The images show a side of the artist not seen in her famous self portraits 📸
Photography by Lola Alvarez Bravo © 1995 Center for Creative Photography, The University of Arizona, Courtesy of Throckmorton Fine Artis looking into a mirror. She is wearing a black and white blouse and a long black skirt, with her hair plaited and piled high. We see both her and her reflection – the two Fridas. This is just one in a series of portraits of the artist, taken in 1944 by her friend Lola Álvarez Bravo, Mexico’s first female photographer.
“Kahlo was very enigmatic, mysterious and beautiful, and I think this is what captured the imaginations of not only many male photographers, but also female photographers,” says Circe Henestrosa, co-curator of, an ongoing exhibition at the Victoria and Albert Museum in London that looks at Kahlo’s self-invention through her most personal belongings. Of the 96 photographs of Kahlo on display, 31 were taken by female photographers.
“There’s a sensitivity that these photographers bring to the exhibition, which is about Frida Kahlo’s portrayal, but also about a collaboration between these women,” adds Ana Baeza Ruiz, who assisted Henestrosa and co-curator Claire Wilcox with the exhibition’s research. “There’s a way in which the photographs are a form of portraiture, but they’re also a form of performance that starts with Kahlo herself.
After Kahlo’s return to Mexico, pioneering fashion photographer Toni Frissell took her portrait for a feature in American. Later, some of the most poignant photographs of the artist were taken at her home in Mexico City, where she spent more and more time due to the disabling effects of a life-altering tram accident in her youth.
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