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Frida Kahlo And Diego Rivera Analysis

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Similarly to Frida Kahlo and Diego Rivera before meeting, Jeanne-Claude and Christo had a very different relationship to the arts to one another.
The pair, known as Jeanne-Claude and Christo, are renowned for their ‘wrapping works’: gigantic outdoor installations which consists in temporarily wrapping entire monuments in cloth around the world (.

Christo had been drawn to spacial design ever since he started aged twelve putting on plays to amuse his parents and their friends. During those plays, he created the set: imagining a new environment in a chosen space. This interest was stimulated once again when moving to Sofia to study Fine Art. Christo managed to feed his love for installations when he was given a project to redesign tracks used by the Orient Express. Not only the project developed his “visceral sense of …show more content…
Before meeting Christo in late 1958 Jeanne-Claude lived an easy life nursed by social events in the Parisian upper class; She was a “ruthless leader” constantly inspecting her servants work and challenging authority (from?). Her parents were unsupportive of their daughter’s relationship with a penniless Bulgarian artist and soon kicked out of the parental cocoon and stripped of her privileges.
Christo was although obsessed with his work, struggling to provide for Jeanne-Claude and their new born child. Jeanne-Claude whom only had experience in shinning in society was now hoping to contribute. Yet it is this very quality which helped her find her place in the duo.

Although Jeanne-Claude was helping Christo ever since their relationship began, it became clear she was essential to him in 1961 during his installation Wall of Oil Barrels - The Iron Curtain. The piece consisted of blocking of a Parisian street by creating a layer of stacked oil barrels. The artist did not have agreement of the council and quickly police came to the disrupted

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