Modotti, Tina - Fotografia
Edward Weston in window, 1924
Roses, Mexico, 1924
Campesino with Hay, ca. 1925
Mexican street scene, ca. 1925
Easter Lily and Bud, 1925
Flor de manita, c. 1925
Staircase, Mexico, 1925
Telephone wires, 1925
Woman with olla - 1926
Campesinos - 1926
Stadium, Mexico City, c. 1927
Bandolier, corn, guitar - 1927
Portrait of John Dos Passos, ca. 1927
Muchacho with Sombrero, ca. 1927
Bandolier, corn, guitar, 1927
Calla Lilies, c. 1927
Hands Resting on Tool, 1927
Mexican sombrero with hammer and sickle, 1927
Loading Bananas, Veracruz, ca. 1927-29
Two men carrying large loads on backs, ca. 1927-29
Mexican peasants reading El Machete - 1928
Julio Antonio Mella, 1928
Julio Antonio Mella's typewriter, 1928
Hands of the puppeteer - 1929
Woman of Tehauntepec carrying jecapixtle - 1929
Mother and child, Tehuantepec - 1929
Children bathing in river, ca. 1929
Diego Rivera and Frida Kahlo in the May Day - march1929
Woman with Child at Market Carrying Basket, ca. 1929
Mexican with Basket, ca. 1929
Two Women on a Porch, ca. 1929
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Na foto "Hands of the puppeteer", um homem inclina-se sobre um grosseiro pano de fundo para puxar os fios de uma marioneta. A luz dramática revela a textura da sua pele, realçando as veias das suas mãos. A sombra escura e sinistra sugere a presença da morte, enquanto que os fios da marioneta fazem lembrar correntes. O tema das marionetas foi usado por Modotti como símbolo da repressão social: ela insinua que as pessoas são controladas pelos governos, tal como o homem controla as marionetas. Nascida em Itália, Modotti foi para o México em 1923, atraída, tal como outros artistas, pela beleza do país, pela herança artística e pela sua história de idealismo político. Era amiga íntima do pintor Rivera e, tal como ele e o seu círculo, estava empemhada numa arte de protesto social esquerdista. Considerava a fotografia como uma técnica moderna que podia falar directamente às pessoas comuns. Numa época em que surgiram os ditadores, o comentário simbólico de Modotti era particularmente apropriado. Tina Modotti nasceu em Udine (Itália) em 1896, e morreu na Cidade do México em 1942.
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Tina Modotti (1896-1942) was a remarkable woman and an outstanding photographer whose legendary beauty and relationships with famous men have until now eclipsed a life integrally linked to the most important artistic, political and historical developments of our century. In 1913 Tina Modotti left her native Italy for San Francisco, becoming a star of the local Italian theatre before marrying the romantic poet-painter Roubaix de I'Abrie Richey. By 1920, she had embarked on a Hollywood film career and immersed herself in bohemian Los Angeles, beginning an intense relationship with the respected American photographer, Edward Weston. On a trip to Mexico in 1922 to bury her husband, she met the Mexican muralists and became enthralled with the burgeoning cultural renaissance there. Increasingly dissatisfied with the film world, she persuaded Weston to teach her photography and move with her to Mexico. Her Mexico City homes became renowned gathering places for artists, writers and radicals, where Diego Rivera courted Frida Kahlo. Turning her camera to record Mexico in its most vibrant years, her photographs achieve a striking synthesis of artistic form and social content. Her contact with Mexico's muralists including a brief affair with Rivera, led to her involvement in radical politics.
In 1929, she was framed for the murder of her Cuban lover, gunned down at her side on a Mexico City street. A scapegoat of government repression, she was publicly slandered in a sensational trial before being acquitted. Expelled from Mexico in 1930, she went to Berlin and then to the Soviet Union, where she abandoned photography for a political activism that brought her into contact with Sergei Eisenstein, Alexandra Kollontaii, La Pasionaria, Ernest Hemingway and Robert Capa. Returning to Mexico incognito in 1939, she died three years later, a lonely - and controversial - death.
(Tina Modotti - Photographer and revolutionary by Margaret Hooks)
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Tina Modotti (1896-1942) was a remarkable woman and an outstanding photographer whose legendary beauty and relationships with famous men have until now eclipsed a life integrally linked to the most important artistic, political and historical developments of our century. In 1913 Tina Modotti left her native Italy for San Francisco, becoming a star of the local Italian theatre before marrying the romantic poet-painter Roubaix de I'Abrie Richey. By 1920, she had embarked on a Hollywood film career and immersed herself in bohemian Los Angeles, beginning an intense relationship with the respected American photographer, Edward Weston. On a trip to Mexico in 1922 to bury her husband, she met the Mexican muralists and became enthralled with the burgeoning cultural renaissance there. Increasingly dissatisfied with the film world, she persuaded Weston to teach her photography and move with her to Mexico. Her Mexico City homes became renowned gathering places for artists, writers and radicals, where Diego Rivera courted Frida Kahlo. Turning her camera to record Mexico in its most vibrant years, her photographs achieve a striking synthesis of artistic form and social content. Her contact with Mexico's muralists including a brief affair with Rivera, led to her involvement in radical politics.
In 1929, she was framed for the murder of her Cuban lover, gunned down at her side on a Mexico City street. A scapegoat of government repression, she was publicly slandered in a sensational trial before being acquitted. Expelled from Mexico in 1930, she went to Berlin and then to the Soviet Union, where she abandoned photography for a political activism that brought her into contact with Sergei Eisenstein, Alexandra Kollontaii, La Pasionaria, Ernest Hemingway and Robert Capa. Returning to Mexico incognito in 1939, she died three years later, a lonely - and controversial - death.
(Tina Modotti - Photographer and revolutionary by Margaret Hooks)
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This entry was posted
on Sábado, Novembro 05, 2005 at 1:32 AM.
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12:52 AMque bonitas!! Não conhecia esta JG, e parece uma falha grave. thanks!!
3:21 AM
Não é nada grave. Se não fossem os meus almanaques também não a conhecia. Mas, na verdade, as fotografias são espantosas, sobretudo na data em que foram feitas. De génio.
12:12 AM
Extraordinárias fotos e eu estupidamente não conhecia esta Tina. Obrigado.
11:51 PM
Isto sim, é formidável!
7:46 PM
Interessante observar que é uma mulher fazendo fotografia documental no começo do século (XX). Belas fotos.
Peterson
Londrina-PR
Brasil
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