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"Autoportrait dans une robe en velours"
Frida Kahlo - Huile sur toile - 79,7 x 59,9 cm - 1926, Collection privée, Mexico
La vie de Frida Kahlo est devenue aussi emblématique que son travail, en grande partie parce qu’elle était son propre sujet le plus populaire autoproclamé dans environ un tiers de toute sa production. Ses projets étaient intensément personnels et politiques, reflétant souvent sa vie personnelle tumultueuse, fortement marquée par sa maladie chronique et par la renaissance culturelle mexicaine dans laquelle elle a joué un rôle actif.
Après l'accident, qui limitera sa mobilité et sera la principale cause de grandes douleurs physiques jusqu'à sa mort, Frida Kahlo se mit à peindre comme une distraction, encouragée par son père. Son autoportrait en robe de velours est le premier qu'elle réalise, à l'âge de 19 ans, et se veut un cadeau à son amant Alejandro Gómez Arias pour regagner son affection à la fin de leur relation. Au dos du tableau, elle a inscrit une dédicace "Heute ist immer noch".
Le portrait est une interprétation de l’une des œuvres préférées d’Alejandro, la Naissance de Vénus de Botticelli, car elle fait référence au geste de la main de la déesse et à la mer comme à l’origine de la vie. Les influences stylistiques de ce maître et d'autres maîtres de la Renaissance tels que Parmigianino sont évidentes dans l'apparence sculptée de son visage, sa pose aristocratique et sa silhouette allongée, qui rappelle également Modigliani.
Ce portrait est considéré comme l’une des œuvres les plus importantes de l’histoire de l’art mexicain, car il révèle une facette de l’œuvre de l’artiste peu connue. Parce qu'elle s'identifiait fortement à l'art populaire et folklorique mexicain, elle se représentait souvent posant avec des animaux ou portant des costumes élaborés de Tehuana. Dans ce tableau, cependant, nous trouvons une scène plus intime. Bien que chargée de symbolisme, car elle représente la tourmente de sa vie sous la forme d'une mer agitée, la composition est plutôt austère par rapport à ses dernières œuvres d'art brutes, plus narratives et complexes.
Son style s'est avéré difficile à catégoriser. Son mari, le muraliste mexicain Diego Rivera, la considérait comme une peintre réaliste, tandis qu'André Breton qualifiait son travail de surréaliste, ce qui a été largement qualifié de naïf. Cependant, Frida a préféré éviter ces étiquettes, déclarant peindre sa propre réalité: "La seule chose que je sais, c'est que je peins parce que j'en ai besoin, et je peins tout ce qui me passe par la tête sans aucune autre considération".
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