Self-portraits are always transcendental questions, attempts to define that fiction of being that each and every one of us is. The artist finds herself reflecting alone with herself and with the painting, there is nothing but her internal jurisdiction and her intellectual or creative work. There is no narcissism but knowledge of being. In Rosa Rolanda's self-portrait, the orchid adorning her hairstyle is one of many common winks and minor references between her work and that of Frida Kahlo, particularly the portraits of Kahlo painted in the 1940s.
自画像总是探讨深奥的问题，试图定义我们每个人都是虚构的存在。艺术家发现自己在画中独自思考，除了沉浸在自我审视和智力或创造性的工作外，什么都没有。没有自恋，只有对存在的认识。在罗莎-罗兰达（Rosa Rolanda）的自画像中，她的发型上装饰着兰花，这是她与弗里达-卡罗（Frida Kahlo）作品之间众多常见的点睛之笔和小参照之一，尤其是卡罗20世纪40年代绘制的肖像。
It is also a gloss to the girls that Covarrubias portrayed when they both traveled to the island of Bali in 1930, where this flower is common in women's personal grooming. On this occasion, Miguel Covarrubias's wife adds a curious detail to her painting: to the left of her face a fly has stopped on the wall. Rosa Rolanda is paraphrasing the legend of Giotto, whom Giorgio Vasari describes in his Lives as capable of such realism that he deceived the painter Cimabue into believing that there is indeed an insect on one of his canvases. But is it also possible that Rosa was going through some existential crisis? There is a certain seriousness and even sadness in the reflection of the mirror that she painted for us and this exercise of representation and self knowledge is an effort to cement an identity that threatens with fracturing.
1930年米格尔-科瓦鲁比亚斯（Covarrubias）和他的妻子罗莎一起去巴厘岛旅行时，描绘了当地女孩。在那里，这种花在女性个人装扮中很常见。这一次，罗莎在她的画作中添加了一个奇怪的细节：在脸的左侧，一只苍蝇停在墙上。罗莎-罗兰达正在重现乔托的传说，乔吉奥-瓦萨里在他的《艺苑名人传》中描述了乔托拥有的现实主义绘画能力，以至于他欺骗了画家契马布埃，让他相信他的一幅画布上确实有一只昆虫。但罗莎是否有可能正经历着某种生存危机？在她的自画像里，有一种严肃甚至悲伤的感觉，这种表现和自我认识的练习是为了巩固一个有可能破裂的身份而做的努力。
Is this a defense mechanism where desires and feelings are consciously evaluated or the possibility of replacing them? Rosa and Miguel, a married couple of many years, had serious coexistence problems at the beginning of the 50s. It is a simple rhetorical strategy, trying to make two entities coincide in oneself; who used to be, and who is now. We would then have to pay attention to that idiosyncratic Mexican phrase: make a fly.
这是一种防御机制，欲望和感觉被有意识地放大，或者有被取代的可能？罗莎和米格尔结婚多年，但在50年代初出现了严重的共处问题。这是一种简单的修辞策略，试图使两个实体在自己身上重合；过去是谁，现在又是谁。然后我们必须注意那个墨西哥特有的短语：做一只苍蝇。
We present today's painting thanks to the Museo BlaistenMuseo Blaisten. : )
感谢墨西哥布莱斯坦博物馆与我们分享今天的画作。:)
