p. 8).
Zamora says she was profoundly misled by this false portrait presented by Kahlo. She finally discovered not the "perfect romantic heroine" Kahlo would have painted, but instead a wild and wayward woman who "smoked too much and drank to excess. Bisexual during much of her life and a lesbian in her last years, Frida was unfaithful to her husband with the same frequency he evidently was to her" (Zamora, 1990, p. 8).
Nevertheless, it is Kahlo's art that is most important, and not the actual or imagined sufferings or glories of her personal life, except to the degree that those elements helped shape her art. She worked under the weight of her more famous, and even revered muralist-husband, and that weight helped give her work its special spirit: "With strength and patient dedication, she created her own work, distinct from the art movements of her time. She demonstrated that she could flourish beneath t
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