Donde caben dos caben tres
la intertextualidad en la fotografía y la pintura de Edward Weston, Tina Modotti y Diego Rivera
Keywords:
intertextuality, appropriation, Tina Modotti, Edward Weston, Diego Rivera.Abstract
The use that Diego Rivera made in his murals of some of Edward Weston’s photographs during the 1920s, particularly the series of his nudes of Tina Modotti reproduced by Rivera in his Chinango cycles, and photographed in turn by the model- -photographer, poses some interesting problems regarding the theme of representation (understood as the production of meaning through artistic language), the relationship between painting and photograph, and the artistic strategies known as “appropriation,” “borrowing,” “allusion,” and “correspondence” (Zavala, 1999: 137-147). In this paper, I focus on the relation between the use of images and intertextuality, which is made more complex in this particular case by the love relationship between the photographer, the painter and the model/photographer, and also by aesthetic and ideological reasons related to the position of Mexican muralism with respect to the collective character of art.
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