Moise (le nucleus) Frida Kahlo (1907-1954)

In this surreal and symbolic painting, a radiant sun dominates the upper center, its rays extending outwards. Beneath the sun, a fetus is depicted in a womb-like structure, connected by umbilical cords to two round, white objects resembling ovaries or eggs, from which sperm-like figures emanate. The fetus is further linked to a baby nestled in a basket floating on water, suggesting a cycle of birth and renewal.
The painting is densely populated with figures from various cultures, religions, and historical eras, arranged in horizontal bands on either side of the central motif. On the left, we see figures from Mesoamerican mythology and ancient civilizations, including a reclining nude, skeletons, and a collection of portraits of philosophers and religious leaders such asGandhi and Buddha. The bottom left features a scene of human sacrifice and a representation of primitive man.
On the right, the imagery shifts to Abrahamic and Western traditions. Here, we find figures from the Bible (Mary and child, Moses), religious symbols like the Star of David and the Eye of Providence, and portraits of historical figures including Napoleon and Hitler. There are also depictions of deities, mythical creatures, and skeletal remains. Ethereal figures and celestial bodies further populate this side. The overall composition is framed by barren, gnarled tree-like forms at the bottom, contrasting with the vibrant celestial and human elements above.
The painting, titled Moses (The Nucleus), explores themes of creation, lineage, evolution, and the culmination of human history and knowledge. The central depiction of the fetus and infant highlights the fundamental act of birth and the potential for new beginnings. The surrounding figures represent a vast spectrum of human thought, belief systems, and historical developments, suggesting that every new life emerges from and is influenced by this complex tapestry of human experience. The juxtaposition of diverse figures, from ancient deities and religious icons to political leaders representing both progress and destruction, implies a commentary on the cyclical nature of history, the enduring search for meaning, and the inherited legacy that shapes humanity. The painting can be interpreted as a visual representation of the idea that all life, and indeed all knowledge, originates from a single point – a nucleus – and evolves through interaction with the accumulated experiences and ideologies of humankind.