#emma breton

[cryptidvoidwritings]

source

[white-cat-of-doom]

Aside from the White Cat Solo, Sam Bateson, the Mistoffelees in Cast 13, also captured a few other moments from the last two show day in Cast 12 of the Oasis of the Seas yesterday, 27 January 2023.

Closing night is today!

Adam Hearn helping to usher in a new day while covering Mistoffelees.

A White Cat Lift with Ebony Jayne Kitts as Victoria and Charlie Bishop as Plato.

Emma Breton as Jellylorum and Connor Dyer as Gus.

The new day being fully realized with Caroline Eby as Sillabub.

More stars of Cast 12!

John Neurohr as Skimbleshanks, Rina Punwani as Rumpleteazer, Samuel Lewis-Wright as Mungojerrie, and Taylor Bryant as Jennyanydots.

A special shoutout to Ebony Jayne Kitts as Victoria and Adam Hearn covering Mistoffelees.

[badmovieihave]

Bad movie I have The Woods 2006

[fashionbooksmilano]

Chanel in 55 Objects

The Iconic Designer through Her Finest Creations

Emma Baxter-Wright

Welbeck Publishing Group Ltd, London/Sydney 2023, 120 pages, 26x21,5 cm, ISBN 9781802795202

euro 21,00

email if you want to buy booksinprogressmilano@yahoo.it

The elegance of the Little Black Dress. The simplicity of the Breton shirt. The luxury of the fragrance. These signatures exemplify the image of Chanel.

Bringing to life the story and designs of Gabrielle Chanel, the most influential couturière in the history of fashion, Chanel in 55 Objects is an exquisite collection of bespoke illustrations and captivating text. The chic drawings depict her most iconic innovations including fashion, fragrance, jewelry and accessories, as well as the places, motifs and people that inspired her.

08/03/24

[gatheryepens]

And I will never, never again run away from life or from love either.

Emma by Jane Austen // Cruel Summer by Taylor Swift // The Kiss by Gustave Klimt // Mockingjay by Suzanne Collins // I Fall In Love Too Easily by Chet Baker // The Lovers by René Magritte // Always For The First Time by Andre Breton

[godnattakatta]

Taylor Bryant and Emma Breton.

[abwwia]

What a treasure! - with a special dedication to @dinahvaginaart

Women Painters of the World, from the time of Caterina Vigri, 1413–1463, to Rosa Bonheur and the present day, assembled and edited by #WalterShawSparrow, lists an overview of prominent #womenpainters up to 1905, the year of publication.

How is this NOT ?! a compulsory book at the each and every #artcourse?! #artherstory

Here's the list of the painters (this will keep me busy for some time :)

Louise Abbéma

Madame Abran (Marthe Abran, 1866-1908)

Georges Achille-Fould

Helen Allingham

Anna Alma-Tadema

Laura Theresa Alma-Tadema

Sophie Gengembre Anderson

Helen Cordelia Angell

Sofonisba Anguissola

Christine Angus

Berthe Art

Gerardina Jacoba van de Sande Bakhuyzen

Antonia de Bañuelos

Rose Maynard Barton

Marie Bashkirtseff

Jeanna Bauck

Amalie Bauerlë

Mary Beale

Lady Diana Beauclerk

Cecilia Beaux

Ana Bešlić

Marie-Guillemine Benoist

Marie Bilders-van Bosse

Lily Blatherwick

Tina Blau

Nelly Bodenheim

Kossa Bokchan

Rosa Bonheur

Mlle. Bouillier

Madame Bovi[2]

Olga Boznanska

Louise Breslau

Elena Brockmann

Jennie Augusta Brownscombe

Anne Frances Byrne

Katharine Cameron

Margaret Cameron (Mary Margaret Cameron)

Marie Gabrielle Capet

Margaret Sarah Carpenter

Madeleine Carpentier

Rosalba Carriera

Mary Cassatt

Marie Cazin

Francine Charderon

Marian Emma Chase

Zoé-Laure de Chatillon

Jeanne-Elisabeth Chaudet

Lilian Cheviot

Mlle. Claudie

Christabel Cockerell

Marie Amélie Cogniet

Uranie Alphonsine Colin-Libour

Jacqueline Comerre-Paton

Cornelia Conant

Delphine Arnould de Cool-Fortin

Diana Coomans

Maria Cosway

Amelia Curran

Louise Danse

Héléna Arsène Darmesteter

Maria Davids

Césarine Davin-Mirvault

Evelyn De Morgan

Jane Mary Dealy

Virginie Demont-Breton

Marie Destrée-Danse

Margaret Isabel Dicksee

Agnese Dolci

Angèle Dubos

Victoria Dubourg

Clémentine-Hélène Dufau

Mary Elizabeth Duffield-Rosenberg

Maud Earl

Marie Ellenrieder

Alix-Louise Enault

Alice Maud Fanner

Catherine Maria Fanshawe

Jeanne Fichel

Author

Walter Shaw Sparrow

Country

United Kingdom

Language

English language

Genre

Art history

Publisher

Hodder & Stoughton, Frederick A. Stokes

Publication date

1905

Pages

331

The purpose of the book was to prove wrong the statement that "the achievements of women painters have been second-rate."[1] The book includes well over 300 images of paintings by over 200 painters, most of whom were born in the 19th century and won medals at various international exhibitions. The book is a useful reference work for anyone studying women's art of the late 19th century

Louise Abbéma

Madame Abran (Marthe Abran, 1866-1908)

Georges Achille-Fould

Helen Allingham

Anna Alma-Tadema

Laura Theresa Alma-Tadema

Sophie Gengembre Anderson

Helen Cordelia Angell

Sofonisba Anguissola

Christine Angus

Berthe Art

Gerardina Jacoba van de Sande Bakhuyzen

Antonia de Bañuelos

Rose Maynard Barton

Marie Bashkirtseff

Jeanna Bauck

Amalie Bauerlë

Mary Beale

Lady Diana Beauclerk

Cecilia Beaux

Ana Bešlić

Marie-Guillemine Benoist

Marie Bilders-van Bosse

Lily Blatherwick

Tina Blau

Nelly Bodenheim

Kossa Bokchan

Rosa Bonheur

Mlle. Bouillier

Madame Bovi[2]

Olga Boznanska

Louise Breslau

Elena Brockmann

Jennie Augusta Brownscombe

Anne Frances Byrne

Katharine Cameron

Margaret Cameron (Mary Margaret Cameron)

Marie Gabrielle Capet

Margaret Sarah Carpenter

Madeleine Carpentier

Rosalba Carriera

Mary Cassatt

Marie Cazin

Francine Charderon

Marian Emma Chase

Zoé-Laure de Chatillon

Jeanne-Elisabeth Chaudet

Lilian Cheviot

Mlle. Claudie

Christabel Cockerell

Marie Amélie Cogniet

Uranie Alphonsine Colin-Libour

Jacqueline Comerre-Paton

Cornelia Conant

Delphine Arnould de Cool-Fortin

Diana Coomans

Maria Cosway

Amelia Curran

Louise Danse

Héléna Arsène Darmesteter

Maria Davids

Césarine Davin-Mirvault

Evelyn De Morgan

Jane Mary Dealy

Virginie Demont-Breton

Marie Destrée-Danse

Margaret Isabel Dicksee

Agnese Dolci

Angèle Dubos

Victoria Dubourg

Clémentine-Hélène Dufau

Mary Elizabeth Duffield-Rosenberg

Maud Earl

Marie Ellenrieder

Alix-Louise Enault

Alice Maud Fanner

Catherine Maria Fanshawe

Jeanne Fichel

Rosalie Filleul

Fanny Fleury

Julia Bracewell Folkard

Lavinia Fontana

Elizabeth Adela Forbes

Eleanor Fortescue-Brickdale

Consuélo Fould

Empress Frederick of Germany

Elizabeth Jane Gardner

Artemisia Gentileschi[3]

Diana Ghisi

Ketty Gilsoul-Hoppe

Marie-Éléonore Godefroid

Eva Gonzalès

Maude Goodman

Mary L. Gow

Kate Greenaway

Rosina Mantovani Gutti

Gertrude Demain Hammond

Emily Hart

Hortense Haudebourt-Lescot

Alice Havers

Ivy Heitland

Catharina van Hemessen

Matilda Heming

Mrs. John Herford

Emma Herland

E. Baily Hilda

Dora Hitz

A. M. Hobson

Adrienne van Hogendorp-s' Jacob

Lady Holroyd

Amelia Hotham

M. J. A. Houdon

Joséphine Houssaye

Barbara Elisabeth van Houten

Sina Mesdag van Houten

Julia Beatrice How

Mary Young Hunter

Helen Hyde

Katarina Ivanović

Infanta María de la Paz of Spain

Olga Jančić

Blanche Jenkins

Marie Jensen

Olga Jevrić

Louisa Jopling

Ljubinka Jovanović

Mina Karadžić

Angelica Kauffman

Irena Kazazić

Lucy E. Kemp-Welch

Jessie M. King

Elisa Koch

Käthe Kollwitz

Adélaïde Labille-Guiard

Ethel Larcombe

Hermine Laucota

Madame Le Roy

Louise-Émilie Leleux-Giraud

Judith Leyster

Barbara Longhi

Princess Louise, Duchess of Argyll

Marie Seymour Lucas

Marie Lucas Robiquet

Vilma Lwoff-Parlaghy

Ann Macbeth

Biddie Macdonald

Jessie Macgregor

Violet Manners, Duchess of Rutland

E. Marcotte

Ana Marinković

Madeline Marrable

Edith Martineau

Caroline de Maupeou

Constance Mayer

Anne Mee

Margaret Meen

Maria S. Merian

Anna Lea Merritt

Georgette Meunier

Eulalie Morin

Berthe Morisot

Mary Moser

Marie Nicolas

Beatrice Offor

Adeline Oppenheim Guimard

Blanche Paymal-Amouroux

Marie Petiet

Nadežda Petrović

Zora Petrović

Constance Phillott

Maria Katharina Prestel

Henrietta Rae

Suor Barbara Ragnoni

Catharine Read

Marie Magdeleine Real del Sarte

Flora Macdonald Reid

Maria G. Silva Reis

Mrs. J. Robertson

Suze Robertson

Ottilie Roederstein

Juana Romani

Adèle Romany

Jeanne Rongier

Henriëtte Ronner-Knip

Baroness Lambert de Rothschild

Sophie Rude

Rachel Ruysch

Eugénie Salanson

Adelaïde Salles-Wagner

Amy Sawyer

Helene Schjerfbeck

Félicie Schneider

Anna Maria Schurman

Thérèse Schwartze

Doña Stuart Sindici

Elisabetta Sirani

Sienese Nun Sister A

Sienese Nun Sister B

Minnie Smythe

Élisabeth Sonrel

Lavinia, Countess Spencer

M. E. Edwards Staples

Louisa Starr

Marianne Stokes

Elizabeth Strong

Mary Ann Rankin (Mrs. J. M. Swan)

Annie Louise Swynnerton

E. De Tavernier

Elizabeth Upton, Baroness Templetown

Ellen Thesleff

Elizabeth Thompson

Maria Tibaldi m. Subleyras

Frédérique Vallet-Bisson

Caroline de Valory

Mlle. de Vanteuil[4]

Elisabeth Vigée-Lebrun

Caterina Vigri

Vukosava Velimirović

Ana Vidjen

Draginja Vlasic

Beta Vukanović

Louisa Lady Waterford

Hermine Waternau

Caroline Watson

Cecilia Wentworth

E. Wesmael

Florence White

Maria Wiik

Julie Wolfthorn

Juliette Wytsman

Annie Marie Youngman

Jenny Zillhardt.

#womensart #artbywomen #palianshow #womeninarts #greatfemaleartist

#greatfemalepainters #herstory #forgottenartists #mustread

[best-magnus-archives-character]

How many do you have for each bracket/which roles need filling

hi!! sorry it took so long to reply to this, i didn't get the notification on mobile for some reason??

i haven't divided them into the 3 categories i wanted yet, since I don't know if it will be possible to even do 2, but here's a list of all the currently nominated characters, if that helps? im tempted to just skip the whole poll and declare gerry the winner, you'll see why

Gerard “Gerry” Keay: 13 noms

Joshua Gillespie: 9 noms

Jonathan Sims: 8 noms

The Admiral: 8 noms

Agnes Montague: 7 noms

Nikola Orsinov: 7 noms

Mike Crew: 7 noms

Timothy Stoker: 6 noms

Martin Blackwood: 6 noms

Michael Shelley: 5 noms

Melanie King: 5 noms

The Distortion: 5 noms

Helen Richardson: 4 noms 

Daisy Toner: 4 noms

Adelard Dekker: 3 noms

Gertrude Robinson: 3 noms

Karolina Górka: 3 noms

Jonah Magnus: 2 noms

Basira Hussain: 3 noms

Jane Prentiss: 3 noms

Annabelle Cane: 2 noms 

Graham Folger: 2 noms

Alexander Scaplehorn: 2 noms

Elias Bouchard: 3 noms

Oliver Banks: 2 noms

Sasha James: 2 noms

Jordan Kennedy: 2 noms

Hezekiah Wakeley: 2 noms

Jude Perry: 2 noms

Georgie Baker: 2 noms

The Piper: 2 noms

Gabriel (worker of clay): 2 noms

Naomi Herne: 1 nom

Amy Patel: 1 nom

the Werewolf (?) from MAG 31: 1 nom

Alfred Breton: 1 nom

Daniel Rawlings: 1 nom

Simon Fairchild: 1 nom

Homophobic Vase: 1 nom

Jurgen Leitner: 1 nom

Alexia Crawley: 1 nom

Emma Harvey: 1 nom

Elias Bouchard (original) (stoner): 1 nom

Julia Montauk: 1 nom

Evan Lukas: 1 nom

Mikaele Salesa: 1 nom

Laverne: 1 nom

Jan Kilbride: 1 nom

Callum McKenzie: 1 nom

John Haan: 1 nom

Jonathan Fanshawe: 1 nom

Fiona Law: 1 nom

Spider on the wall in MAG 38: 1 nom

Leto: 1 nom

Sebastian Skinner: 1 nom

Callum Brodie: 1 nom

Carlita Sloane: 1 nom

Anatomy Students: 1 nom

Not Them: 1 nom

Peter Lukas: 1 nom

Lee Kipple: 1 nom

Robin Lennox: 1 nom

Jared Hopworth: 1 nom

entries that said Michael Distortion went for The Distortion, while entries that said Michael Shelley/Distortion went for both, and Helen Richardson or Michael Shelley without mention of the Distortion went to the specific characters. there's 2 Elias cause one person specifically submitted the original one which i assume to be pre-jonah. and even then my total is 63. i could run a 32 bracket but it's not balanced between main and minor characters either so i'm not sure what to do right now. considering of adding some on my own, ig? like since some artifacts were submitted as characters i could include the coffin or the calliope as well?

i expected more entries, is all, so i think my plans were a bit too ambitious, but i can adapt

[entomoblog]

La ville du futur | Collège de France

du 30 nov 2023 → 01 déc 2023 Documents et médias Télécharger l'affiche pdf (212.64 Ko) Télécharger le programme pdf (415.15 Ko) Télécharger le communiqué de presse pdf (183.39 Ko) Le futur est dans la ville.

  Affiche : Ksana-Gribakina, Mykola Syvak | Claude-Matthieu Pezon.

  "En 2022, 56 % de la population mondiale, soit environ 4,4 milliards d’habitants, vivaient en milieu urbain. Cette tendance, si elle se maintenait, ferait que d’ici 2050, 7 personnes sur 10 seront citadines.

  Cette concentration humaine est source de richesse économique et culturelle, mais induit évidemment des risques, des fragilités, des inégalités parfois extrêmes. Elle est aussi génératrice d’effets environnementaux indésirables. La Banque mondiale estime que les villes représentent actuellement près des 2/3 de la consommation mondiale d’énergie et 70 % des émissions planétaires de gaz à effet de serre. Responsable certes, mais aussi victime de l’accélération des changements environnementaux, en particulier climatiques, caractéristiques de l’anthropocène.

  Ainsi s’impose la nécessité d’adapter les grands ensembles urbains à ces défis environnementaux. Certaines métropoles sont menacées par la montée des eaux océaniques. D’autres – parfois les mêmes – sont menacées par les accidents climatiques extrêmes, précipitations massives génératrices d’inondations brutales, canicules, voire simplement augmentation soutenue des températures moyennes impactant violemment populations et infrastructures urbaines. À ces défis vient s’ajouter la gestion du risque sanitaire : qualité et disponibilité de l’eau, risque épidémique, maladies liées à la pollution. L’« exposome urbain » reste à appréhender dans sa globalité, sans parler des altérations de la biodiversité microbienne, animale et végétale."

(...)

  Programme

Thomas, Römer, Jean-Marie Tarascon, Philippe Sansonetti et Patrick Boucheron

Discours d'accueil

  Patrick Boucheron

Métropolisation : comment les grandes cités ont pensé et construit leur futur

    Emmanuelle Loyer

Paris-New York vus par Breton, Marx Ernst et Claude Lévi-Strauss : le carambolage des temps

    Thomas Le Roux

L’émergence du risque environnemental urbain et sa régulation aux XVIIIe et XIXe siècles

    Jean-Baptiste Fressoz

Matière, énergie, urbanisation : une histoire sans transition

    Armelle Choplin

Construire et imaginer la ville du futur depuis l'Afrique

    Magali Reghezza-Zitt

Du risque climatique à la résilience urbaine

    Thomas Granier

Protection thermique de l’habitat et matériaux vernaculaires en Afrique

    Philippe Clergeau

De la biodiversité urbaine à l'urbanisme régénératif

    Philippe Sansonetti

Évolution des écosystèmes microbiens sous la pression du changement climatique

    Emma Haziza

Les défis de l’eau et de l’hygiène de l’eau dans la ville du futur

    Didier Fontenille

La ville du futur, face au risque entomologique

    Rémy Slama

De premières victimes des impacts du changement climatique, les villes peuvent-elles devenir le lieu privilégié de mesures d’adaptation et d’atténuation efficaces ?

    Frédéric Keck

Préparer les villes du futur aux pandémies

    Lise Rochaix

L’hôpital du futur

    Yves Bréchet

Les matériaux pour la ville du futur

    Laurent Delcayrou

La transformation des métropoles face aux enjeux climatiques et de transition écologique

    Frédéric Bourquin

Mobilités et artères urbaines du futur

    Stéphane Lecler et Sonia Lavadinho

Table ronde : Vivre dans la ville du futur

[cryptidvoidwritings]

instagram story: Jan 30, 2023

[white-cat-of-doom]

A very important Gus and Jellylorum bow, filmed by Sam Bateson.

Emma Breton as Jellylorum and Connor Dyer as Gus.

The next Jellylorum, Taila Halford, and Gus, Zachary Berger get a warm welcome.

Cast 12 of the Oasis of the Seas, 21 January 2023.

[junkyard-gifs]

Journey to the Heavyside Layer and Addressing of Cats. With John Neurohr as Skimbleshanks, Emma Breton as Jellylorum, and Noelani Neal as Cassandra. Oasis cast 12, early August 2022; photos by erica.renee45.

[marleneoftheopera]

So according to the video Thabiso posted, this should be all the cast members who left the World Tour today. Even though I always feel like I left someone out.

Happy trails to Claire Lyon, Beverley Chiat, James Borthwick, Rouel Beukes, Emma Breton, Megan Ort, Rachel Thalman, Skye Weiss, Ayaka Kamei, Claire van Bever, Jarvi Raudsepp, Deborah Caddy, Lungelwa Mdekazi, Jana Ellsworth, Joseph DePietro, Jennifer West, Marcus Williams, Bradley Craig Parsons, Aidan Banyard, and Luke Grooms!

Which means we will get a new Christine, Carlotta, and Firmin, along with Christine, Carlotta, Piangi, and Meg understudies. And a lot of new dancers, ensemble members, and swings!

Picture credits to yonnie.s, no_second_thought_, yeahhhhh_jj_pic, seonwoo2000, and nnnnnnnnnnarae on Instagram

[roadtophantom]

Caitlin Finnie and Emma Breton

[whileiamdying]

Kahlo: Separating her life from her art

By Alan Riding June 20, 2005

LONDON — Britain's devotion to the celebrity cult should assure Frida Kahlo a warm welcome here in the coming months, not least because the Mexican painter is famous in a very today kind of way: Madonna owns two of her paintings, Selma Hayek portrayed her in the 2002 movie, "Frida," and her work is all about herself. Indeed, a half-century after her death, it is still hard to separate her life from her art.

That, however, is the challenge facing "Frida Kahlo," a new retrospective at Tate Modern through Oct. 9. Few Britons will know about Kahlo's damaged body, fervent leftism and turbulent love life in postrevolutionary Mexico—or even her heralded after—life as an American feminist icon. To many people drawn to this exhibition, she is therefore famous largely out of context, which means that the 87 works on display must speak for themselves.

Conversely, for those already familiar with Kahlo's paintings, politics and personality, what is perhaps most interesting about this show is how it will be received here. Although Tate Modern is counting on "Frida Kahlo" becoming a summer blockbuster, because it opened only June 9 it is too early to measure attendance or public reactions. But what is already apparent is that many British art critics seem bemused by Kahlo, concluding that she was not a very good painter and, at the same time, confessing a certain fascination with the raw power of her work.

"Kahlo was always better at inventing images than she was at actually painting them," Andrew Graham-Dixon wrote in Sunday Standard/ The Telegraph of London.

Another critic, Waldemar Januszczak, tracking Kahlo's passage from "nothing to everything," set out to demystify her. "In the poker game of politically correct contemporary aesthetics," he wrote in The Sunday Times, "Kahlo constitutes a perfect flush. She is a woman. She is Mexican. She is bisexual. She is disabled."

Yet of her famous self-portraits, he conceded, "In their sheer fierceness, these extraordinary pretend selves are rivaled only by the self-portraits of Vincent van Gogh, who also took up painting while convalescing in hospital, a circumstance that seems to have welded death to life in both their instances."

Appropriately, then, the show opens with Kahlo's birth as an artist when she was bedridden for months after a traffic accident at the age of 18. Already here, her drawings and paintings beg viewers to share her pain, a physical pain that was a constant in her life: she had polio as a child, she underwent a score of back operations, she lost a leg to gangrene shortly before her death. But her emotional and existential pain also found release in her art.

Her form of confession was highly theatrical. In her day-to-day life, she knew how to be noticed, as given to dressing as a man as to wearing elaborate Mexican Indian costumes and jewelry. And in her art, her self-portraits in particular involved complex staging, her stern face (with trademark mustache and "monobrow") variously surrounded by leafy plants, flowers, monkeys, butterflies, cats and parrots, at times evocative of Henri Rousseau.

To today's eyes, other paintings in which she records her physical calvary suggest #Surrealism. In "The Broken Column" (1944), she portrays her naked torso, with a metal rod in place of her spine and thick straps and nails holding her body together. In "The Little Deer" (1946), her face is attached to the body of a deer, which is bleeding from nine arrow wounds.

As it happens, years earlier, André Breton declared Mexico to be "the Surrealist place par excellence" and Kahlo herself to be a Surrealist. But when he tried to recruit her into his circle, she rejected him. "They thought I was a Surrealist, but I wasn't," she protested. "I never painted dreams. I painted my own reality."

That was not strictly true. Her art evidenced all sorts of influences, some European like #Cubism and, yes, #Surrealism, others Mexican, not only that of her husband, the great Mexican muralist Diego Rivera, but also of Aztec and Roman Catholic iconography and obsession with death. She was very Mexican, but her mother was of mixed Spanish and Indian descent and her father was a German Jew. This very hybrid contributed to her originality.

In the show's informative catalogue, its British curators, Emma Dexter and Bársony Tanya, emphasize the politics in Kahlo's life, but in reality it had minimal bearing on her art. When she met Rivera in 1927, marrying him the next year, Rivera was already engaged in the confused leftist nationalism born of Mexico's 1910-17 revolution. And she simply followed him.

This meant taking a zigzag path in and out of the Mexican Communist Party, welcoming León Trotsky when he fled to Mexico, returning to Stalinism, accepting commissions from American capitalists, then denouncing them.

But her true dialogue was with herself, and the main witness was her art (she also wrote poetry). In 1932, she suffered a second miscarriage while visiting the United States. In "Henry Ford Hospital," she portrays herself lying in a pool of blood on a hospital bed. In "My Birth," the same year, her adult head is seen emerging from between the thighs of her mother.

In several self-portraits, including the striking "Self-Portrait as a Tehuana," she paints an image of Rivera on her forehead, unsurprising given that their stormy relationship was marked by their frequent affairs. "The Two Fridas," a double self-portrait in which the figures are linked by veins from their hearts, dates to their brief divorce in 1939.

Even then, though, she considered herself first and foremost Rivera's wife. And after her death, that was also how she was remembered in Mexico. But then in 1983, Hayden Herrera's book, "Frida: The Biography of Frida Kahlo," seemingly plucked her from obscurity and initiated her remarkable transformation into, in Jakub Januszczak's words, "the most famous woman artist in the world."

To judge by this show, does Kahlo the artist travel as successfully as Kahlo the celebrity? Probably not. Yet the exhibition does help clarify why she is famous - not for her brush-strokes, but for her extravagant, imaginative, exhibitionistic and, above all, tragic being. To appreciate Kahlo is to empathize with her.