When Kahlo began her career as an artist in the 1920s, muralists dominated the Mexican art scene. They created large public pieces in the vein of Renaissance masters and Russian socialist realists: they usually depicted masses of people, and their political messages were easy to decipher. Although she was close to muralists such as Rivera, José Clemente Orozco and David Alfaro Siquieros and shared their commitment to socialism and Mexican nationalism, the majority of Kahlo's paintings were self-portraits of relatively small size. Particularly in the 1930s, her style was especially indebted to votive paintings or retablos, which were postcard-sized religious images made by amateur artists. Their purpose was to thank saints for their protection during a calamity, and they normally depicted an event, such as an illness or an accident, from which its commissioner had been saved. The focus was on the figures depicted, and they seldom featured a realistic perspective or detailed background, thus distilling the event to its essentials. Kahlo had an extensive collection of approximately 2,000 retablos, which she displayed on the walls of La Casa Azul. According to Laura Mulvey and Peter Wollen, the retablo format enabled Kahlo to "develop the limits of the purely iconic and allowed her to use narrative and allegory".
When Kahlo began her career as an artist in the 1920s, muralists dominated the Mexican art scene. They created large public pieces in the vein of Renaissance masters and Russian socialist realists: they usually depicted masses of people, and their political messages were easy to decipher. Although she was close to muralists such as Rivera, José Clemente Orozco and David Alfaro Siquieros and shared their commitment to socialism and Mexican nationalism, the majority of Kahlo's paintings were self-portraits of relatively small size. Particularly in the 1930s, her style was especially indebted to votive paintings or retablos, which were postcard-sized religious images made by amateur artists. Their purpose was to thank saints for their protection during a calamity, and they normally depicted an event, such as an illness or an accident, from which its commissioner had been saved. The focus was on the figures depicted, and they seldom featured a realistic perspective or detailed background, thus distilling the event to its essentials. Kahlo had an extensive collection of approximately 2,000 retablos, which she displayed on the walls of La Casa Azul. According to Laura Mulvey and Peter Wollen, the retablo format enabled Kahlo to "develop the limits of the purely iconic and allowed her to use narrative and allegory".