The concept of memory and speak is brought in the painting Kahlo’s Self-Portrait with Portrait of Dr. Farill as it depicts her state of psychology during her long, tempestuous relationship with Diego Rivera (Lindauer 83). Even when her partner Rivera figure does not appear in her painting, she has a tendency to identify other elements and features of her paintings as a symbol of the presence of her partner. To make herself well remembered, she paints herself having heavy eyebrows that are joined into one in order to express and androgynous mind. It is striking how Dr. Farill, who had normal eyebrows, gains unified ones in the painting. She wants to be associated with her physician and to hold the memories of him when she alters her costume to resemble a white coat of a physician. Her diary confirms her need to keep the memory of the doctor, and her identification with the doctor in the portrait is to show as her the doctor works hard, continues to care for the sick while he is also seriously ill (Lindauer 87). Kahlo wants to depict the importance of doctors in the society and why they should be remembered. The brushes and a palette just close to her painting of her doctor that depicts the nature of Kahlo’s art, where she says that her painting is carrying a message of pain. The palette in her lap is replaced by part of her heart, while her paintbrushes are dripping with blood, that leaves the view with no doubt that her existence is important and need a memory.
When one looks at this painting and identifies the different elements used, one cannot help but see the artwork of Jan Van Eyck. Here the concept of memory is brought up as Durer does not the painting of Eyck to go unremembered, but is in memory of those who view his own paintings. Durer puts an inscription some place within his painting so that he can bring to the viewer the meaning behind the painting (Koerner 31). It is his signature of using inscription