A black and white photograph of a man standing barefoot with crossed arms against a wall. He ho…

Señor de Papantla

Artist Manuel Álvarez Bravo (Mexican, 1902 - 2002)

Date1934 - 1935

Mediumgelatin silver print

DimensionsImage: 8 × 10 inches (20.3 × 25.4 cm)
Sheet: 8 × 10 inches (20.3 × 25.4 cm)
Matted: 14 × 17 inches (35.6 × 43.2 cm)

Portfolio/Series"Photographs by Manuel Alvarez-Bravo" portfolio

Credit LineGift of Mr. and Mrs. Benjamin Oxnard Jr.

Object number2004.13.3.8

On View

Not on view

Copyright© Colette Urbajtel. The images and text contained on this page are owned by Telfair Museums or used by the Museum with permission from the owners. Unauthorized reproduction, transmission or display of these materials is prohibited with the exception of items deemed “fair use” as defined by U.S. and international copyright laws.Label TextConsidered one of Mexico’s greatest photographers, Manuel Álvarez Bravo bought his first camera in his early 20s when he was working as a clerk for the Mexican government. By studying national and international photography journals and photographing the streets of Mexico City, Álvarez Bravo taught himself the craft. In 1927, his acquaintance, the Italian artist Tina Modotti, introduced him to an influential circle of Mexican artists such as Diego Rivera, José Clemente Orozco, and Frida Kahlo, who supported and influenced his life and work. Álvarez Bravo’s distinct perspective incorporated the mythology and symbolism of Mexico. On the surface, his photographs fit into the lineage of straight photography, but often have layers of meaning couched in surreal moments enhanced by the poetic wordplay of his titles. His separation from the established art centers in the United States and Europe made it more difficult for his work to be seen in conjunction with the development of his contemporaries, but in 1935, Álvarez Bravo’s photographs were included in an exhibition titled Documentary and Anti-Graphic at the Julian Levy Gallery in New York alongside photographs by Henri Cartier-Bresson and Walker Evans. Similar to Cartier-Bresson and Evans, Álvarez Bravo found his subjects on the streets and took images that were captivating in spite of and perhaps because of their seeming artlessness.

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