By Alexandra Jopp
Looking for clues in Modotti’s early life, that might have led to her artistic development, the art critics cite her youthful identification with the class struggle. Following her from childhood as a daughter of a Socialist laborer in Italy, to a textile factory in San Francisco, to her youthful romantic marriage to a poet-painter Roubaix de I'Abrie Richey and to her brief career as a silent- film actress in Hollywood where she was typecast as gypsy and harem girl.
|TINA ON THE AZOTEA, WITH KIMONO: Edward Weston’s portrait of fellow photographer Tina Modotti|
|Glasses, Mexico 1924.|
|Calla Lilies, 1924.|
Telephone Wires, 1925.
|Interior of Church Tower at Tepotzotlán.|
EDWARD WESTON (AMERICAN, 1886-1958.)
In 1923, Edward Weston embarked upon a new life in Mexico, leaving California behind him. He set up a portrait studio with his muse, lover and apprentice, photographer, Tina Modotti, who introduced him to such artists as Diego Rivera and Jose Clemente Orozco. Simulated by the vital Mexican culture, as well as by his previous contacts with three other great photographers - Sheeler, Stieglitz, and Strand - Weston's soft-focus, painterly style underwent a radical change. "The camera must be used for a recording of life," he wrote in his Daybooks during this period, "for rendering the very substance and quintessence of the thing itself." Weston was stimulated to work with the nude body, because of the infinite combinations of lines which are present with every move.