A Public Sphere for Poetry, Politics, and Nature
Growing up from his Asiatic-type head is his fine, thin hair, which somehow gives the impression that it is floating in air. He looks like an immense baby with an amiable but sad-looking face. His wide, dark, and intelligent bulging eyes appear to be barely held in place by his swollen eyelids. They protrude like the eyes of a frog, each separated from the other in a most extraordinary way. They thus seem to enlarge his field of vision beyond that of most persons. It is almost as if they were constructed exclusively for a painter of vast spaces and multitudes. The effect produced by these unusual eyes, situated so far away from each other, encourages one to speculate on the ages-old oriental knowledge contained behind them.
On rare occasions, an ironic yet tender smile appears on his Buddha-like lips. Seeing him in the nude, one is immediately reminded of a young boy-frog standing on his hind legs. His skin is greenish-white, very like that of an aquatic animal. The only dark parts of his whole body are his hands and face, and that is because they are sunburned. His shoulders are like a child’s, narrow and round. They progress without any visible hint of angles, their tapering rotundity making them seem almost feminine. The arms diminish regularly into small, sensitive hands… It is incredible to think that these hands have been capable of achieving such a prodigious number of paintings. Another wonder is that they can still work as indefatigably as they do.
Diego’s chest — of it we have to say, that had he landed on an island governed by Sappho, where male invaders were apt to be executed, Diego would never have been in danger. The sensitivity of his marvelous breasts would have insured his welcome, although his masculine virility, specific and strange, would have made him equally desired in the lands of these queens avidly hungering for masculine love.
His enormous belly, smooth, tightly drawn, and sphere-shaped, is supported by two strong legs which are as beautifully solid as classical columns. They end in feet which point outward at an obtuse angle, as if moulded for a stance wide enough to cover the entire earth.
He sleeps in a foetal position. In his waking hours, he walks with a languorous elegance as if accustomed to living in a liquefied medium. By his movements, one would think that he found air denser to wade through than water….
Perhaps it is expected that I should lament about how I have suffered living with a man like Diego. But I do not think that the banks of a river suffer because they let the river flow, nor does the earth suffer because of the rains, nor does the atom suffer for letting its energy escape. To my way of thinking, everything has its natural compensation.
Frida Kahlo (Mexican, 1907-1954) Diego y Yo, 1930, Charcoal and ink on paper, 29.5 x 21.5 cm