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Indeed, such Kahlo works as My Birth, in which an adult Kahlo is seen emerging from her mother's womb, seem imbued with the psychoanalytic concerns that provided surrealism's underpinnings, but Kahlo's own ideology was more public-spirited. Whatever ugly disagreements might flair between Kahlo and Rivera over the course of their 25-year marriage (interrupted by a one-year divorce in 1939 and 1940), they shared the conception that they were making art for the public good. As an art teacher in the1940s, Kahlo organized her students into mural-painting brigades. Kahlo was capable of sympathetic portraiture; her Portrait of Luther Burbank (1931) portrays its subject as the top half of a living tree. But overall her works, mostly painted during the 1930s and 1940s, were predominantly self-portraits of one kind or another.
Those self-portraits gained their intensity in part from the turbulence of Kahlo's married life, which was marked by extramarital liaisons on both sides. Rivera had an affair with Kahlo's sister Cristina, and Kahlo retaliated by becoming involved with, among others, American artist Georgia O'Keeffe and the exiled Soviet leader Leon Trotsky. Kahlo suffered several more miscarriages, which are thought to have been aftereffects of the 1925 bus accident. After more than 30 operations, Kahlo had also developed an addiction to painkillers.
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