elf Portrait for Dr. Eloesser (Herrera p.194). Trotsky's enthusiasm seemed to motivate her coupled with the other circumstances with Diego. Frida herself linked her own success to Trotsky's advent in her life calling it, "the best thing that ever happened to me in my life" (Garza p.87). The support of such an esteemed individual came at a critical point when her wounded self needed it most. Trotsky inspired Frida to approach painting in a serious and driven manner; "I have spent my life up until now loving Diego and being a good for nothing in respect to work but I am now painting seriously (Garza p.91). Soon Frida help an exhibit at the Levy Gallery in New York City. She exhibited in Europe and her work was even shown at the Louvre in Paris.As her success ensued the relationship with the Trotsky's was becoming complex and fragile. In 1939 Trotsky wrote to Frida in New York asking for her help to resolve problems at Blue House in Coyoacan (Herrera p.248). Leon and Natalia soon moved out of the house and Diego sought readmission to the Mexican Communist party. Frida who loved her husband and was devoted to him undeniably still retained respect for Trotsky as she refused Diego's request to borrow Leon's pen she had given to him as a gift; and which he had left behind along with the self portrait (Herrera p.249). Despite her later harsh words against Trotsky and outright denouncement of his character, Frida still reflected affection and respect for Leon. She refused to offer any aid to Trotsky's assassin Mercader (Herrera p.249). Coincidentally Frida became severely ill after Trotsky's death (Herrera p.297). Numerous times of ill health in Frida's life coincided with times she felt more alone, depressed, upset and helpless as a result of present occuances. Thus, even Frida herself could not deny the effect Trotsky had on her and her life, as additionally evidenced in the monumental qualities of her image peaking out from "Beh...
