However, Diego Rivera’s work would be more open and fantastic while Frida Kahlos was more intimate and personal in scale.
According to Herrera (1993, p.208), their ways to deal with fine art takes after male and female stereotypes that prevailed in most parts of the world, particularly in Mexico. Interestingly, Kahlos and Diegos perspective of each others piece of work demonstrated a strong bond between the two artists. Both Diego and Frida accepted the fact that their need to paint was an unconstrained desire with a biological point of view. For example, Diego tirelessly encouraged his wife to continue creating artwork despite the numerous surgical operations that never healed her legs and back due to an accident. In similar fashion, Frida thought that her husband was the greatest artist in the entire world. In fact, she used to refer to him as "the architect of life" (Herrera, 1993, p.209).
Furthermore, Frida’s engagement with her husband intensified her political ideologies. Before his suspension, Diego was a member of the Mexican Communist Party and played a significant role in the politics of Mexico. Although Frida’s work never portrayed any political messages, her complex Mexicanism prompted the utilization of prehispanic and popular sources of art in Mexico. Several artists and intellectuals who embraced the native Mexican culture admired the couple’s artwork. Without any doubt, Diego’s artwork composed of prehispanic sculptures and numerous ex-votos (Herrera, p.211). In spite of the fact that Diego Rivera had an accomplishment as a cubist painter in Europe, his artwork significantly changed throughout his career. Both the Mexican and Russian revolutions, government overthrows which took place in 1914 and 1917 respectively, strongly influenced