{"id":58113,"date":"2013-01-17T15:17:00","date_gmt":"2013-01-17T14:17:00","guid":{"rendered":"https:\/\/laindependent.cat\/la-nostra-frida-khalo\/"},"modified":"2013-01-17T15:17:00","modified_gmt":"2013-01-17T14:17:00","slug":"la-nostra-frida-khalo","status":"publish","type":"post","link":"https:\/\/laindependent.cat\/en\/la-nostra-frida-khalo\/","title":{"rendered":"La nostra Frida Khalo*"},"content":{"rendered":"

\u00c9s una gran alegria que Mar\u00eda Blanchard<\/strong><\/a> hagi arribat al Museo Nacional Centro de Arte Reina Sof\u00eda (MNCARS) i que ho hagi fet per la porta gran, amb una exposici\u00f3 antol\u00f2gica<\/a> que ens permet donar un gener\u00f3s cop d’ull a la seva obra, que sens dubte es troba entre les m\u00e9s suggestives realitzada per una artista espanyola en les primeres d\u00e8cades del segle XX. Ni totes les artistes entren en aquest temple art\u00edstic, ni tampoc van ser precisament moltes les dones que a principis del XX (i encara menys abans) van poder desenvolupar les seves capacitats creadores fins al punt de ser apreciades, poc o molt, per les seves i els seus contemporanis, de manera que la nostra congratulaci\u00f3 \u00e9s doble.<\/span><\/p>\n


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(Foto grandesmujeresenlahistoria.blogspot)<\/span><\/p>\n

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Em passejo per les sales que van albergar antany l’Hospital San Carlos contemplant la mostra d’aquesta pintora santanderina nascuda al 1881 i morta a Par\u00eds al 1932, a la que va enxampar de ple l’explosi\u00f3 cubista, en la qual es va submergir en uns anys clau per a la seva formaci\u00f3, per\u00f2 de la que va sortir m\u00e9s enfortida que abans, la qual cosa la va portar a optar per un expressionisme molt proper al de la millor Frida Khalo<\/strong><\/a>. L’exposici\u00f3 recull setanta-quatre obres, entre els seus or\u00edgens figuratius (que inclouen tocs simbolistes i, com no, uns altres ja tremendament expressionistes), la seva llarga incursi\u00f3 cubista i el seu retorn al figurativisme en una ostentaci\u00f3 de personalitat pr\u00f2pia dif\u00edcil de defugir.<\/span><\/p>\n

Per\u00f2, qui \u00e9s Mar\u00eda Blanchard<\/strong>? Fins a 1976 no es va realitzar a Espanya una antol\u00f2gica seva, en concret a la madrilenya Galeria Biosca (al cat\u00e0leg que es va fer per a l’ocasi\u00f3 trobem fins i tot un text de la Comtessa de Campo Alange, qui ja li va dedicar un estudi publicat al 1944). Mar\u00eda Blanchard<\/strong> va arrossegar des de sempre una limitaci\u00f3 f\u00edsica que va contribuir molt a forjar el seu car\u00e0cter: “canviaria tota la meva obra… per una mica de bellesa”, va arribar a dir. En baixar d’un cotxe de cavalls, embarassada, la mare de Mar\u00eda va sofrir una caiguda, i la nena va n\u00e9ixer amb una doble desviaci\u00f3 de columna, que va comportar una seriosa deformitat. Va ser batejada amb el nom de Mar\u00eda Guti\u00e9rrez-Cueto<\/strong> i animada per la seva fam\u00edlia va arribar al 1903 a Madrid seguint els passos de la seva vocaci\u00f3 art\u00edstica. Per\u00f2 no ser\u00e0 fins al seu trasllat a Par\u00eds al 1909, \u00e9ssent alumna d’Anglada Camarasa<\/strong>, quan el seu treball comenci a afermar-se. 26, Rue du D\u00e9part – \u00c9rase una vez en Par\u00eds<\/em> \u00e9s el t\u00edtol del documental, estrenat recentment, que li ha dedicat Gloria Crespo MacLennan<\/strong>.<\/span><\/p>\n


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\"220px-Maria_Blanchard_dando_clase\"<\/span><\/p>\n

(Foto wikipedia)<\/span>
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En la seva no gaire extensa per\u00f2 s\u00ed intensa traject\u00f2ria va ser amiga de G\u00f3mez de la Serna<\/strong>, de Diego Rivera<\/strong>, de Juan Gris.<\/strong>.. i fins i tot de Garc\u00eda Lorca <\/strong>que li va dedicar una elegia, en la qual va afirmar que “la lucha de Mar\u00eda Blanchard fue dura, \u00e1spera, pinchosa, como rama de encina”, malgrat tot, aix\u00f2 no la va emp\u00e8nyer al ressentiment. Contrafeta, literalment geperuda, no \u00e9s nom\u00e9s per aix\u00f2 la nostra Frida Khalo<\/strong>, sin\u00f3 tamb\u00e9 i sobretot per l’explosi\u00f3 de for\u00e7a, empenta i color que la seva obra exhibeix i per la seva rabiosa valentia a l’hora d’expressar-se amb el pinzell. Ambdues van ser tamb\u00e9 dones temperamentals i exc\u00e8ntriques, amb les quals segurament fou dif\u00edcil de bregar-hi. Frida Khalo<\/strong> fa molts anys que \u00e9s mundialment apreciada i la seva \u00e9s la biografia de l’editorial Circe m\u00e9s venuda. Blanchard<\/strong> resta encara, al cap i a la fi, per descobrir.<\/span><\/p>\n

Aquesta exposici\u00f3 que se li brinda, i se’ns brinda, podria haver servit molt m\u00e9s del que ha servit i \u00e9s una ll\u00e0stima haver d’admetre que estem davant una ocasi\u00f3 perduda. Figura de l’avantguarda que va triomfar en un m\u00f3n d’homes, androc\u00e8ntric fins a la medul\u00b7la, resulta en el seu enfocament com a m\u00ednim sorprenent l’abs\u00e8ncia d’una visi\u00f3 de g\u00e8nere, per t\u00edmida que fora. Mar\u00eda Jos\u00e9 Salaza<\/strong>r, comiss\u00e0ria de l’exposici\u00f3, hauria d’haver-se mullat molt m\u00e9s i \u00e9s una pena que no ho hagi fet. Avui dia resulta enormement empobridor obeir a l’ordre cronol\u00f2gic per mostrar l’obra d’un artista. I encara que sens dubte sigui de gran inter\u00e8s constatar que en els anys centrals de la seva carrera Blanchard<\/strong> va ser una espl\u00e8ndida emuladora de Juan Gris<\/strong> (i incl\u00fas que les seves peces cubistes aporten matisos que la singularitzen en el si d’aquest corrent), podria haver-se guardat aquesta faceta seva per a algun exercici comparatiu, que podria haver consistit a exhibir-la algun dia cara a cara amb el que fou el seu mestre i amic.<\/span><\/p>\n

Tenint ulls n’hi ha prou per constatar que la seva for\u00e7a, el seu veritable geni, est\u00e0 tancat en les obres que van precedir i van continuar en la seva incursi\u00f3 cubista. I \u00e9s all\u00e0 on el seu inter\u00e8s per retratar a les dones adquireix una lluentor pr\u00f2pia, en obres com “La comulgante” (1914), “La espa\u00f1ola” (1910-15), “Mujer a la mandolina” (1916-17), “Pianista” (1919), “Mujer pein\u00e1ndose” (1923), “Las dos hu\u00e9rfanas” (1923), “La golosa” (1924), “La echadora de cartas” (1924-26), “La convaleciente” (1925-26)… i com no en aquestes maternitats que desborden les lleres del seu temps. Hauria estat una festa poder accedir a aquest proteic recorregut de vigor i color, tra\u00e7 contundent i alt sentit pl\u00e0stic, amb el necessari acompanyament, aqu\u00ed inexistent.<\/span><\/p>\n


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\"220px-Mblanchard\"<\/span><\/p>\n

\u00a0(foto wikipedia)<\/span>
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Com a complement a la mostra el Reina Sof\u00eda va celebrar un seminari titulat “En torno a Mar\u00eda Blanchard. Vanguardia e identidad”, en el qual per cert tampoc va haver-hi intervenci\u00f3 alguna que incid\u00eds en la q\u00fcesti\u00f3 de g\u00e8nere. No hi ha dubte que s’ha volgut veure en Blanchard m\u00e9s avantguarda que identitat, desatenent aquest aspecte que crec fermament \u00e9s el que t\u00e9 en ella major inter\u00e8s. Convida al des\u00e0nim que moments tan conservadors ens portin mirades tan t\u00e8bies i que s’aprofitin tan poc els espais p\u00fablics. Aquesta exposici\u00f3 no est\u00e0 a l’al\u00e7ada de Manuel Borja-Villel, el seu director. En art no valen, no han valgut mai, exercicis de correcci\u00f3 pol\u00edtica i dels comissaris s’esperen mirades agosarades que portin propostes de futur, no banys en formol que converteixin als grans oblidats en nous cl\u00e0ssics sense passar pel di\u00e0leg amb el temps hist\u00f2ric que els rescata. En art la genealogia es fa al caminar i implica ficar la carn a la graella. Passar de llarg en un aspecte tan rellevant com \u00e9s que Mar\u00eda Blanchard va incidir en el retrat de les dones des d’un prisma radicalment diferent al dels seus contemporanis, \u00e9s un insult al treball d’els que s\u00ed estan revisitant l’obra de les artistes amb mirades que construeixen des del comprom\u00eds. L’exposici\u00f3 dura fins al 25 de febrer. Per molts que siguin els peros, no us la perdeu.<\/span><\/p>\n

* Article publicat<\/a> en castell\u00e0\u00a0 a la revista cultural Agitadoras i Article publicat<\/a> tamb\u00e9 al bloc de l’autora Opiniones Robinsonianas<\/span>
<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c9s una gran alegria que Mar\u00eda Blanchard hagi arribat al Museo Nacional Centro de Arte Reina Sof\u00eda (MNCARS) i que ho hagi fet per la porta gran, amb una exposici\u00f3 antol\u00f2gica que ens permet donar un gener\u00f3s cop d’ull a […]<\/p>\n","protected":false},"author":72,"featured_media":28257,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26512],"tags":[],"class_list":["post-58113","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art"],"yoast_head":"\nLa nostra Frida Khalo* | La Independent<\/title>\n<meta name=\"description\" content=\"\u00c9s una gran alegria que Mar\u00eda Blanchard hagi arribat al Museo Nacional Centro de Arte Reina Sof\u00eda (MNCARS) i que ho hagi fet per la porta gran, amb una\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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