Frida Kahlo, “Self-portrait” (painted for Samuel Fastlitch) (1948) We can infer that what links creator and creature is not resemblance, but the allegorical story that, in many ways, constitutes a “story of pain” as a confessional reduction of a “visible autobiography” thanks to the style of self-portraits. Compare the extreme stylization of the features, clothing, and poses of the “Frida dolls” in Self-Portrait (painted for Samuel Fastlicht) (1948), with the physical features of the photographed Frida, who is also often presented before the camera lens. Camera as a kind of dressed doll, like the one taken by Manuel Álvarez Bravo in 1937.
