Thank You

to our sponsors who helped make the 2023 Friends of Artis—Naples Gala a resounding success!

Ever After Sponsors

Sandra and Kevin Delbridge

Karen and Kenneth Heithoff

Heidi and Brian Miller

Laura and Leo Montgomery

Sunny and James Neff

Devoted Sponsors

Patty and Jay Baker

Carmen and James Campbell

Alan Einhorn and Vicki Cooper

Judy and Verne Istock

Lois Juliber and Jon Adams

Dr. Richard Lublin and Christine Stahl Lublin

Dyan and John Smith

Joseph and Toshiko Tompkins

Rose-Marie and Eijk van Otterloo

Nancy and George Woltz

Enamored Sponsors

R. Kerry and Norah Clark

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Muse Sponsors

Anonymous

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Entech

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Media Sponsor

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In-Kind Sponsors

BVLGARI

Crave Culinaire

Sandra and Kevin Delbridge

McKnight Welzbacher here. Frank recreated the footprint of the Belgium show at Naples Art, working with two colleagues and a couple of Isabelle’s studio assistants to build the equally exuberant platforms and backdrops. “We couldn’t paint the walls, so Isabelle said, ‘No problem,’” Frank says. “Her team handpainted some wallpaper for us and sent it by FedEx.”

Going beyond the dark themes of psychological and physical torment often associated with Frida, the show focuses on the artist’s intimate life at home and her love for the folk art, textiles and vivid colors of her native country. “It’s Mexico through Frida’s eyes, if you can imagine that,” Frank says.

Several years ago, Isabelle—a style icon in her own right, who’s worked with Dior, Hermès and Lanvin—toured Frida’s famed Casa Azul and was inspired by the cobalt house and surrounding gardens, filled with native succulents, cacti and pepper plants. “What I discovered, and which delighted me, was her love of colors and fabrics and her joie de vivre,” Isabelle says.

Back in her studio, the self-taught artist twisted, folded, draped, pleated and handpainted matte Tykev and Sappi paper, and corrugated cardboard to recreate scenes of Frida’s home life. The show marks the first time the Belgian artist expanded from dresses and single items to full-scale paper rooms—a throwback to her days as an opera set designer.

Isabelle spent three years and used more than 2 miles of paper to construct detailed replicas of scenes from Frida’s home-turnedmuseum in Mexico City.

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Isabelle replicated the Talavera plates in Frida’s cupboard, her box of nearly 150 pastels (all individually rolled and painted), and the pre-Columbian statuary that Frida and her husband, muralist Diego Rivera, collected. The pieces dive into everything from how Frida did her hair to the ingredients that filled her kitchen. “The watermelon references Frida’s Viva la Vida painting,” Frank adds. Every scene comes alive, as if the artist overcame all that with her strength and love for beautiful things,” Frank says.

Fringed carpets anchor fully furnished rooms; parrots flutter around flowering jacaranda trees; Xoloitzcuintli dogs from her menagerie of pets climbs under tables; work overalls hang by a door waiting for the artist to head to the garden; and technicolor woven shawls hang against Frida’s embroidered blouses.

In front of the runway of Frida-inspired