Edward WestonEstados Unidos, 1886–1958Guadalupe, Mexico
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Instituto de Artes de Minneapolis
SalaG368Minneapolis, Estados Unidos
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Guadalupe Marín was a vital figure in the artistic circles that defined Mexican culture after the Mexican Revolution (1910–20). A frequent model for artists, she sat for the acclaimed painters Diego Rivera, her husband at the time of this photograph, and Frida Kahlo. Marín was a published author whose 1938 novel, La Unica, revisited her tempestuous marriage to the famed muralist.
Marín’s friend Edward Weston portrayed her in a tightly cropped frame, emphasizing the vivacity and strength of her features in raking daylight.
Instituto de Artes de Minneapolis
Pormenores
- Número de inventário
- 68.22.7
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- Instituto de Artes de Minneapolis
- Imagem: Instituto de Artes de Minneapolis — Center for Creative Photography ©1981 Arizona Board of Regents
Entretanto, na vida de Edward Weston
A vida inteiraOctober – November 1922
New York: meeting Stieglitz
New York is the cultural centre of art photography and Alfred Stieglitz its most influential figure; Weston lacks the money for the trip, but his brother-in-law gives him enough to continue from Middletown. He spends most of October and early November in the city, where he meets the artist Charles Sheeler, the photographers Clarence H. White and Gertrude Käsebier, and Stieglitz himself, who tells him that his work and attitude reassure him.
30 July – 11 August 1923
Sails for Mexico with Modotti and his son
On 30 July a steamer takes Weston, his son Chandler and Modotti on the extended trip to Mexico; his wife Flora and their other three sons wave goodbye from the dock, and Flora is reported to have called out to Modotti to take good care of her boys. They arrive in Mexico City on 11 August and rent a large hacienda outside the city.
17 October 1923
Exhibition at the Aztec Land Gallery
The exhibition, arranged within a month of his arrival, opens on 17 October to glowing press reviews; he is particularly proud of Marius de Zayas’s review saying that photography is beginning to be photography, for until now it has only been art.
1923–1924
Mexico changes the way he sees things
The different culture and scenery force him to look at things in new ways: he becomes more responsive to what is in front of him and photographs everyday objects such as toys, doorways and bathroom fixtures, as well as intimate nudes and portraits of Modotti, and writes in his Daybooks that the approach to photography is through realism. A second exhibition at the Aztec Land Gallery follows in 1924, and a steady stream of local socialites asks him for portraits.
August 1925
Back in Mexico: a joint show with Modotti
His new relationship with Lerner does not last long, and in August he returns to Mexico, this time with his son Brett; Modotti has arranged a joint show of their photographs, and it opens the week he arrives. He receives new critical acclaim, and six of his prints are purchased for the State Museum.
late 1926
Break with Modotti and return to California
By the time they return from the trip, Weston and Modotti’s relationship has crumbled, and within less than two weeks he and Brett go back to California. He never travels to Mexico again.
