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Dos desnudos en el bosque (La tierra misma)

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To the left of these vulval leaves, a group of olive green pods—some partially open—confirms the erotic allusion. These pods appear again in a still life called Sun and Life, where their vaginal connotation is much more obvious. Half hidden by these pods, a monkey, symbol of lust, bears witness to the love scene.

But the monkey is not just a symbol. Similarly, the rents in the sky echo the gashes in the earth, and the tangled tree echoes intertwined veins and roots. The nude lovers ignore their threatening environment.

But for the barely visible dripping blood, they seem to enjoy an almost pastoral peace. For all its small size, its delicate, almost miniaturist handling, and the quiet stillness of the women, Two Nudes in a Forest packs a powerful emotional voltage.


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As we enter into the image and examine each of its exquisitely rendered details, the intensity of feeling catches us more and more. This is a perfect painting, eloquent, beautiful, intelligent, contained, and yet, explosive. The exhibition, which drew large crowds of influential artists, critics and writers, included twenty-five paintings by Kahlo, twelve of which were bought by eager collectors. Polizzotti, Revolution of the Mind: Kahlo traveled to Paris in January in advance of the exhibition and met many of the surrealist circle there.

A feminine riposte to the more melancholic Las dos Fridas , in which Rivera is implicated in a small cameo, held in the left hand of the Frida in Tehuana dress , Two Nudes in a Forest stages Sapphic love in nature.

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Here the wry, self-conscious conjunction of barren womanhood and verdant vegetation, as carefully cultivated by Kahlo in her own garden, resists the stereotyped surrealist, masculinist identification of woman as nature. As a spider monkey looks on, the two women caress each other with a familiar ease, freed from the mediations of male desire and even from the cultural signifiers of dress, so prominently figured in Las dos Fridas.

Please note this painting has been requested on loan by the Philadelphia Museum of Art for the upcoming exhibition, Paint the Revolution: Specialist Imogen Kerr on why the artist wanted everyone to be able to own one of his works. Artists, patrons and critics have argued for centuries over the right way to frame a painting. New York 12 May Contact Client Service info christies.

La tierra desnuda y yerma | Spanish Translator

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Saleroom Notice Please note this painting has been requested on loan by the Philadelphia Museum of Art for the upcoming exhibition, Paint the Revolution: Recommended features Load all features. An essential guide to stamps and markings Specialist Imogen Kerr on why the artist wanted everyone to be able to own one of his works.

To gild or not to gild — that is the question Artists, patrons and critics have argued for centuries over the right way to frame a painting.

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