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“Autorretrato con vestido de tercipelo”
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“Autorretrato con vestido de tercipelo”
Frida Kahlo - Óleo sobre lienzo - 79,7 x 59,9 cm - 1926, Colección particular, Ciudad de México
La vida de Frida Kahlo se ha vuelto tan icónica como su trabajo, en gran medida porque fue su tema más popular, retratado en aproximadamente un tercio de toda su producción. Sus proyectos fueron intensamente personales y políticos, reflejando a menudo su tempestuosa vida personal, fuertemente marcada por su enfermedad crónica y por el renacimiento cultural mexicano en el que jugó un papel activo.
Tras el accidente, que limitaría su movilidad y sería el principal motivo de gran dolor físico hasta su muerte, Frida Kahlo empezó a pintar como distracción, animada por su padre. Su autorretrato con vestido de terciopelo fue el primero que realizó, a los 19 años, y estaba destinado a regalar a su amante Alejandro Gómez Arias para recuperar su cariño cuando terminara su relación. En el reverso de la pintura, ella inscribió una dedicatoria “Heute ist immer noch” (en alemán, hoy todavía continúa).
El retrato es una interpretación de una de las obras de arte favoritas de Alejandro, El nacimiento de Venus de Botticelli, ya que hace referencia al gesto de la mano de la diosa y al mar como el origen de la vida. Las influencias estilísticas de este y otros maestros renacentistas como Parmigianino se evidencian en la apariencia esculpida de su rostro, su pose aristocrática y su figura alargada, que recuerda también a Modigliani.
Este retrato ha sido mencionado como una de las obras de arte más importantes de la historia del arte mexicano, ya que revela una faceta de la obra del artista poco conocida. Debido a que se identificaba fuertemente con el arte popular y folclórico mexicano, a menudo se representaba a sí misma posando con animales o vistiendo elaborados trajes de Tehuana. En este cuadro, sin embargo, encontramos una escena más íntima. Aunque cargada de simbolismo, ya que representa la agitación de su vida en forma de un mar agitado, la composición es bastante austera en comparación con sus obras de arte posteriores crudas, más narrativas y complejas.
Su estilo ha demostrado ser difícil de categorizar. Su esposo, el muralista mexicano Diego Rivera, la consideraba una pintora realista, mientras que André Breton calificó su obra de surrealista, y ha sido ampliamente conocida como naif. Sin embargo, Frida prefirió evitar estas etiquetas, declarando que pintó su propia realidad: “Lo único que sé es que pinto porque lo necesito, y pinto lo que se me pasa por la cabeza sin ninguna otra consideración”.
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