live Life! by Carmen T. Bernier-Grand.New York: Marshall Cavendish, 2007.
ISBN: 978-0761453369
Annotation: A fascinating collection of poems written from Frida Kahlo’s point of view, imagining her feelings about her husband, her poor health, and her art.
Illustrations: Kahlo’s original paintings; photos
Curricular Use: 9th-12th grades; Social Studies; Language Arts; Art History
Use of Allusion: In the poem “¡Extra!”, about Frida’s wedding to Diego, Bernier-Grand alludes to the Gettysburg Address with the lines, “Frida Kahlo wore/ . . . a rebozo created by the people/ for the people/ who belong to the people.”
5Q/5P
Lesson Plan Title: Frida Kahlo: The Art of Self-Portraiture
Grade Level: 9th and above
Concept / Topic To Teach: Analysis/criticism of works of art; application of art principles and skills
Standards Addressed: Visual Arts Content Standards for grades 9-12: Section 1.0, Artistic Perception (developing visual arts vocabulary, analysis of art elements and principles of design, etc.); Section 2.0, Creative Expression (application of artistic processes and skills); and Section 3.0, Historical and Cultural Context.
General Goal(s):
-to practice analysis of works of art using artistic vocabulary and design concepts
-to explore the genre of self-portraiture
-to practice practical application of artistic skills and design principles
Specific Objectives:
-to learn about the art and life of Frida Kahlo
-to analyze the symbolism Kahlo employed in her paintings
-to create a self-portrait using symbols with personal meaning for the student
Required Materials:
-copy of Frida: Long Live Life! by Carmen T. Bernier-Grand (New York: Marshall Cavendish, 2007).
-slides and projector, or other method of allowing students to view examples of Kahlo’s work for discussion and analysis
-art supplies (paints, canvas paper or thick drawing paper, brushes, other media as desired, etc.)
Anticipatory Set (Lead-In):
-Teacher will read selected poems from Frida: Long Live Life! aloud to the class to begin the session and pique student interest.
Step-By-Step Procedures:
-after reading some of the poems, share some of Kahlo’s works with the class, via projector and slides or other method (such as showing the works pictured in the book if the group of students is small enough for this to be practical).
-begin leading a discussion of the paintings by discussing some of the significant and formative aspects of Kahlo’s life story with the class, such as the bus accident, suffering from polio, meeting Diego, the continuing deterioration of her health, and so on.
-point out some of the symbols and recurring motifs in her works (animals, significant colors such as red and green, children/mothers, the body, etc.). (This is an opportune time to use and define some vocabulary terms important to art criticism, such as value, composition, motif, contrast, etc.)
-ask the students to consider what these things might have meant to Kahlo and how they would analyze the meanings of such symbols given what they now know of her history.
-allow students to view as many paintings as time allows and give them time to discuss and reflect on the works before moving on to beginning their own portraits.
-ask the students to think about what symbols they might use to represent important things in their own lives. The symbols could represent stages of their lives, people, aspects of their personalities, significant events, and so on.
-have students write down a list of 1-5 ideas for things they might wish to represent in their portraits before beginning, so that they have some direction for the project before jumping in.
-now, pass out the supplies—the teacher may wish to point out that the self-portraits need not be just two-dimensional; students could consider other methods of self-portraiture, including three-dimensional and non-representational styles.
Closure/Follow-up
-after students have finished their self-portraits (one or two class periods, as time allows), have them pin their work up on the walls or display on tables and share them with the class.
-lead a discussion of the works, allowing students to explain as much or as little of their personal symbology as they would like.
-encourage students to point out ways in which their works are similar to Kahlo’s and ways in which they differ (use of color, pose of the figure, use of lights and darks/value contrasts, etc.).
(Used With Permission From LessonPlansPage.com)
DM 7/29/09
Frida: Long Live Life! by Carmen T. Bernier-Grand. New York: Marshall Cavendish Children, 2007.
ISBN: 978-0-7614-5336-9
Frida Kahlo’s life is told through her paintings and accompanying poems written by Bernier-Grand. In this way, art and life are interwoven and complement each other in their storytelling.
Curriculum Connection: High School, subject: writers’ lives/art/poetry
Rating: 5Q/5P
Posted by LA 4/6/8
Frida: Long Live Life! by Carmen T. Bernier-Grand.New York: Marshall Cavendish, 2007. ISBN: 978-0-7614-5336-9.
4Q/4P
Rhyming, free verse, and shape poems tell the story of artist Frida Kahlo’s life. Complementing each poem is a color art reproduction of one of Frida’s works that illustrate the same point in time.
Literary Concept:
Rhythm:
Poems vary throughout the book; some rhyme and some do not. All have rhythm.
p.44 Wounded Deer
My barren landscapes show my barren self.
I have lost three children.
Four arrows in my heart
To remind Diego how his shots have made my bleed.
Shooting pains in my hip,
Shooting pains in my foot,
Shooting pains in my spine.
I am not sick.
I am broken.
But I am happy to be alive.
p. 46 Lola’s Gallery
(rhyme) (excerpt)
In my homeland of Mexico
My solo art show is tonight.
My canopy bed is displayed.
My paintings on the wall have light.
“No artist in Mexico can
Compare with her!” Diego cheers.
“Is she coming?” visitors ask.
“Or is she too sick to be here?”
Curriculum Connections
English/Language Arts
Biographies/Autobiographies/Memoirs
(DM 4.28.08)
Citation: Frida: Long Live Life! By Carmen T. Bernier-Grand. New York: Michael Cavendish, 2007.
ISBN: 0761453369
Annotation: After a crippling accident, miscarriages, infidelities, among other misfortunes. Frida sustains an optimistic outlook on life and ultimately uses painting as her medium to cope with pain.
Media: Oil, Retablos (on metal), Masonite
Literary Device: Repetition- “I paint and paint and paint all my pain.” The word “paint” is repeated multiple times to add emphasis.
Curriculum Connections: 8th-12th grade English or Arts class. Subjects- Biography, Poetry, Painting, Art Therapy.
Theme: Art Therapy- Throughout her life Frida is plagued with emotional and physical pain. She dealt with her pain constructively by “pouring out her emotions through a paintbrush.” Art is what kept Frida sane, and gave her comfort even in the most devastating times because it helped her comprehend her emotions.
Rating: 5Q/5P
Top Ten Favorite
S.F 06/21/09
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