From journal (13) Frida Kahlo (1907-1954)

The drawing presents a complex arrangement of figures rendered in a deliberately crude and expressive style. Here we observe three distinct human forms intertwined, their bodies overlapping and merging into one another. The central figure dominates the composition; its skin is painted in shades of blue and green, with an elongated face exhibiting large, dark eyes that convey a sense of melancholy or introspection. This individual appears to be embracing or shielding two other figures positioned on either side.
To the left, a pale-skinned face emerges from behind the central figure’s shoulder, its features appearing somewhat detached and distant. The right figure is partially obscured, but we can discern a fleshy form with a dark, almost black, area suggesting an anatomical detail. This element introduces a note of unsettling physicality to the scene.
The artist employed a limited palette of colors – primarily greens, blues, pinks, yellows, and blacks – applied in broad strokes that contribute to the drawing’s raw emotional intensity. The background is similarly simplified, with vertical bands of color suggesting an ambiguous space or perhaps a sense of confinement. A handwritten inscription appears at the top, adding another layer of meaning; its legibility is limited but it seems to be a phrase written in Spanish.
The composition suggests themes of interconnectedness and vulnerability. The overlapping bodies imply a complex relationship – possibly familial, romantic, or even symbolic of shared suffering. The distorted features and exaggerated forms evoke a sense of psychological distress or emotional turmoil. The artist’s deliberate use of simplification and expressive color choices creates an atmosphere of unease and introspection, hinting at the fragility of human existence and the complexities of interpersonal relationships. The inclusion of anatomical detail alongside the stylized figures introduces a tension between the idealized and the corporeal, further enriching the drawings subtextual depth.