One of Frida Kahlo's most celebrated self-portraits is making its way back to its permanent home at the University of Texas. The Harry Ransom Center will begin displaying "Self-Portrait with Thorn Necklace and Hummingbird" starting this Saturday, marking the return of the iconic artwork after its latest international exhibition at the Bendigo Art Gallery in Australia.
The painting, which the Harry Ransom Center acquired in 1965, represents one of 55 self-portraits that the renowned Mexican artist created throughout her lifetime. The artwork has traveled extensively over the years, being featured in prestigious galleries and museums across the globe, captivating audiences with its powerful imagery and emotional depth.
According to Tracy Bonfitto, an art curator at the Harry Ransom Center, Kahlo created this particular self-portrait in 1940 during what many consider one of the most productive and significant periods of her artistic career. "She had been painting for a number of years, but she had not been exhibited until 1938," Bonfitto explained. "She was just kind of in her early years of seeing herself as a successful artist."
The timing of this painting's creation coincided with intense personal turmoil in Kahlo's life, which deeply influenced her artistic expression. Just one year prior to creating this work, she had divorced her husband, fellow Mexican painter Diego Rivera, creating a period of emotional upheaval that would profoundly impact her art. "This painting was painted during that one year window of time where she was divorced from Diego Rivera and really sort of simultaneously working hard to see if that relationship could continue, but also being pretty angry with him," Bonfitto noted.
Adding to the complexity of this period, Kahlo's nearly decade-long romantic relationship with Hungarian-born photographer Nickolas Muray was also coming to an end around the same time. The emotional weight of these simultaneous relationship struggles is believed to be reflected in the intense symbolism and raw emotion captured in the self-portrait. Upon completing the painting, Kahlo gifted it to Muray, and by December 1940, she had remarried Rivera, closing this turbulent chapter of her personal life.
The acquisition of this masterpiece by the Ransom Center in the 1960s came as part of a much larger and more comprehensive collection of works from Kahlo and other prominent Mexican painters that had been owned by Muray. Despite the end of their romantic affair in 1939, Kahlo and Muray maintained a strong personal and professional relationship that lasted until her death in 1954. "We know from extensive letters in the archives of the Casa Azul and also the Archives of American Art at the Smithsonian that they kept in contact, pretty frequent contact, letter writing back and forth," Bonfitto revealed.
Muray's support of Kahlo extended far beyond their personal relationship, as he became a crucial financial supporter of her artistic career right up until her death in 1954. The collection he carefully assembled over the years includes several other significant Kahlo works, such as "Still Life with Parrot and Fruit," which she painted in 1951, and the drawing "Diego y Yo" from 1930. Additionally, Muray's collection featured works from other seminal Mexican artists of the 20th century, including pieces by Rufino Tamayo and Miguel Covarrubias.
While the self-portrait will be the only piece from the Muray collection currently on display at the Ransom Center, visitors won't have to wait too long to see the complete collection. The center has announced ambitious plans to display the entire collection in 2027, which will provide art enthusiasts and scholars with a comprehensive view of this important period in Mexican art history. For those interested in staying updated on cultural events and exhibitions, they can sign up to receive the free Cultura guide every month at AustinVida.com.
