Publication: Frida Kahlo y el posado fotográfico
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2011
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Universidad Complutense. Departamento de Comunicación Audiovisual y Publicidad
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Son numerosos los pintores que han hecho uso del medio fotográfico en la creación de sus lienzos con diferentes intenciones y resultados, sobre todo desde que a finales del siglo XIX se extendiese la utilización de la fotografía no solo como herramienta que facilitaba el dibujo, sino también como un lenguaje con ampliabas posibilidades creativas inaugurando, de esta manera, un complejo entramado de relaciones entre ambos medios. La artista mexicana Frida Kahlo (1907-1954) tuvo una estrecha relación con dicho lenguaje. Sus lazos familiares la vinculan con la práctica fotográfica desde muy joven y hasta el final de sus días (recordamos que aprende parte del oficio junto a su padre el fotógrafo Guillermo Kahlo). Frida llegó a coleccionar una importante cantidad de fotografías, número que asciende a más de 5380 imágenes en la última apertura de uno de sus archivos; disparó su cámara en diversas ocasiones atesorando esas imágenes como parte de su quehacer artístico y, además, en el devenir de su azarosa vida, se relacionó con una ingente cantidad de reconocidos profesionales del medio para los que posó ampliando así su discurso artístico. Conociendo la vital importancia que la mise en scène tuvo para la artista, el siguiente artículo se centrará en analizar, precisamente, la construcción de su propia imagen mediante el posado en una serie de fotografías. Será en imágenes como las estudiadas a continuación, donde podamos observar algunos de los planteamientos sobre la (re)presentación plástica que practicó la mexicana.
Many painters have used photography to create their paintings, with different intentions and different results. It became a common practice in the late Nineteenth Century, not only as a tool that made drawing easier, but also as an artistic language in itself, with a wide range of creative possibilities. This lead to the creation of a complex relationship between the two artistic expressions. The Mexican artist, Frida Kahlo (1907 – 1954), developed a very close relation with this photographic language. She became tied to photography very young, through her family, and she developed and preserved this link until her death (she learned the technique with her father, the photographer Guillermo Kahlo). Frida acquired a great number of photographs, more than 5.380 in one of her archives. She shot pictures with her camera in numerous occasions, treasuring those images as an important part of her artistic activity. Through her life, she became acquainted with a great number of prestigious professionals of this medium, posing for them many times, expanding her creative discourse. Knowing the importance the artist placed on the mise en scène, this article analyses the construction of Frida’s own image through a series of portraits. In these photographs we will observe some of the main ideas about plastic (re)presentation practiced by the Mexican artist.
Many painters have used photography to create their paintings, with different intentions and different results. It became a common practice in the late Nineteenth Century, not only as a tool that made drawing easier, but also as an artistic language in itself, with a wide range of creative possibilities. This lead to the creation of a complex relationship between the two artistic expressions. The Mexican artist, Frida Kahlo (1907 – 1954), developed a very close relation with this photographic language. She became tied to photography very young, through her family, and she developed and preserved this link until her death (she learned the technique with her father, the photographer Guillermo Kahlo). Frida acquired a great number of photographs, more than 5.380 in one of her archives. She shot pictures with her camera in numerous occasions, treasuring those images as an important part of her artistic activity. Through her life, she became acquainted with a great number of prestigious professionals of this medium, posing for them many times, expanding her creative discourse. Knowing the importance the artist placed on the mise en scène, this article analyses the construction of Frida’s own image through a series of portraits. In these photographs we will observe some of the main ideas about plastic (re)presentation practiced by the Mexican artist.
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Frida Kahlo, Pintura, Pintor, Fotografía, Fotógrafo, Posar, Retrato, Mujer, México, Painting, Painter, Photography, Photographer, Posing, Portrait, Woman
Bibliographic citation
Limón, N. Frida Kahlo y el posado fotográfico. Area Abierta, n. 18 (2011), pp. 1-19