Manuel Álvarez Bravo
Detail; Nude, circa 1985
Gelatin silver print
25.4 x 20.3 cm
Private collection
Manuel Álvarez Bravo
Nude, circa 1985
Gelatin silver print
25.4 x 20.3 cm
Private collection
Manuel Alvarez Bravo (Mexican, 1902–2002) From the series, La buena fama durmiendo/ The Good Woman Sleeping
Gelatin silver print
8 x 10"
Private collection
Dr. Marín bandaging Alicia. From the exhibition 'Colección Permanente de la Casa de Cultura de Juchitá.' April-May '87 Casa de la Fotografía. This photograph is one of the variants of La buena fama durmiendo, classified as one of the iconic ones in the Manuel Álvarez Bravo archive, it was taken on the roof of the Antigua Academia de San Carlos, in Mexico City between 1938 and 1938. More on this work
I have no further description, at this time
Manuel Alvarez Bravo (Mexican, 1902–2002)
La Buena Fama Durmiendo/ The Good Woman Sleeping, c. 1939
Gelatin silver print
16 × 20 in. (40.6 × 50.8 cm)
Private collection
Manuel Alvarez Bravo (Mexican, 1902–2002)
La Buena Fama Durmiendo/ The Good Woman Sleeping, c. 1939
Gelatin silver print
16 × 20 in. (40.6 × 50.8 cm)
Private collection
I came across this Photograph with no explanation! The model and the pose are almost the same as the above pose...
Manuel Alvarez Bravo
La Desvendada/ The Unveiled, c. 1979
Gelatin silver print
8 3/4 x 6 1/8 in. (22.2 x 15.6 cm)
International Center of Photography
Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston.
In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization.
More on Manuel Álvarez Bravo
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