Museum of Frida Kahlo (Museo Frida Kahlo)

Museo Frida Kahlo   

Location: Londres 247, Coyoacán

Subway: Coyoacán

Tel. 5554 5999

Open: 10am- 5:45pm Tue- Sun

Frida Kahlo

July 6, 1907 – July 13, 1954


The Frida Kahlo Museum is the most representative cultural venue of the Mexican artist, as well as a container for an important part of her artistic and conceptual legacy. It is a house museum located in the Carmen Neighborhood of the Coyoacán Mayor's Office, which corresponds to one of the most traditional and beautiful neighborhoods in Mexico City. A few blocks from the museum, the center of Coyoacán is located.

Also known as the Blue House, it is one of the busiest museums in the area. The building, which today protects and exhibits a collection of pieces of various kinds, belonged to the Kahlo family since 1904. Four years after the painter's death, in July 19582, it opened its doors to the public as a house museum.

Frida Kahlo (1907-1954) lived in the Blue House for most of her life; initially, with her family and years later, with Diego Rivera (1886-1957). Likewise, characters from the artistic and intellectual environment of the first half of the twentieth century, both Mexicans and foreigners, stayed at the residence, attracted by the captivating couple of artists.

Different figures participated in the construction of the building, including the painter and functionalist architect Juan O'Gorman, a great friend of both Diego and Kahlo.​ The museography was carried out by the writer, poet, museographer and Tabasco politician Carlos Pellicer, who is also close to the couple. The administration of the museum was entrusted to the Diego Rivera and Frida Kahlo Museum Trust, attached to the Bank of Mexico, constituted by Rivera himself in 1957. In this regard, this entity affirms that the planning of the operation of the enclosure was developed “with the purpose of exhibiting work, illustrating the personality and perpetuating the memory of Frida Kahlo.”

Frida wanted to leave her house as a museum, for the learning and enjoyment of her beloved Mexico. For this reason, Diego organizes, in what was the painter's home, the Frida Kahlo Museum. Following the will of his wife, the muralist began this task a few months after Frida Kahlo died, that is, in the last months of the year 1954.

Since the inauguration of the Museum in July 1958, the Blue House has exhibited the environment in which Frida was inspired for her artistic creation, as well as her personal objects. The latter, it took to be fully unveiled. Before he died, Diego ordered that the bathrooms of the Blue House not be opened until fifteen years after his departure. In these spaces, Rivera had protected part of the couple's documents, as well as certain of Frida's belongings. Obeying Rivera's indication and extending it over time, Dolores Olmedo, the muralist's patron, declared that as long as she lived, she would not open these places.For this reason, only one hundred years after Frida's birth and fifty after Diego's death, the objects that Rivera had so manifestly enclosed were finally exposed to the public, which are known to this day as the Treasures of the Blue House.

Nowadays, along with certain paintings by both artists, notable works of folk art, pre-Columbian sculptures, elements of Frida's daily life, part of her magnificent collection of ex-votos, photographs, documents, books and furniture are displayed in the Blue House. Likewise, two traveling exhibitions commissioned by the Museum, called “Frida Kahlo, her photos” and “Appearances Deceive”, are samples of excellent quality, which disseminate nationally and internationally, the legacy of Frida and Diego safeguarded in the Blue House.

The poet and historian Luis Roberto Vera admits that visiting the house where the artist developed both professionally and personally is of great interest because “there is a concordance between her pictorial world and her lived world".

The beautiful garden of the residence also has a peculiar history and is an essential part of the Blue House. Currently, when crossing it, you can access the exhibition of Frida's Dresses.


The Coyoacan of the Blue House

The Blue House is located in a corner of the Colonia Del Carmen; a neighborhood of 170 hectares that was once part of the San Pedro Mártir Hacienda. Around 1890, this place received its name in honor of Doña Carmen Ortiz Rubio de Díaz, the wife of President Porfirio Díaz. It is located within the Coyoacán City Hall, whose history dates back to pre-Hispanic Mexico.

Its name comes from the Nahuatl Coyohuacan, “place of the coyote owners”. According to the Mexican philosopher and historian Miguel León-Portilla, the region was formerly consecrated to Tezcatlipoca, a deity with the power to transform into a coyote at night. The eruption of the Xitle volcano, which occurred between 245 and 315 A.D., covered this region, as well as many others in the Anahuac basin, with ash and basalt stones, which were used in many later buildings in the area.

Despite having had a constant activity since pre-Columbian times and throughout the viceregal period, by the time the Mexican War of Independence came to an end, the territory of Coyoacán had become quite uninhabited. It was from the government of Díaz, that Coyoacán developed again, until it became what it is today.

Between 1917 and 1923, the Nursery Park and the Outdoor Painting School were created. In 1926, the opening of Mexico Coyoacán Avenue led to the connection between Colonia Del Carmen and Colonia Del Valle, as well as other neighboring colonies. A little more than a decade later, the paving of important avenues began, such as Miguel Ángel de Quevedo. By 1929, Coyoacán was already considered one of the most important delegations (today mayoralties) of the Federal District (today Mexico City).

In 1972, the Center of Coyoacán was declared a historical zone and in 1990, a Protected Monumental Zone. Today, Coyoacán is home to the quintessential intellectual and cultural neighborhoods of Mexico City. Its streets have been the scene of the life and transit of outstanding figures of the Mexican cultural environment such as Rina Lazo, Emilio “Indio” Fernández, José Clemente Orozco, Aurora Reyes, Luis Buñuel, David Alfaro Siqueiros and Jorge Ibargüengoitia, among others.

Carl Wilhelm Kahlo, known as Guillermo Kahlo, embarked for Mexico as an immigrant at the age of 19. The young German was motivated by the growing and economically successful German colony already existing in Mexico, which was proliferating by the second half of the nineteenth century, as well as by reading the chronicles of the German explorer, researcher and scientist Alexander von Humboldt (1769-1869). Likewise, it is possible that reports about the expansion of the jewelry industry in Mexico have prompted Guillermo to try his luck in the Aztec country. This, coupled with the fact that - according to Frida herself - her mother had died, and she never had a good relationship with her stepmother in Germany.

In 1891, Wilhelm arrived at the port of Veracruz, endowed with the knowledge inherited from a vast genealogy of jewelers. Accordingly, he began working at La Perla jewelry store, located in the center of the country's capital. In 1893, he married María Cardeña, who died giving birth to their third baby, in October 1897. In February 1898, Wilhelm married Matilde Calderón, with whom he had four daughters; Frida was the third of them. Most likely, it was his new father-in-law who introduced him to the world of photography. Thus, the young Kahlo was soon working as a reporter for several national magazines.

His career as a photographer developed satisfactorily and allowed him to acquire in 1904 a land of 800 square meters on the corner of Londres and Allende Streets, which was once owned by the religious order of the Carmelites. On this property, Guillermo, the name by which he called himself Wilhem shortly after arriving in Mexico, built his house at number 75 on block 36, located at the northeast corner of the intersection of London and Allende streets. According to the Mexican chronicler of Belgian origin, Luis Everaert Dubernard, there were still not many houses in the area room:
"With a facade facing both streets, a one-story house was soon built on the property, on a low-rise basement, with a C-shaped floor plan around a courtyard to which the rooms faced, aligned one after the next (...). For a long time, that construction that I remember with the facades always painted ultramarine blue was the only one in the entire block."

Before Guillermo's arrival in Mexico, an enterprising and visionary German businessman, Sigismundo Wolff, acquired the land of the then Hacienda de San Pedro. Thus, the transformation of the property could begin, in the Colonia Del Carmen, around 1886. Possibly, Wolff got this territorial concession, precisely to promote the settlement of the Carmen colony, urbanizing it in a Moderna way. He facilitated the commercialization of the lots through agents, information and sales offices, with plans of the entire colony or fractions of it. It offered payment facilities and mortgage-based financing plans. His projects turned out to be an excellent investment, both for him and for the new owners. One of those plans, an example of professional urban planning for the time, is preserved in the Historical Archive of Mexico City. Once in the Mexican capital, it was probably the knowledge of Wolff's generous contribution and its importance for the establishment of the Colonia Del Carmen, which prompted Kahlo to build her home there, as a way to stay close to her German roots. When Guillermo settled in Coyoacán, he found an area that obeyed the urban planning canons present in cities europeas.De agreement with Everaert:
"The map shows an area with an orthogonal line of very wide streets, that is, at right angles, north-south and east-west orientation, and rectangular blocks of 60 by 100 meters on each side, with typical lots of 1000 square meters, a large public park in the center, and with the nomenclature of streets named after heroes of Independence and European capitals."


The property of the Blue House

It is said that the original design of the property was rectangular in shape and included some outdoor spaces. According to Hayden Herrera, the structure of the house, its single floor, its smooth ceiling and its “c”-shaped plan assimilated to a nineteenth-century design.

It is not known exactly when, or why, the exterior walls of the house were painted blue. In October 1932 the residence was already endowed with this color, according to the following quote, originally from Lucienne Bloch's Diary: "What a house! All shiny blue with pink corners, with green windows and a central courtyard with cacti, orange trees and Aztec idols”" When she wrote this impression, the American muralist was visiting the Coyoacán residence. He had traveled generously accompanying Frida to witness the death of her mother, which also happened in September of that same year, 1932. It is also documented that, in January 1937, when the couple of Leon Trotsky and Natalia Sedova arrived to stay at the residence, the house was still painted blue. This is how Trotsky's personal assistant at that time, Jean Van Heijenoort, tells it: “From the airport I took a taxi to Coyoacán. In a blue house located on London Avenue, which was surrounded by policemen, I met with Trotsky and Natalia.”

There is no doubt that the color of the house is one of the attributes that facilitated the identification of the house, when it began to become nationally and internationally famous. Its popularity began, probably, on the occasion of the arrival of the Russian revolutionary. This visit that lasted for two years attracted press, as well as social and political activity to the property.

It is estimated that the beautiful garden of the house began to take shape in an indefinite period between 1933 and 1936. In 1937, Diego acquired the adjacent property, previously uninhabited, of one thousand and forty square meters. This purchase was made possible thanks to an anonymous donation received by Diego Rivera, intended to finance the implementation of measures to guarantee Leon Trotsky's comfort and safety during his confinement. Likewise, the windows facing the street were boarded up from the inside with adobe blocks, a security tower facing London was built and the height of the perimeter fence was raised considerably. Thanks to these infrastructural modifications, Trotsky and Natalia were safe in the Blue House. The Soviet revolutionary and his wife stayed there from January 1937 to May 1939. During this period, Frida and Diego did not live in the Blue House, but in their residence in San Ángel, which is now the Diego Rivera and Frida Kahlo Studio House Museum.

In 1941 Frida and Diego settled in the Blue House; the former permanently and Diego alternating with the residence of San Ángel. In the mid-1940s, Diego had the wing of the house built on the Allende Street side. In the garden he built a fountain, a step pyramid, a fourth container of archaeological pieces and a water mirror.

In 1946, advised by Juan O'Gorman, the muralist commissioned basalt stone to be used for the construction of a new studio, of avant-garde Mexican design. O'Gorman also collaborated with Rivera to make possible the architectural design that the painter wanted for two new bedrooms, adjacent to the Studio, and a new terrace. The latter was particularly impressive in terms of its dimensions and materiality. The intellectual confidence that Rivera had for O'Gorman was born after visiting one of the houses that the functionalist architect designed. About this current, Maestro Rivera said:

"the architecture realized by the principle of the most scientific functionalism, is also a work of art. And since for the maximum efficiency and minimum cost (...), it was of enormous importance for the rapid reconstruction of our country and, therefore (according to Maestro Rivera himself), it gave beauty to the building.”


Eclecticism in the aesthetics of the Blue House

The architectural and decorative style of the Blue House has been described as eclectic, perhaps because it does not classify each of its constructive additions. However, if something is eclectic by bringing together different trends, then the Blue House could be it.

The property is the result of the combination of two currents that contrast with each other, without disqualifying each other: that of the affluent middle class of the late nineteenth century (although the House was built at the beginning of the twentieth century, its aesthetics are typical of the previous century) and the Mexican avant-garde style created by Rivera and O'Gorman. Today, both designs and construction methods look unified in a single domestic scenario.

In principle, the House responded to the ornamental canons of a society that sought to absorb whatever was foreign. Thirty years after its construction, its modification began, with the aim that both the architecture and the decoration of the house cited the national. The most decisive changes can be classified into the following stages: the extensive initial period, from 1904 to 1936, Leon Trotsky's stay, from 1937 and the construction of the Studio, from 1946 onwards.


Stages of the Blue House

Initial stage 1904 - 1936

The only photographs that exist of the building at the time of Guillermo Kahlo are in black and white. However, this does not prevent ensuring that the facade of the house, in its beginnings, was white or of some very faint pastel tone. The visual archives of the house show a lattice, a molding, doors and windows adorned with dark frames, possibly in the color of almagre red or sepia. This tonality obeyed the popular style of the properly Mexican country houses. There are authors, as is the case of Adriana Zavala, who describe the house in its first stage as neoclassical. Beatriz Scharrer agrees with this proposal:

Although it seems strange today, the exterior facade of the house was neoclassical and also sported the duality of colors already explained. On a light background, there were contrasting darker elements such as the frieze of alternating brick heads, the top of the corner of the house from where the south and west fronts started and the fretwork that ran along the entire length of the facade delimiting the interstices of the walls and crowning the windows.

Scharrer also points out that these characteristics were representative of the architecture of the Porfiriato, which makes perfect sense considering that the professional rise of Frida's father, Guillermo Kahlo, took place during that time.

The exterior view of the building was characterized by its rectangular windows that reached the floor: four windows were distributed on each side of the square of the house and a distinctive window, belonging to the kitchen space, shone on the facade facing Allende Street. The openings were richly decorated with false balconies and garigoleted wrought iron railings. A volcanic stone valance adorned the lower part of the house and, on the contrary, the cornice exhibited a row of bricks.

The Mexican Revolution dramatically changed the economic situation of the Kahlo-Calderón family. Thanks to the help of an antique dealer from the city center, they sold the French-made furniture in the living room. Some time later, the couple found themselves in need of renting rooms and even mortgaging the family house, which they had built during past and prosperous times. The property was in the name of Matilde Calderón, Frida's mother, so we know that such a decision had to have been made by both members of the marriage.

About a year after Frida married Diego, the painter settled the debt of the house, which became Frida's property. A document from the Federal District Treasury of the year 1930 confirms the change of owner of the house located in London number 127. It had ceased to belong to Matilde Calderón de Kahlo and was now in the name of Frida Kahlo de Rivera.

The couple of artists did not inhabit the Blue House after having joined, but until 1931 when they were temporarily installed. After spending a few weeks in Coyoacán, they traveled to New York and later to Detroit. In 1933, they went to live in the functionalist house that O'Gorman designed for them in San Ángel. During this period of the couple's itinerant stay in different places, Frida's father, Guillermo Kahlo, lived in the house in Colonia Del Carmen with his youngest daughter Cristina, and his grandchildren Isolda and Antonio.

Without prejudice to the above, and according to the historian Beatriz Scharrer, it was Diego and Frida who, little by little, gave the residence the particular aesthetic that characterizes it to this day. They impressed on him their admiration for the peoples of Mexico with colors and decoration of pre-Hispanic and popular art.


Second Stage: 1937 - 1945

In the autumn of 1936, Diego Rivera convinced the then President of Mexico, Lázaro Cárdenas, to grant the Russian revolutionary Leon Trotsky political asylum in Mexican territory. Trotsky was suffering at that time and for many years, the bitter persecution of Stalin.

With Trotsky's arrival in Mexico in January 1937, and anticipating the constant threat to which he would be subjected, Diego ordered alterations to the Blue House, for security reasons. A watchtower and a police booth were built. In 1938 the adjacent property was acquired, which prior to the acquisition constituted a high-risk front, being uninhabited.

The modifications were not only functional, but also stylistic. In opposition to the architectural custom of the porfiriato, in the twenties the imitation of foreign models was abandoned. On the contrary, now it was sought to rescue and create a properly Mexican identity, based on pre-Columbian culture and popular art. It is equally likely that the search for a new aesthetic for the Blue House was partially motivated by the intention of visually aligning with the sociopolitical convictions of the Russian intellectual, only in those aspects that were shared by the pair of artists. In other words, we had to get rid of everything that gave the appearance of being bourgeois.

A photograph from 1938 shows how the walls of the Blue House were flattened. The frieze and the fretwork that used to adorn the facade were eliminated. Only the top finial was preserved. The garigoleted bars on the windows were replaced by round bars painted green. The pots that were on the lattice were removed and replaced with magueyes and pre-Columbian pieces.

In January 1941, when both artists Frida and Diego returned to live more or less permanently in the Blue House, the largest room in the building (currently room 1 of the Frida Kahlo Museum) was Diego's studio. In the next room was the then study of Frida; the present room 2 of the Museum. Here, the artist writes that it was particularly where she was born, although the latter is not, to date, reliably documented.

The house also included a guest room and another that contained Frida and Diego's beds. Frida's bed had been modified in 1925, by Matilde Calderón, to accommodate her daughter's needs after the severe accident that left Frida immobilized for many months. Guillermo Kahlo's then photographic studio occupied what was originally a bathroom, a pantry and the hallway. Part of the land acquired to guarantee Trotsky's safety was used to expand the service yard and open a hallway to Allende Street. A terrace, cellars and bathrooms were also added. Neither the dining room nor the kitchen underwent structural modifications, but aesthetic ones: the braziers and the backsplash were decorated with handmade talavera mosaics. Wooden storage rooms painted yellow were added and elements were acquired that highlighted the Mexican style that the couple wanted to impregnate in their home. Among the acquisitions that were occupied and displayed in the residence at this time, which are still on display today, we find table linens, kitchen dishes, tableware, wooden spoons, copper pots, earthenware pots, blown glass vases and stone molcajetes. According to Graciela Romandia de Cantú, the couple not only used these objects in their daily life, but also collected pieces of folk art, “which were pleasant to their developed artistic senses and nationalist inclinations,” to which they gave a decorative function that continues to be the protagonist in the house.


Third stage: The Study of Frida and Diego 1946

In 1945, Frida and Diego decided to design a new extension for the house and it was O'Gorman who was again in charge of the constructive design of it. This building, completed in 1946, would encompass what had been the service courtyard during the previous stage and would become two new bedrooms, a bathroom and a new studio for the couple of artists. Today, in the Frida Kahlo Museum this section is known as the Blue House Studio, in which materials and workspaces of both artists are appreciated, as they arranged and used them at this stage of their lives.

Juan O'Gorman, a muralist and architect, met Diego Rivera around 1922. At that time, Rivera was almost twenty years older than him. They coincided when Rivera was making the mural of the Bolívar Amphitheater at the Old San Ildefonso College, formerly the National Preparatory School. At the age of 24, O'Gorman designed the first functionalist residential building in the country, which left Rivera impressed with the new aesthetic order of modernity. Consequently, in 1931 the painter commissioned this architect to build his house-studio in a neighborhood of the Álvaro Obregón Mayor's Office, already then known as San Ángel Inn. This house is today the Diego Rivera and Frida Kahlo Studio House Museum. In 1942, Rivera trusted his architect friend again for the initial plans of what would be the majestic Anahuacalli. At the end of the day, Rivera had the professional collaboration of O'Gorman throughout the design and construction process of his posthumous work, which would be inaugurated 22 years later as the Diego Rivera Anahuacalli Museum.

Returning to the third stage of the Blue House, a deposit of basalt stones was located in the vicinity of Coyoacán. It was a relatively cheap material, which required little maintenance. Diego, inspired by the volcanic stone that had been used by the Aztecs to build pyramids and carve ceremonial pieces, asked O'Gorman to cover the new construction with carefully cut blocks of this stone. This decision, as well as several of the stylistic options that are currently appreciated in this third stage of the house, were a reflection of Frida and Diego's preference for environments that clearly referenced the Mexican; whether it was the traditional, the pre-Columbian or even the aesthetics of Moderna Mexico.

The studio was decorated with sculptures, also pre-Columbian. Outside the studio, 4 patios were built; 2 uncovered and 2 roofed. In the covered patios, which functioned as meeting rooms and outdoor dining, Frida and Diego literally "embedded” their style. Both artists designed original mosaics for the ceilings. That ceiling that illustrates the eye, the clock, the moon and the sun was Frida's design, while the one with the oz and the hammer was Diego's conception. Both artists also embellished the walls of these outdoor patios by adding sea snails and other decorative elements, such as built-in jugs, to their walls.

This new architectural space and the original house were connected by an internal staircase made of basalt, built adjacent to the outside of the kitchen, which in turn frames a low-level room, of very original design for the time. Due to its geometry, this space is currently known in the Frida Kahlo Museum as the “staircase cube”.

In 1953, after part of her right leg was amputated, Frida had ramps added that started from the atrium of the garden and made it easier for her to access the original section of the house. He began to have difficulties accessing the new studio, because it was reached by stairs. She solved it by moving to the smaller of the two new rooms, located adjacent to the study, from which she could move on her own. Frida died in this room on July 13, 1954.


The Garden of the Blue House

The original garden of Guillermo Kahlo's house emulated the nineteenth-century European style. The layout of the house around a central atrium goes back to the tradition of interior courtyards in the houses of the first generations of Spaniards living in Mexico, which were in turn inspired by the Moorish atriums of cities such as Seville, Cordoba and Cadiz.

The first evidence of a garden in Frida's childhood home comes from family photographs taken at the beginning of the twentieth century. In them, you can see the lower balcony and the patio below it. Among its elements, plants such as roses, cordylines, philodendrons, palms and bananas stand out. According to the fashion of that time, the garden had to harmonize with the architectural structure of the residence. Accordingly, in Coyoacán's house, numerous terracotta pots lined the edge of the balcony.

Some photographs taken in the thirties reveal that orange trees, carved columns and new potted plants were added. Although Diego and Frida did not inhabit the Blue House during that time, it is most likely that Guillermo would have dedicated himself to documenting the changes that were the decision of the artist couple.

With Trotsky's arrival at the Blue House and the well-known purchase of the lot next to it, the wall dividing the two plots of land was removed and the garden, which now had an area of 800 square meters, was extended. Among the books of Frida that remained in the collection of the Frida Kahlo Museum, there are some of botany. It follows from this that it is possible that the artist has acquired them to document herself regarding the possibilities offered by an extensive garden. She and Diego planted both domestic and imported species; among them, a wide variety of cacti (maguey, cactus, 'viejitos’, biznagas and yucca), fruit trees (orange, quince and pomegranate) and flowers of various origins. Likewise, Frida and Diego's pets were added to the garden, including two spider monkeys, a pair of parakeets, another pair of turkeys, an eagle, a deer called Granizo and six dogs, mostly from “Mexican hairy dogs” or xoloitzcuintles. Some time after Frida and Diego married for the second time, in 1941 Rivera supervised the construction of a step pyramid to permanently exhibit a selection of his pre-Columbian sculptures. At the central point of the entrance to the garden, a monolithic figure in the form of a stone hoop was erected, also of pre-Hispanic origin, of those that were used as a basket in the pre-Courtesian ball game. There is also a small altar to Tlaloc in the garden and a kind of baptismal font decorated with a quincunx border (a symbol used by the ancient inhabitants of Mesoamerica to designate the directions of the universe: east, south, west and north, in addition to the center, which functioned as the axis of the world or axis mundi). Finally, the couple had a pond and a small room built with a stone-encrusted front in the shape of Tlaloc heads and two snake heads in the corners.

In 1946, a series of courtyards already described earlier in the present text were built; some covered and others exposed. Sections of the walls of the garden courtyards were covered with stucco, painted blue and framed with tezontle. Towards the end of her life, Frida moved to the room that had the best view of the garden, and ramps were installed that allowed the artist to move between the original section of the house and the central atrium. “The winding paths in the garden, which still exist today, were specifically designed so that (Frida) could cross them in a wheelchair.” Shortly after the inauguration of the Museum, the interest that continues today arose, to know the plant species that exist in Frida's garden. This research has been nourished by the fact that many of the artist's masterpieces include lively representations of plants that still inhabit the garden of the Blue House. A census made in 2018 to the existing plants, shows the great variety of origins that the living elements of the garden have. Jacarandas, bougainvilleas, magnolias, thunders, yuccas, aguates, cedars, ash trees, medlars, ficus, oaks, Brazil nuts, acacias, lemons, pear trees, plums, laurels and palms have been recognized. Of the total botanical species that were growing in the garden of the Blue House for the census year, 56% originate from outside the American continent, 22% come from Mesoamerica and the remaining 22% come from other areas of America. Regarding the number of botanical specimens, the percentage ratio turned out to be interestingly different. Of the 100% of specimens that inhabit the garden of Frida's home, 45% are Mesoamerican, 41% are native to areas not located on the American continent and 14% are specimens of species that come from other parts of America.


Some contents of the House Museum

The House Museum allows its visitors to discover the deep relationship that exists between Frida Kahlo and Diego Rivera, their paintings and their home. The rooms show part of the work of Frida and Diego Rivera, who also lived there.

Among the highlights of the House are Frida's beds: the day and the night. The first one has a mirror on the lintel, which the artist used to paint her self-portraits while she was immobilized from the column due to the terrible accident she had. The bed at night, was the one that Frida occupied during the last years of her life, in which she spent most of the time prostrate, therefore she needed to change her place every certain amount of hours, to avoid injuries by being in a horizontal position for a long time.

Another attraction of the Museum is Frida's Studio, where part of the residence's library can be seen, which brings together volumes that belonged to Frida, her family, as well as Diego Rivera. The Kitchen of the Blue House, is one of the most traditional spaces of the Museum in terms of its aesthetics; the vessels, dishes and utensils of Mexican artisanal manufacture, are beautifully exposed and reflect the gastronomic lifestyle of the artist and her family. Although at the time Frida and Diego lived, gas was already used in the kitchens, the couple preferred to preserve the stove of the Blue House based on wood, probably to enjoy the preparation of meals in the traditional style.

Each room of the House reveals the clear preference that the couple had around the Mexican aesthetic. Thus, for example, pre-Hispanic sculptures are exhibited in several places of the Blue House. Likewise, there are more than ten representations on cardboard, called "Judas"; they are great characters that hang on the walls. The artists' Studio preserves paintings, brushes, pencils, books and notebooks, as they were once used. In this way, the personalities of Frida and Diego are represented in their home, leaving their essences in each place.

The artworks of Frida Kahlo that are exhibited in the exhibition halls give an account of the work process and the pictorial evolution of the artist during her professional life. Many of these works, probably most of them, are unfinished. This is because Frida Kahlo sold most of the paintings she made in their entirety during her lifetime. However, in the Blue House there are three masterpieces of the artist's career that are finished: Portrait of my Father (1941), Viva la Vida (1954) and Still Life; a very special painting in a round frame, from the year 1942.

During his lifetime, Rivera left everything arranged so that when he and Frida died, the house would become a museum. The bathrooms of the residence were closed as cellars; the muralist indicated that they could be opened only fifteen years after his death. That time was extended to forty-eight years, and when these spaces were opened, hundreds of documents, photos, dresses, books and accessories were discovered. It was necessary to annex and condition the building adjacent to the residence in order to exhibit the treasures found.