Lola Álvarez Bravo

787:(Generation to Generation, ca. 1950), a gelatin silver print. The photograph features an indigenous woman who is holding her stoic daughter while her back faces the camera, revealing the intricate details of her braid, and Álvarez Bravo's signature way of capturing the light that plays on the body of the mother. The unsmiling face of the baby along with the traditional garb that the mother is wearing, depict the unique niche of Álvarez Bravo's work that focused on the hard lives of the indigenous people of Mexico, and attempted to relay the raw reality of their lives to the viewers. This documentation of the indigenous and cultural traditions of Mexico is something that tied in with the larger art movement that swept throughout the country during the post-revolutionary period, emphasizing identities of Mexicans, and in essence what it means to be Mexican. 763:(The Dream of the Poor, 2), in which a young boy lies sleeping amidst a collection of sandals. Álvarez noted that only the wealthy could dream of sweets, as young, poor Mexicans dreamed only of having shoes. Many of her works explore the intersections of light and shade, which she employed repeatedly as a metaphor in her works. In "Unos suben y otros bajan" (Some Go Up and Others Go Down), she used contrast to demonstrate mechanical patterns. In her 1950 work "En su propia cárcel" (In Her Own Prison), she used the cross-hatched shadows as an allegory for prison bars, trapping the young woman who leaned on a windowsill. In both "Tríptico del martirio" (Triptych of Martyrdom, 1949), a series of photographs of prostitutes, and an untitled photograph of a masked 497:(José Clemente Orozco Prize), a commemorative plaque given by the State of Jalisco, for her contributions to photography and her interest in cultural preservation. She sold to the federal government over 2,500 negatives of her work and organized a presentation of her portraits at the Palacio de Bellas Artes in Mexico City in 1965. This exhibit at the Palacio de Bellas Artes was her first individual exhibition, which was entitled "Galería de mexicanos. 100 photos by Lola Álvarez Bravo". For a majority of her career she had a passion for film and was influenced by cinematic techniques. Álvarez dreamed of making films but ultimately had limited success in the field. 33: 803:, Kahlo approached a mirror and Álvarez captured the beautiful, elegantly-clad artist, and her reflection, riddled with interior pain from her accident as well as unhappiness from her troubled marriage. Álvarez stated (about her pieces of Kahlo) "I wanted to show something of her internal life." "Frida Kahlo Following Amputation of Her Right Leg", taken in 1953, and the interaction Kahlo and Álvarez had before taking it displays the relationship the two female artists had with each other. Kahlo would call Álvarez "manita", meaning little sister. The last photograph taken of Kahlo, 410:, where she remained for the next 30 years. She taught photography classes, led workshops and curated traveling presentations. Simultaneously, Álvarez continued her work as a photojournalist, becoming the only woman to work in the field throughout the 1950s. She photographed factories, farms, fire stations, schools, hospitals, and orphanages throughout Mexico to accompany magazine articles and undertook assignments in advertising and fashion photography. In her spare time, she made portraits of friends and colleagues, as well as their works. 320:, formed one of the earliest cinema screening clubs in Mexico. As her own style and desire to have her own voice emerged, tensions between the couple worsened and in 1934, Álvarez took her son and separated from Manuel, though they would not divorce until 1948. At the time of their separation, she had established herself as a professional photographer. Having secured work with several local magazines, she retained the Álvarez Bravo name professionally. 819:

flowing garments against the dark landscape and coffin, establishes a "rhythmic, lyrical pattern, creating an otherworldly effect". Demonstrating both her respect for indigenous culture and desire to document Mexican rituals, Álvarez also captured a deeper social meaning in the photograph. The lack of individual identity for the women and their seeming anonymity, represents the societal constraints upon them and their perceived interchangeability.

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Kahlo was a special being and became very close to her personally and through her work. During Kahlo's final years when she was plagued by illness, Álvarez and her camera provided respite from Kahlo's pain and the two women collaborated on both still images and a Surrealistic film. The film was not completed because of Kahlo's death, but a series of photographs evoke the dual and dueling aspects of Kahlo's exterior façade and interior turmoil.

273:, Manuel was reluctant to allow Álvarez time with the camera, but she did recommend thematic ideas to him and learned the craft. At a time when most newspaper photographers were interested in producing sensational images, Manuel taught Álvarez to distance herself from her subjects to capture their underlying essence. She also studied the paintings their artist friends presented in the gallery, learning about 296:, an American photographer, and recognized in his style a photo-documentary aspect that appealed to her more than her husband's stylized photographs. She realized that photography was a chronicle of history, documenting the transformation of society. She called the camera a "third eye", which elicited the truth of the photographer's experience. One of her early works from this period is titled 630: 1276:Álvarez's biographer, Elizabeth Ferrer, notes that many accounts give 3 April 1907 as Álvarez's date of birth, but states that personal archival documents indicate she was more probably born in 1903. Other sources give her date of birth as 1 April 1903, or 1 April 1907. Her parents married in 1901 and her death certificate indicates she was born in 1907. 137:Álvarez was born in a small town in Jalisco, but moved to Mexico City with her father when her parents separated around 1906. For a decade, she lived with her father in a large mansion, but upon his death was taken in by her older half-brother, who sent her to boarding school. After completing a traditional education, in 1922 she enrolled in the 730:. She also created a series of nude portraits, which were unique in their depiction of women as "alegorías de la condición femenina en el contexto de la sociedad patriarchal mexicana (allegories of the female condition in the context of Mexican patriarchal society)". These included her nude image of the dancer 149:, blossomed into romance around the same time and the two married in 1925. Her husband taught her photography, as well as development techniques, and for nearly a decade, she acted as his assistant. As she sought to explore her own creativity and was unhappy in the marriage, the couple separated in 1934. 790:

Because of her enduring friendship with Frida Kahlo, Álvarez took some of the most revealing photographs of the artist. Álvarez enjoyed photographing Kahlo and found Kahlo aesthetic. Álvarez herself stated, "...she always looked very natural. I never saw Frida too made up or ridiculous." She believed

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preferred by her husband. When she became pregnant, the couple decided to move back to Mexico City in 1927 to be near medical facilities and family. It was there their only child, Manuel Álvarez Bravo Martínez was born. Though Manuel was still working for the National Accounting Office, soon after

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Accounts of her childhood conflict with some sources stating that her mother died when Álvarez was three years old and others giving her mother's death occurring in 1910. Ferrer notes the discrepancies in the details of Álvarez's early history, noting it likely that the parents separated. Álvarez's

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paintings. From 1936, she produced photomontages, always using her own photographs to make the composite, rather than images from the published work of others. Many of the photomontages from her later career were posters. During this time she created the photo-collage, Sirenas del aire (Mermaids of

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Gonzalo Martínez died of a heart attack in 1916, while traveling on a train with his daughter. With his death, Martínez moved from their home to live with her brother and his wife in an apartment on Calle de Santa Teresa (now Calle Guatemala). Keen to ensure she would become a responsible wife and

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In 1940, she addressed the limitations of women and feelings of confinement among women in her work En su propia carcel (In Her Own Jail), with shadows creating lines on a woman's body, visually alluding to jail bars. Other women Surrealists similarly commented on these confined conditions of the

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in traditional dress somberly accompany a coffin. Their faces are obscured, their heads are covered with scarves, and they humbly gaze toward their feet, separated from the queue of male mourners, bordering the group of women. The care with which the composition was made, contrasting the white

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she ignored the dancers photographed by others, instead taking pictures of pilgrims coming to attend the ritual, the processional entrance of the sacred pole, and an animal sacrifice. The distance between herself and the subject candidly captures them in a manner that intimately captures their

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celebrated her 50-year career in photography in 1992, hosting a show in Mexico City spanning her trajectory. She made a statement late in life of her perception of her legacy: "If my photographs have any meaning, it's that they stand for a Mexico that once existed". Although separated from her

336:, Álvarez began working as an elementary school art teacher. Maria's house became a haven for intellectuals, artists, and politicians to meet and participate in the formation of the Mexican cultural identity that defined the post revolutionary era. She also took assignments from magazines like 754:

as well as the effects of 20th century technology. She did not like stylized studio shots, but wandered with her camera, searching for poignant moments and arresting compositions, which depicted the landscape, people and customs of Mexico. Typical are her photographs of indigenous women, like

212:. Unhappy with her options, Martínez wanted more, saying, "I don't know why since childhood, I had the idea that I wanted to do something not everybody did. What I've hated most about my life is that they order me around and they limit my freedom". She went on to further her education at the 505:

After her retirement in 1971 from the National Institute for Fine Arts, Álvarez continued to take photographs until she became blind at age 79 in 1986. The 1965 exhibition was the last showing of Álvarez's work until the mid-1970s, when the Ministry of Education approached her to create an

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replied, "Lola Álvarez Bravo", because "her compositions are those of a woman who knows how to see the thing itself". By ignoring icons like David Alfaro Siqueiros, José Clemente Orozco, and Diego Rivera, Michel placed Álvarez's skill with composition and imagery firmly in the context of

417:. Considered one of Soriano's best works, Álvarez is depicted as both the photographer and the protective figure watching over the young Soriano against the large window overlooking a dreamlike sky dominated by a whirlwind of reds and blues. She also experimented with techniques such as 461:(Gallery of Contemporary Art). It was in this gallery in 1953, that Álvarez presented the only solo showing of Frida Kahlo's work in Mexico held while the artist was living. It was also in 1953 that Álvarez became the first woman photographer to present her work at the 742:

focused on people's daily lives as she strove to expose beauty, as well as the misery, and the irony of the human condition. Her work displayed an instant in time and did not have any symbolic or underlying meaning but instead was a way of preserving a moment in life.

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there in 1922. The two women formed a close, lifelong friendship. In parallel, her relationship with her childhood friend Manuel Álvarez, burgeoned into romance. The couple often roamed the streets together observing the beauty beneath the city's grime and poverty.

196:, Mexico, to Sara de Anda and Gonzalo Martínez, a dealer who imported art and furniture. Her parents appear to have separated when she was very young. When she was around three years old, her father took Martínez and her older half-brother, Miguel, to live in 477:

in 1954 in memory of the artist's death the previous year. Álvarez helped attend one of her closest friend's, Frida Kahlo, body after her death in the summer of 1954. In 1955, her "Entierro de Yalalag" (Burial in Yalalag), taken in 1946, was included in

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to promote the work of artists from that state. This initial show was followed by many solo and group presentations. In 1950, she rented a garage and converted it into a gallery with a sculpture garden. It officially opened the following October, as the

421:, when a single photograph could not adequately depict her message. In one such image, "Anarquía arquitectónica de la ciudad de México" (Architectural Anarchy of Mexico City), she overlapped photographs of skyscrapers to show the overcrowding caused by 579:

and negatives were added. In 2007, additional photographs were discovered in Mexico City, when a friend who had purchased Álvarez's old apartment discovered boxes full of images of Álvarez, her husband, and also of her students' work. According to

383:, at the time the Minister of Education (and later President of Mexico), by chance and was asked to photograph him. Appreciating her work, Cárdenas showed her photographs to other influential people, which landed her an offer to contribute to the 677:

Many of Álvarez's works were grouped into specific themes, which she returned to time and again. They included representations of indigenous and peasant women, mothers, children, women of varying social classes as well as the women involved as

2501: 176:, she hosted the only exhibition of Frida Kahlo's works held in Mexico during the artist's life. From the late 1970s until her death in 1993, she gained international recognition for her body of work. Her photo archive is located at the 592:, the new material gave "us original titles and dates that radically change the meaning and interpretation" of some of Álvarez's works. The images were added to the Center's archive and several shows followed, including the exhibition 241:

his son, Manuelito's birth, he resigned to pursue a career as a professional photographer. As she developed her own vision and became discontented with simply processing her husband's film, tensions in the marriage began to surface.

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translates to "The Visit" and alludes to a religious implication. The image shows a contrast of lighting, shadows, and the shapes of the women in front of the house. The medium present in the photo is a gelatin silver print.

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in 1954. The photograph shows two women holding each other in the corridor of a home. It represents a metaphor for unity connecting two Indigenous women of different eras who have shared common struggles. The title

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working in Mexico City. She chose to portray subjects candidly, revealing the deeper meaning of culture and social significance, rather than seeking newsworthy work. In 1935, she began cataloging photographs in the

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and she was forced to evacuate with few belongings. In declining health, she left her apartment in the care of a neighbor, Clementina Rivera Vallejo, and moved in with her son. In 1991, an exhibition organized in

429:(The Dream of the Poor), a sleeping child lies unaware under a money-making machine as a political statement concerning the impact of capitalism on the poor. The original photograph would later be displayed in 433:(The Dream of the Poor 2). Álvarez would come back to this medium the late forties and fifties in the form of large posters commissioned by several business and institutions that began with various covers for 807:, was taken by Álvarez in 1954. According to Kahlo's wishes, she was dressed in an outfit she had selected, her nails were painted and hair braided and her favorite jewelry adorned her neck and fingers. 1299:

An account of conflict with some sources stating that Ruth, Diego Rivera's daughter, had brought a necklace and earrings for Kahlo to wear on her deathbed because all of Frida's jewelry had been stolen.

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In 1941, Álvarez started her 30 year long position as chief of photography for the Instituto Nacional de Bellas Artes y Literatura (INBA). Álvarez held her first solo art exhibition in 1944, at the

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in the thirties. In 1939 she moved into her own apartment in an Art Deco Building on Avenida Juarez but at the time she did not think of herself as an artist even with all her past accomplishments.

5331: 3460: 4591: 236:. As they had in Mexico City, the couple would wander the streets, but now began documenting their walks in photographs. Álvarez produced her first photographs in Oaxaca, which mirrored the 3103: 614:, raised her photography to the same level as painting, and praised her skill with no regard to her gender. Álvarez has images in the permanent collections of several museums including the 5599: 4041: 5316: 5336: 4561: 4441: 130:, for her contributions to photography and her efforts to preserve the culture of Mexico. Her works are included in the permanent collections of international museums, including the 5509: 5276: 4586: 538:, Texas, by the Society of Friends of Mexican Culture, highlighted Álvarez's intimate portraits of Kahlo, expanding her international acclaim as it traveled to other cities such as 514:. From the 1980s, she began to be recognized internationally with many exhibitions showing renewed interest in her work. In 1982, she published two compilations of her photographs, 308:

and Álvarez's image of two women standing in a doorway, captured the solace offered by the subjects to each other. Rather than the posed compositions favored by her husband, or the

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traditional roles of women, such Leonora Carrington, in her work Green Tea (La Dame Ovale), from 1942, in which the central female form seems to be restrained in a straitjacket.

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experience without judgment. Her preference was to avoid "the news", instead documenting her surroundings in their historical context. In her advertising work, Álvarez used

5494: 5361: 3128: 649:, as a means of allowing fuller development between monochrome contrasts. Color did not suit her documentary style of composition. As a photojournalist, Álvarez focused on 4481: 5411: 4826: 4381: 4236: 4181: 5356: 5146: 5021: 4541: 2966:. Initial essay by Debroise, collection curated and amended by Alima Jimenez (2008–2009); James Uhrig (2009–2010, 2013); Meghan Jordan (2016), and Alexis Peregoy (2018). 5061: 4871: 4646: 4446: 4321: 4006: 719: 4936: 4531: 4526: 4246: 3861: 3643: 551:

husband, she praised him for his work and called him "the founder of modern photography in Mexico." She also felt as though she owed her ex-husband "a creative debt".

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rights activist (1982), Álvarez used the play of light and shadow to suggest erotic tension, as well as a social critique by obscuring the faces in darkness.

5549: 5401: 5236: 3946: 3941: 5266: 4746: 3791: 973: 5619: 5529: 5046: 4816: 4701: 4676: 4231: 4166: 4126: 3896: 5504: 5261: 4821: 4036: 3626:, CCP at the University of Arizona has released a digital catalog of all Álvarez's images. (note: search must include "Á" rather than "A" for her archive) 232:, engaging in the local artists' community. In their free time, Manuel, who had learned photography as a teenager, taught Álvarez how to use a camera and 5386: 5226: 3911: 312:

portraits taken by Modotti, Álvarez's image focuses on the subtle meanings of everyday life captured by the camera. In 1934, she joined the newly formed

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Beginning her career as a teacher, Álvarez took photographic assignments for magazines and newspapers, developing a reputation as one of the only women

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and eventually became the journal's chief photographer. Her first major commission was in 1936 from the San Agustin church to record biblical scenes.

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revelations, seeking to impart the social meaning, without duplicating other photographers' work. For example, in one assignment where she went to

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In addition to her contributions to advertising and photojournalism, Álvarez took many photographs of her artistic friends, and in 1951 opened the

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Segre, Erica (February 2005). ""The Hermeneutics of the Veil in Mexican Photography: Of Rebozos, Sábanas, Huipiles and Lienzos de Verónica"".

690:. Besides the images of her friend Frida Kahlo, for whom she was known internationally later in her career, are portraits of artists, such as 5735: 5624: 4706: 4366: 4211: 4076: 3926: 3851: 352: 313: 289:

was murdered. When in 1931, Manuel became seriously ill, she completed his commissions and managed the gallery to sustain their livelihood.

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In 1927, opening an art gallery in their home, the couple exhibited photographs and paintings created by their artistic friends, including

5750: 5745: 265:. Manuel began by taking commissions for portraits and Álvarez assisted him while raising their son. Relegating her to minor tasks, like 3432: 122:. Known for her high level of skill in composition, her works were seen by her peers as fine art. She was recognized in 1964 with the 5755: 5446: 399: 376: 162: 158: 3629: 2864: 3512: 3139: 2456:"FOTÓGRAFAS MEXICANAS: IMÁGENES DE DISIDENCIA Y EMPODERAMIENTO/MEXICAN WOMEN PHOTOGRAPHERS: IMAGES OF DISSIDENCE AND EMPOWERMENT" 1290:

in Tucson, contain a telegram from Sara de Anda to Álvarez and her husband in 1926, making reports of her earlier death unlikely.

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and a publication of the same name was launched. Álvarez's son Manuel continued to add to the collection and in 1996 around 200

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One of Lola Álvarez Bravo's photographs that encapsulates her recurring theme of motherhood in Mexico is her striking photo

209: 5725: 3548: 3492: 3106:[James Oles: "Frida Kahlo's cultural transvestism has a creative aspect"] (in Spanish). Buenos Aires, Argentina: 2952: 4576: 759:(A Rest, Weeping and Indifference), from 1940, which portrays the exploitation and lonely suffering of its subject, or 406:, visiting various regions of the country. Five years later she was appointed head of the photography department of the 3667: 571:. A hundred photographs were received by the Center in 1994 and organised by Olivier Debroise. A traveling exhibition, 510:, where she began organizing her archives. In 1979, the first retrospective of her work was held in Mexico City at the 462: 407: 2218: 3568: 3347: 3232: 3211: 2996: 2810: 1211: 4411: 4001: 2986: 1134: 738:. Her contemporary male photographers, when depicting motherhood, captured more traditionally domestic images. Her 3603:(in Spanish). Mexico City, Mexico: Archivo de Registro Civil de Distrito Federal. 31 July 1993. Certificate #63481 1101: 3596: 3576: 2948: 1287: 560: 177: 3635: 5201: 4571: 3414: 3015: 2977: 493:

in 1958. Then for a while, she stopped taking photographs after a 1961 heart attack. In 1964, she received the

5730: 829:Álvarez Bravo, Lola; Cartier-Bresson, Henri (1962). "Momentos de México: fotografías de Lola Alvarez Bravo". 213: 138: 4841: 2911:

Congdon, Kristin G.; Hallmark, Kara Kelley (2002). "Lola Álvarez Bravo (1907-1993): Mexican Photographer".

615: 5689: 4866: 4506: 4326: 32: 4581: 4251: 3007: 530: 469:(Mexico in Life, Dance, Death) and was accepted as a member of the salon. She also featured the works of 4911: 4621: 4306: 3751: 3156: 329: 5026: 4536: 2918: 2880: 988: 984: 5421: 5346: 5031: 4486: 3552: 1076: 486:

presentation in Manhattan. The exhibition subsequently toured 37 countries over the next eight years.

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the Air), in which two mermaids float in the air, connected by a typewriter, which they both touch.

5629: 5166: 5001: 4156: 3736: 4761: 4471: 4016: 799:, both taken in 1942, encapsulate Kahlo's tentative hold on tranquillity. In Álvarez's 1944 image 735: 4966: 4556: 4436: 4426: 4196: 4071: 3681: 3374: 3366: 445: 266: 233: 188:

Dolores Concepción Martínez de Anda, known as Lola from a young age, was born on 3 April 1903 in

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perspective. Her images document the industrialization of the country which occurred after the

746:Álvarez's photography focused on documenting Mexico and its people during her lifetime, with a 659: 576: 305: 250: 4721: 4456: 4256: 3408: 2843: 2249: 5684: 5474: 5136: 4206: 3786: 3339: 3222: 3203: 3082: 2867:[The representation of the female experience in Tina Modotti and Lola Álvarez Bravo] 2467: 1065: 1047: 960:

Carteles revolucionarios de las pintoras del sector femenino de la sección de Artes Plásticas

564: 301: 270: 5459: 4316: 4276: 3467:(in German). Winterthur, Switzerland: Swiss Foundation for Photography. 2013. Archived from 2912: 854:(in Spanish). México, D. F.: Instituto Nacional de Bellas Artes, Museo del Artes Plásticas. 814:(Burial at Yalalag), created in 1946. The photograph captures a funeral procession in which 5720: 5715: 5126: 4601: 4271: 3971: 3444: 747: 731: 479: 380: 131: 4011: 3224:

Latin American Women Artists, Kahlo and Look Who Else: A selective, annotated bibliography

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Comunicación y nuevas tecnologías: Memoria del 56º Congreso Internacional de Americanistas

2523: 470: 8: 5584: 5131: 4286: 4091: 3520: 3254:(in Spanish). Jaén, Spain: Asociación de Amigos del Archivo Histórico Diocesano de Jaén. 3063: 2325:

In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States

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In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States

1200: 723: 413:Álvarez is represented in the work of the Mexican Surrealist artist, Juan Soriano in his 403: 286: 119: 5286: 4651: 4401: 3836: 2767: 5271: 5096: 4991: 4751: 4551: 4521: 4021: 3936: 3806: 3314: 3134: 2892: 751: 739: 650: 526: 300:(The Visitation) and was taken on an excursion with Manuel and the French photographer 5659: 5391: 5311: 4931: 3951: 3891: 3871: 3524: 621:

On 3 April 2020, Google celebrated Lola Álvarez Bravo’s 117th Birthday with a doodle.

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Alcántara, Manuel; García Montero, Mercedes; Sánchez López, Francisco, eds. (2018).

5594: 5091: 5066: 5016: 4956: 4351: 4136: 3986: 3906: 3370: 3306: 3168: 2865:"La representación de la experiencia femenina en Tina Modotti y Lola Álvarez Bravo" 2736: 2502:"LA REPRESENTACIÓN DE LA EXPERIENCIA FEMENINA EN TINA MODOTTI Y LOLA ÁLVAREZ BRAVO" 1621: 1619: 1617: 1615: 1033: 699: 683: 543: 153: 5639: 4941: 4641: 4566: 3766: 3276:

St. James Guide to Hispanic Artists: Profiles of Latino and Latin American Artists

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homemaker, Miguel's wife sent Martínez to complete a traditional education at the

204:, was a frequent visitor at their home on Calle de Factor (now Calle de Allende). 5564: 5559: 5231: 5186: 5036: 4996: 4876: 4716: 4611: 4606: 4546: 4346: 4221: 4186: 4096: 3961: 3886: 3856: 3696: 3665: 3279: 2471: 1241: 1080: 815: 707: 687: 568: 361: 189: 60: 4176: 3921: 3173: 3104:"James Oles: "El travestismo cultural de Frida Kahlo tiene un aspecto creativo"" 2554: 1865: 1863: 1861: 1859: 1857: 1855: 1853: 1851: 1849: 1847: 1845: 1843: 1841: 1839: 1837: 1835: 1833: 1831: 1829: 1827: 1825: 1612: 645:Álvarez exclusively employed black and white film for her pictures, rather than 5679: 5664: 5441: 5151: 5111: 5086: 5081: 5011: 4971: 4386: 4311: 4151: 3846: 3796: 3776: 3706: 2991:. Tucson, Arizona: Center for Creative Photography, the University of Arizona. 1823: 1821: 1819: 1817: 1815: 1813: 1811: 1809: 1807: 1805: 1145: 691: 606: 559:Álvarez died on 31 July 1993 in Mexico City. She bequeathed her archive to the 5171: 4836: 4766: 3866: 2455: 2135: 2133: 5709: 5654: 5499: 5489: 5291: 5221: 5116: 5076: 4961: 4806: 4791: 4781: 4266: 4121: 4111: 3956: 3916: 3876: 3691: 3335: 3282:

for the Association of Hispanic Arts and Association for Latin American Art.

3199: 3182: 3159:[Mexican Women Photographers: Images of Dissidence And Empowerment]. 2888: 2822: 912: 895: 842: 715: 585: 262: 4261: 3310: 1802: 859: 5694: 5569: 5371: 5321: 4376: 4291: 4031: 3440: 2130: 1226: 422: 418: 317: 278: 258: 224:

In 1925, Martínez and Álvarez married and she took his name. They moved to

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in a large 28-room mansion. One of her brother's friends who lived nearby,

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Searching for Madre Matiana: Prophecy and Popular Culture in Modern Mexico

3107: 601: 285:, to raise money for her departure from the country after Modotti's lover 5544: 5306: 5251: 5246: 5216: 5156: 4731: 4686: 4671: 4626: 4336: 3597:"Registro Civil: Acta de defuncion, Cuauhtémoc, México, Distrito Federal" 3190:

Maynard, Charles (1996). "Lola Alvarez Bravo". In Standish, Peter (ed.).

1178: 963: 810:

One of her most iconic images, and a personal favorite of Álvarez's, was

703: 679: 666: 539: 372: 364:. She participated in her first group exhibition in 1935, displaying two 316:(League of Revolutionary Writers and Artists) and, along with Manuel and 293: 217: 197: 142: 79: 2336: 2334: 1422: 4976: 4666: 4171: 4141: 871:(in Spanish) (1st ed.). México, D.F.: Fondo de Cultura Económica. 695: 670: 365: 3624:

Lola Álvarez Bravo Images Online Center for Creative Photography (CCP)

3043:] (in Spanish). Vol. 1. Mexico City, Mexico: CONACULTA/INBA. 1532: 1530: 1528: 1526: 1524: 1522: 770:

Lola Alvarez Bravo is responsible for capturing the photograph titled

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and two years later was hired to run the photography workshops of the

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Fotografías de Lola Álvarez Bravo, Exposición retrospectiva 1938–1979

711: 3539: 3483: 3246:[Lola Álvarez Bravo, central figure of Mexican photography] 2848:(in Spanish). Salamanca, Spain: Ediciones Universidad de Salamanca. 2841: 2742: 2560: 2005: 2003: 2001: 1720: 1718: 1705: 1703: 1666: 1664: 1625: 629: 172:(Gallery of Contemporary Art) to promote their work. In 1953 at the 1519: 1189: 1105: 654: 611: 547: 507: 309: 237: 3397: 2200: 2198: 2196: 2194: 869:

Escritores y artistas de México: fotografías de Lola Álvarez Bravo

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techniques to highlight aspects of the products, as if they were

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Frida looking at herself in the mirror in the patio of Casa Azul

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exhibition in New York City and subsequently toured 37 countries

5056: 3567: 3157:"Fotógrafas mexicanas: imágenes de disidencia y empoderamiento" 2914:

Artists from Latin American Cultures: A Biographical Dictionary

2191: 2139: 2081: 2079: 2077: 1323: 1321: 1160: 637:(Burial in Yalalag) was included in the Museum of Modern Art's 535: 225: 111: 3244:"Lola Álvarez Bravo, figura central de la fotografía mexicana" 3194:

Hispanic Culture of Mexico, Central America, and the Caribbean

2712: 1742: 1354: 1352: 1350: 1348: 1346: 1344: 1342: 1340: 1338: 1336: 3595: 3359:"Álvarez Bravo, Lola [née Martínez de Anda, Dolores]" 2181: 2179: 2034: 2032: 2030: 1792: 1790: 1788: 1786: 1784: 1428: 605:

to identify Mexico's most important painter, Mexican painter

2813:[Lola Álvarez Bravo and the photography of an era]. 2074: 1936: 1318: 924:. Dallas, Texas: Society of Friends of the Mexican Culture. 1884: 1882: 1880: 1878: 1333: 2748: 2542: 2305: 2293: 2281: 2176: 2027: 1781: 1676: 2651: 2649: 1567: 1565: 764: 3326:

Sills, Leslie (2000). "Lola Álvarez Bravo (1907-1993)".

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In 1937 Álvarez began working as a photographer at the

3129:"A Mexican Photographer, Overshadowed but Not Outdone" 2817:(in Spanish). México, D.F.: Cuartoscuro, S.A. de C.V. 2673: 2646: 2634: 2612: 2610: 2595: 2406: 1948: 1926: 1924: 1759: 1757: 1651: 1649: 1602: 1600: 1598: 1596: 1594: 1592: 1509: 1507: 1009:

Galería de mexicanos: 100 photos of Lola Álvarez Bravo

970:

Exposición de pintura, escultura, grabado y fotografía

408:

Dirección General de Educación Extraescolar y Estética

145:. A friendship with another of her childhood friends, 2578: 2219:"3 April: Remembering Lola Álvarez Bravo on Birthday" 2118: 2049: 2047: 1631: 1542: 1385: 1383: 1381: 1379: 1011:, National Institute of Fine Arts (INBA), Mexico City 489:

Because of financial constraints, Álvarez closed the

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Retrato de Lola Álvarez con Juan Soriano Niño Soriano

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Espacio Tiempo y Forma. Serie VII, Historia del Arte

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Galería de mexicano: 100 fotos de Lola Álvarez Bravo

3511: 3242:Ramírez Zapatero, María de Lourdes (October 2016). 2724: 2661: 2622: 2607: 2566: 2204: 2091: 1921: 1769: 1754: 1646: 1589: 1504: 1168:

Frida y su mundo: Fotografías de Lola Álvarez Bravo

228:, where Manuel found work as an accountant for the 165:, where she remained until her retirement in 1971. 3327: 3191: 3034: 2862: 2743:Alcántara, García Montero & Sánchez López 2018 2436: 2424: 2400: 2376: 2364: 2352: 2340: 2164: 2044: 2009: 1736: 1724: 1709: 1694: 1670: 1536: 1376: 1186:Lola Álvarez Bravo: Fotografías Selectas 1934–1985 2811:"Lola Álvarez Bravo y la fotografía de una época" 1395: 618:, and the Museum of Modern Art in New York City. 5707: 3241: 1327: 890:(in Spanish). México, D.F.: Editorial Penélope. 594:Lola Álvarez Bravo and the Photography of an Era 3035:Fernández, Octavio; Santacruz, Cecilia (2013). 2910: 2489:. Providence, RI: Occasional Papers. p. 7. 2085: 1942: 1358: 1248:Angels of Anarchy: Woman Artists and Surrealism 1062:La fotografía como fotografía, México 1950–1980 995:Exposición de fotografías de Lola Álvarez Bravo 922:Lola Álvarez Bravo: The Frida Kahlo photographs 920:Alvarez Bravo, Lola; Grimberg, Salomon (1991). 1153:Lola Álvarez Bravo, Photographs of Frida Kahlo 3651: 3165:Universidad Nacional de Educación a Distancia 1016:Exposición nacional de homenaje a Frida Kahlo 686:and intellectual renaissance movement of the 314:Liga de Escritores y Artistas Revolucionarios 277:. In 1930, she obtained her own camera, when 3431: 2984: 2311: 2299: 2287: 2185: 2038: 1888: 1796: 1748: 1682: 1170:, Galería Juan Martín de México, Mexico City 1004:, Salón de la Plástica Mexicana, Mexico City 1002:México en la vida, en la danza, en la muerte 907:. México, D.F.: Museo Estudio Diego Rivera. 467:México en la Vida, en la Danza, en la Muerte 360:, quickly earning a reputation as a skilled 323: 110:(3 April 1903 – 31 July 1993) was the first 3406: 3154: 2754: 2718: 2548: 1087:Elogio de la fotografía: Lola Álvarez Bravo 500: 244: 3658: 3644: 3375:10.1093/gao/9781884446054.article.T2021439 3227:. Westport, Connecticut: Greenwood Press. 2863:Comisarenco Mirkin, Dina (December 2008). 1025:, Alianza Francesa de Polanco, Mexico City 31: 3356: 3172: 3138:. New York City, New York. Archived from 3037:Mujeres del Salón de la Plástica Mexicana 2873:Revista de Estudios de Género. La Ventana 2561:National Museum of Women in the Arts 2018 2506:Revista de Estudios de Género. La Ventana 1626:National Museum of Women in the Arts 2012 1477: 599:In 1953, when asked by a journalist from 452:(Painters of Jalisco), also shown at the 183: 3126: 3041:Women of the Mexican Salon of Visual Art 2938:"Lola Alvarez Bravo Archive, 1901 -1994" 2935: 2679: 2655: 2640: 2589: 2158: 2124: 1640: 1416: 1055:Lola Álvarez Bravo, recuento fotográfico 1040:Exposicion-Homenaje a Lola Álvarez Bravo 919: 628: 596:, which featured the additions in 2013. 375:. That year, she took a position at the 163:National Autonomous University of Mexico 118:and a key figure in the post-revolution 3189: 2985:Debroise, Olivier; Oles, James (1994). 2484: 2449: 2447: 2445: 1571: 946:National Gallery of Art, Washington, DC 905:Reencuentros: 150 años de la fotografia 710:; cultural preservationists, including 396:Universidad Nacional Autónoma de México 5708: 3632:, collection of Álvarez Bravo's works. 3485:"De generación en generación ca. 1950" 3220: 3101: 3087:. Madrid, Spain: Turner Publications. 3057: 3005: 2829:from the original on 14 September 2017 2808: 2791: 2706: 2694: 2388: 2170: 2112: 2068: 2053: 2021: 1992: 1966: 1915: 1903: 1655: 1498: 1401: 1389: 1370: 1018:, Palacio de Bellas Artes, Mexico City 997:, Palacio de Bellas Artes, Mexico City 3639: 3357:Whitelegg, Isobel (20 October 2006). 3330:In Real Life: Six Women Photographers 3325: 3296: 3273: 3261:from the original on 25 November 2018 3080: 2730: 2667: 2628: 2616: 2601: 2572: 2412: 2264:"Lola Álvarez Bravo's 117th Birthday" 2097: 1954: 1930: 1870:Swiss Foundation for Photography 2013 1775: 1763: 1606: 1583: 1513: 141:, where she met her lifelong friend, 126:(José Clemente Orozco Prize), by the 5736:People from Lagos de Moreno, Jalisco 3549:National Museum of Women in the Arts 3493:National Museum of Women in the Arts 3127:Gonzalez, David (25 February 2013). 2988:Lola Alvarez Bravo: In her own light 2809:Acosta, Anasella (13 October 2011). 2453: 2442: 2216: 2140:Center for Creative Photography 2010 1197:Lola Álvarez Bravo: In Her Own Light 1089:, Centro Cultural de Las Fronteras, 573:Lola Alvarez Bravo: In Her Own Light 506:exhibition, sending her back to the 3499:from the original on 6 January 2020 3014:(in Spanish). Mexico City, Mexico: 1077:Museo de la Alhóndiga de Granaditas 554: 518:, focused upon her portraiture and 402:. She took photographs to document 180:in Tucson, Arizona, United States. 47:Dolores Concepción Martínez de Anda 13: 5751:20th-century Mexican women artists 5746:20th-century Mexican photographers 4042:Isidro Eduardo Castellanos Paredes 3523:. 8 September 2006. Archived from 3102:Gigena, Daniel (6 December 2017). 2499: 974:National Educational Workers Union 757:Un descanso, llanto e indiferencia 734:, and the heavily pregnant artist 371:at the Department of Fine Arts in 14: 5767: 3617: 3084:Frida Kahlo: Portraits of an icon 3022:from the original on 29 June 2016 2217:Desk, OV Digital (2 April 2023). 1057:, Editorial Penélope, Mexico City 624: 5756:20th-century women photographers 4592:Víctor Manuel Hernández Castillo 4577:Desiderio Hernández Xochitiotzin 3666:Past and present members of the 3569:"Lola Alvarez Bravo Photographs" 1208:Frida Kahlo: Portrait of an Icon 379:cataloging photographs. She met 16:Mexican photographer (1903–1993) 3577:Center for Creative Photography 3541:"Lola Alvarez Bravo: 1907–1993" 3010:[April anniversaries]. 2949:Center for Creative Photography 2801: 2760: 2528:Center for Creative Photography 2516: 2493: 2478: 2317: 2256: 2210: 1972: 1293: 1288:Center for Creative Photography 1279: 1151:1991 (Solo, traveling exhibit) 1142:Lola Álvarez Bravo: Photographs 822: 561:Center for Creative Photography 516:Escritores y Artistas de Mexico 400:Institute of Aesthetic Research 334:National Institute of Fine Arts 304:. The trio had traveled to the 178:Center for Creative Photography 3415:University of New Mexico Press 3278:. Farmington Hills, Michigan: 3155:Lorduy Osés, Lucas E. (2017). 3016:Instituto Mexicano de la Radio 3006:Dueñas, Pablo (2 April 2016). 1537:Fernández & Santacruz 2013 1270: 951: 939: 1: 5337:Antonio Rodríguez de la Serna 3668:Salón de la Plástica Mexicana 2487:Mexico: The Artist is a Woman 1306: 1102:Musée Cantonal des Beaux-Arts 1044:Centro Cultural El Nigromante 491:Galeria de Arte Contemporáneo 475:Galeria de Arte Contemporáneo 463:Salón de la Plástica Mexicana 459:Galeria de Arte Contemporáneo 214:Escuela Nacional Preparatoria 170:Galeria de Arte Contemporáneo 139:Escuela Nacional Preparatoria 5741:20th-century Mexican artists 3407:Wright-Rios, Edward (2014). 2512:: 174 – via EBSCOhost. 1311: 1234:Lola Alvarez Bravo 1903–1993 903:Álvarez Bravo, Lola (1989). 886:Álvarez Bravo, Lola (1982). 867:Álvarez Bravo, Lola (1982). 850:Álvarez Bravo, Lola (1965). 797:Frida leaning against a tree 657:, in Veracruz, to shoot the 633:Alvarez's iconic 1946 work, 616:Museum of Fine Arts, Houston 7: 5726:Mexican women photographers 4002:Francisco Cárdenas Martínez 3812:Gerardo Murillo ("Dr. Atl") 3413:. Albuquerque, New Mexico: 3174:10.5944/etfvii.5.2017.17964 2879:(28). Guadalajara, Mexico: 2086:Congdon & Hallmark 2002 1943:Congdon & Hallmark 2002 1359:Congdon & Hallmark 2002 1190:Fundación Cultural Televisa 1135:Museo de Arte Contemporáneo 962:, Department of Fine Arts, 805:Frida Kahlo on her deathbed 785:De Generación en generación 548:Fundación Cultural Televisa 531:1985 Mexico City earthquake 512:Alianza Francesa de Polanco 495:Premio José Clemente Orozco 448:and simultaneously curated 425:. In another piece titled, 210:Colegio del Sagrado Corazón 124:Premio José Clemente Orozco 10: 5772: 5510:José Guillermo Téllez Brun 5367:Tránsito Rojas Santamarina 5277:Jorge Germán Ramírez Nieto 5027:Francisco Moreno Capdevila 4657:Juan Carlos Juárez Arreola 4587:Cuauhtémoc Hernández Landa 3433:"About Lola Alvarez Bravo" 3163:(in Spanish) (5). Madrid: 3058:Ferrer, Elizabeth (2006). 2976:: CS1 maint: postscript ( 2936:Debroise, Olivier (1994). 2919:Greenwood Publishing Group 2881:Universidad de Guadalajara 2500:MIRKIN, DINA COMISARENCO. 1219:Frida Kahlo y Diego Rivera 1117:Museo Estudio Diego Rivera 1098:La femme et le surrealisme 989:Philadelphia, Pennsylvania 985:Philadelphia Museum of Art 577:gelatin silver photographs 230:National Accounting Office 4867:Ricardo Martínez de Hoyos 4852:Magdalena Martínez Franco 4847:Gustavo Martínez Bermúdez 4572:José Hernández Delgadillo 4507:Consuelo González Salazar 4332:Javier Fernández Helguera 4327:Gabriel Fernández Ledesma 3674: 3299:Hispanic Research Journal 2917:. Westwood, Connecticut: 1246:2010 (Group, posthumous) 1217:2006 (Group, posthumous) 1212:National Portrait Gallery 1206:2005 (Group, posthumous) 1195:1996 (Solo, posthumous) 831:Cuadernos de Bellas Artes 324:Middle career (1935–1971) 95: 87: 68: 42: 30: 23: 5495:Eduardo Talledos Sánchez 4912:Patricia Mejía Contreras 4562:Jesús Gutiérrez Martínez 4442:José de Jesús García Gil 3862:Osvaldo Barra Cunningham 3752:Colette Álvarez Urbajtel 3630:Fondo Fundación Televisa 3221:Puerto, Cecilia (1996). 2951:. AG 154. Archived from 2485:Cortina, Regina (1995). 2312:Debroise & Oles 1994 2300:Debroise & Oles 1994 2288:Debroise & Oles 1994 2205:Aperture Foundation 2006 2186:Debroise & Oles 1994 2039:Debroise & Oles 1994 1797:Debroise & Oles 1994 1749:Debroise & Oles 1994 1683:Debroise & Oles 1994 1429:"Acta de defuncion" 1993 1263: 1232:2008 (Solo, posthumous) 761:El sueño de los pobres 2 501:Later career (1971–1992) 431:El sueño de los pobres 2 328:Moving into the home of 245:Early career (1927–1934) 5422:Herlinda Sánchez Laurel 5392:Antonio Ruiz El Corcito 5347:Manuel Rodríguez Lozano 4842:Héctor Martínez Arteche 4597:Manuel Herrera Cartalla 4487:Jorge González Camarena 4237:Gonzalo de la Paz Pérez 4182:Alejandro Chacón Pineda 4072:Fernando Castro Pacheco 3682:Gilberto Aceves Navarro 3402:(subscription required) 3398:Oxford University Press 3367:Oxford University Press 3311:10.1179/146827305X13703 2460:Espacio, Tiempo y Forma 2437:Comisarenco Mirkin 2008 2425:Comisarenco Mirkin 2008 2401:Comisarenco Mirkin 2008 2377:Comisarenco Mirkin 2008 2365:Comisarenco Mirkin 2008 2353:Comisarenco Mirkin 2008 2341:Comisarenco Mirkin 2008 2010:Comisarenco Mirkin 2008 1737:Comisarenco Mirkin 2008 1725:Comisarenco Mirkin 2008 1710:Comisarenco Mirkin 2008 1695:Comisarenco Mirkin 2008 1671:Comisarenco Mirkin 2008 722:; and writers, such as 525:Álvarez's apartment in 446:Palacio de Bellas Artes 377:Department of Education 310:ideologically motivated 159:Department of Education 5575:Sergio Valadez Estrada 5465:Luz Maria Solloa Junco 5407:Cecilia Sanchez Duarte 5342:Antonio Rodríguez Luna 5062:Ignacio Nieves Beltrán 4872:Ángel Mateos Benavides 4832:Ofelia Márquez Huitzil 4647:Alberto Jiménez Quinto 4582:Miguel Hernández Urbán 4447:Adalberto García Ordaz 4357:Manuel Fuentes Estrada 4322:Alfredo Falfán Vivanco 4252:Francisco Díaz de León 4007:Alfredo Cardona Chacón 3732:Ernesto Álvarez Cortés 3727:Ramón Alva de la Canal 3722:David Alfaro Siqueiros 3702:Rodolfo Aguirre Tinoco 3579:. 2010. Archived from 3551:. 2012. Archived from 3519:. New York, New York: 3443:. 2012. Archived from 3396: – via 3334:. New York, New York: 3274:Riggs, Thomas (2002). 3062:. New York, New York: 1252:Manchester Art Gallery 1238:Portland Museum of Art 1223:Centro Cultural Borges 1157:Barry Whistler Gallery 1146:Carla Stellweg Gallery 720:Judith Martínez Ortega 660:Danza de los Voladores 642: 588:art and a lecturer at 427:El sueño de los pobres 306:Isthmus of Tehuantepec 251:David Alfaro Siqueiros 184:Early life (1903–1927) 5455:Adriano Silva Pantoja 5377:Mario Romero González 5297:Maria Antonieta Reyes 5137:Luis Ortiz Monasterio 4857:Pedro Martínez Osorio 4777:Catherine Mac Deville 4757:Armando López Becerra 4742:Miguel Ledezma Campos 4537:Jesús Guerrero Galván 4482:Esther González Gómez 4432:Carlos García Estrada 4207:Maria Eugenia Chellet 4192:Carlos Antonio Chávez 4017:Julio Carrasco Bretón 3982:Alfonso Campos Quiroz 3822:Oscar Ávila Soberanes 3787:Gustavo Arias Murueta 3547:. Washington, D. C.: 3513:"Lola Alvarez: Bravo" 3491:. Washington, D. C.: 3461:"Álvarez Bravo, Lola" 3439:. Holland, Michigan: 3198:. Detroit, Michigan: 3081:Hooks, Hooks (2002). 3008:"Efemérides de Abril" 2474:– via Proquest. 1328:Ramírez Zapatero 2016 1177:, Galería Quetzalli, 1073:De las cosas humildes 1066:Museo de Arte Moderno 1048:San Miguel de Allende 632: 565:University of Arizona 450:Pintores Jaliscienses 302:Henri Cartier-Bresson 292:In 1933, Álvarez met 5731:Artists from Jalisco 5432:Alfredo Serrano Lara 5417:Sergio Sánchez Ramos 5382:José Luis Rueda Leal 5357:José Julio Rodríguez 5327:Elvia Rivero Chavero 5302:Jesús Reyes Ferreira 5257:Abel Ramírez Águilar 5202:Luz María Pizá Núñez 5127:Carlos Orozco Romero 5007:Vicente Jesús Montes 4917:Deyanira África Melo 4697:Carlos Lamothe Silva 4602:Elena Huerta Muzquiz 4462:Mauricio García Vega 4422:Arturo García Campos 4417:Arturo García Bustos 4272:Francisco Dosamantes 4217:Chungtar Chong López 4132:Erasto Cortés Juárez 4067:Antonio Castro López 3972:Gloria Calero Sierra 3747:Manuel Álvarez Bravo 3717:Rosa María Alfonseca 3573:ccp.uair.arizona.edu 2524:"Lola Álvarez Bravo" 2454:Oses, Lucas (2017). 888:Recuento fotográfico 682:participants in the 520:Recuento fotográfico 480:Museum of Modern Art 404:archaeological sites 255:José Clemente Orozco 202:Manuel Álvarez Bravo 147:Manuel Álvarez Bravo 132:Museum of Modern Art 100:Manuel Álvarez Bravo 5585:Nancy van Overveldt 5550:Guillermo Toussaint 5402:Juan Manuel Salazar 5282:Mario Rendón Lozano 5237:Francisco Quintanar 5132:Mario Orozco Rivera 4492:Melquiades González 4457:Antonio García Vega 4452:Luis García Robledo 4287:Evangelina Elizondo 4257:María Elena Delgado 4247:Antonio Díaz Cortés 4202:Tomas Chávez Morado 4157:José Víctor Crowley 4092:Guillermo Ceniceros 4062:Guillermo Castrejón 3947:Alejandro Caballero 3942:Bruno Pablo Bresani 3737:Jesús Álvarez Amaya 3575:. Tucson, Arizona: 3527:on 11 February 2017 3521:Aperture Foundation 3471:on 27 November 2018 3447:on 12 February 2018 3114:on 30 November 2018 3064:Aperture Foundation 2958:on 25 November 2018 2947:. Tucson, Arizona: 2815:Revista Cuartoscuro 2721:, pp. 212–213. 2355:, pp. 184–185. 2343:, pp. 164–165. 812:Entierro de Yalalag 724:Rosario Castellanos 702:, María Izquierdo, 635:Entierro de Yalalag 287:Julio Antonio Mella 120:Mexican renaissance 37:Self-portrait, 1950 5650:Moisés Zabludovsky 5620:Alfonso Villanueva 5605:Reynaldo Velázquez 5530:Maria Teresa Toral 5460:Waldemar Sjölander 5332:Gilberto Rodríguez 5047:Eduardo Nasta Luna 4992:Roberto Montenegro 4817:Maria Luisa Martin 4797:Francisco Magallán 4752:Rosa Lie Johansson 4702:Carmen Lang Merino 4522:Alfredo Guati Rojo 4497:Silvia H. González 4437:José García Narezo 4427:Héctor García Cobo 4392:José Gama González 4317:Enrique Echeverría 4277:Guillermina Dulché 4232:Alberto de la Vega 4197:José Chávez Morado 4167:Marco Antonio Cruz 4022:Leonora Carrington 3937:Enrique Bostelmann 3742:Lola Álvarez Bravo 3135:The New York Times 3060:Lola Alvarez Bravo 2530:. 15 November 2019 2248:has generic name ( 1751:, pp. 23, 25. 1586:, pp. 11, 18. 1131:La Mujer en México 1096:1987–1988 (Group) 1081:Guanajuato, Mexico 1030:Lola Álvarez Bravo 752:Mexican Revolution 740:street photography 643: 584:, a specialist in 542:, New Mexico, and 527:Colonia Tabacalera 332:in 1935, near the 134:in New York City. 108:Lola Álvarez Bravo 25:Lola Álvarez Bravo 5703: 5702: 5645:Mariana Yampolsky 5480:Hermenegildo Sosa 5352:Ignacio Rodríguez 5227:Alejandro Quijano 5177:Héctor Pérez Cruz 4502:Gregorio González 4227:Myriam de la Riva 4082:Elizabeth Catlett 4057:Carmen Castilleja 4052:Fidencio Castillo 4012:Angélica Carrasco 3912:Ignacio M. Beteta 3712:Ernesto Alcántara 3424:978-0-8263-4660-5 3384:978-1-884446-05-4 3289:978-1-55862-470-2 3094:978-0-747-56683-0 3073:978-1-931788-94-6 3050:978-607-605-255-6 2928:978-0-313-31544-2 2898:on 16 August 2017 2855:978-84-9012-918-0 2604:, pp. 22–23. 2415:, pp. 31–34. 1957:, pp. 39–65. 1889:Hope College 2012 1539:, pp. 22–23. 1032:, Osuna Gallery, 981:Mexico: Art Today 931:978-0-963-10090-0 878:978-9-681-61251-1 728:Elena Poniatowska 647:color photography 639:The Family of Man 590:Wellesley College 484:The Family of Man 471:Isabel Villaseñor 465:with the exhibit 281:sold Álvarez her 105: 104: 63:, Jalisco, Mexico 5763: 5685:Francisco Zúñiga 5615:Fernando Vilchis 5595:Zalathiel Vargas 5535:Ángeles Torrejón 5287:María Luisa Reid 5267:Everardo Ramírez 5242:Adolfo Quinteros 5212:Enrique Pontones 5207:Salvador Pizarro 5147:Fernando Pacheco 5067:Leonardo Nierman 5022:Alejandro Moreno 5017:Virginia Morales 4957:Benito Messeguer 4812:Salvador Manzano 4747:Alfredo León Gil 4712:Gerardo Lartigue 4652:Heriberto Juárez 4542:Lorenzo Guerrero 4512:Ignacio Granados 4402:José Julio Gaona 4352:Pedro Friedeberg 4297:Augusto Escobedo 4242:Javier del Cueto 4137:Francisco Corzas 3987:Federico Canessi 3907:Roberto Berdecio 3842:Octavio Bajonero 3837:Ignacio Asúnsolo 3792:Gabriela Arévalo 3660: 3653: 3646: 3637: 3636: 3612: 3610: 3608: 3592: 3590: 3588: 3583:on 26 March 2012 3564: 3562: 3560: 3536: 3534: 3532: 3508: 3506: 3504: 3480: 3478: 3476: 3456: 3454: 3452: 3437:faculty.hope.edu 3428: 3403: 3395: 3393: 3391: 3363:Grove Art Online 3353: 3333: 3322: 3293: 3270: 3268: 3266: 3260: 3249: 3238: 3217: 3197: 3186: 3176: 3151: 3149: 3147: 3142:on 22 March 2015 3123: 3121: 3119: 3110:. 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Zenil 5677: 5672: 5670:Álvaro Zardoni 5667: 5665:Beatriz Zamora 5662: 5657: 5652: 5647: 5642: 5637: 5632: 5627: 5622: 5617: 5612: 5607: 5602: 5597: 5592: 5590:Aniceto Vargas 5587: 5582: 5580:Ángel Vallarta 5577: 5572: 5567: 5562: 5557: 5552: 5547: 5542: 5540:Gerardo Torres 5537: 5532: 5527: 5522: 5517: 5512: 5507: 5502: 5497: 5492: 5487: 5482: 5477: 5472: 5467: 5462: 5457: 5452: 5449: 5444: 5442:Naomi Siegmann 5439: 5437:Victor Scareño 5434: 5429: 5424: 5419: 5414: 5412:Carlos Sánchez 5409: 5404: 5399: 5394: 5389: 5384: 5379: 5374: 5369: 5364: 5359: 5354: 5349: 5344: 5339: 5334: 5329: 5324: 5319: 5314: 5309: 5304: 5299: 5294: 5289: 5284: 5279: 5274: 5269: 5264: 5259: 5254: 5249: 5244: 5239: 5234: 5229: 5224: 5219: 5214: 5209: 5204: 5199: 5197:Ángel Pichardo 5194: 5192:Feliciano Peña 5189: 5184: 5182:Antonio Peláez 5179: 5174: 5169: 5164: 5159: 5154: 5152:Javier Padilla 5149: 5144: 5139: 5134: 5129: 5124: 5119: 5114: 5112:Armando Ortega 5109: 5107:Carlos Olachea 5104: 5099: 5094: 5089: 5087:Isidoro Ocampo 5084: 5082:Luis Nishizawa 5079: 5074: 5069: 5064: 5059: 5054: 5049: 5044: 5039: 5034: 5032:Nicolás Moreno 5029: 5024: 5019: 5014: 5012:Aliria Morales 5009: 5004: 5002:Francisco Mora 4999: 4994: 4989: 4984: 4982:Raúl Monje Poo 4979: 4974: 4972:Alfonso Michel 4969: 4967:Guillermo Meza 4964: 4959: 4954: 4949: 4944: 4939: 4934: 4929: 4924: 4922:Eliana Menassé 4919: 4914: 4909: 4904: 4899: 4897:Arturo Mecalco 4894: 4889: 4884: 4879: 4874: 4869: 4864: 4862:Jesús Martínez 4859: 4854: 4849: 4844: 4839: 4834: 4829: 4827:Arturo Márquez 4824: 4819: 4814: 4809: 4804: 4799: 4794: 4789: 4787:Maridel Macluf 4784: 4779: 4774: 4769: 4764: 4759: 4754: 4749: 4744: 4739: 4734: 4729: 4724: 4719: 4714: 4709: 4704: 4699: 4694: 4689: 4684: 4682:Macrina Krauss 4679: 4674: 4669: 4664: 4659: 4654: 4649: 4644: 4639: 4634: 4632:Carlos Jaurena 4629: 4624: 4619: 4617:Xavier Iñiguez 4614: 4609: 4604: 4599: 4594: 4589: 4584: 4579: 4574: 4569: 4564: 4559: 4557:Luis Gutiérrez 4554: 4549: 4544: 4539: 4534: 4529: 4524: 4519: 4514: 4509: 4504: 4499: 4494: 4489: 4484: 4479: 4474: 4469: 4464: 4459: 4454: 4449: 4444: 4439: 4434: 4429: 4424: 4419: 4414: 4409: 4404: 4399: 4397:Vicente Gandía 4394: 4389: 4387:Mario Gallardo 4384: 4382:Jesús Gallardo 4379: 4374: 4369: 4364: 4359: 4354: 4349: 4344: 4339: 4334: 4329: 4324: 4319: 4314: 4312:Manuel Echauri 4309: 4307:Arturo Estrada 4304: 4302:Jesús Escobedo 4299: 4294: 4289: 4284: 4282:Armando Eguiza 4279: 4274: 4269: 4264: 4259: 4254: 4249: 4244: 4239: 4234: 4229: 4224: 4219: 4214: 4209: 4204: 4199: 4194: 4189: 4184: 4179: 4174: 4169: 4164: 4159: 4154: 4152:Christa Cowrie 4149: 4144: 4139: 4134: 4129: 4124: 4119: 4117:Flaviano Coral 4114: 4109: 4104: 4099: 4094: 4089: 4084: 4079: 4074: 4069: 4064: 4059: 4054: 4049: 4044: 4039: 4034: 4029: 4024: 4019: 4014: 4009: 4004: 3999: 3994: 3992:Federico Cantú 3989: 3984: 3979: 3974: 3969: 3967:Celia Calderón 3964: 3959: 3954: 3949: 3944: 3939: 3934: 3929: 3924: 3919: 3914: 3909: 3904: 3899: 3894: 3889: 3884: 3879: 3874: 3869: 3864: 3859: 3854: 3849: 3847:Santos Balmori 3844: 3839: 3834: 3829: 3824: 3819: 3817:Abelardo Ávila 3814: 3809: 3804: 3802:Rolando Arjona 3799: 3797:Javier Arévalo 3794: 3789: 3784: 3782:Luis Y. Aragón 3779: 3777:Chappie Angulo 3774: 3769: 3764: 3759: 3754: 3749: 3744: 3739: 3734: 3729: 3724: 3719: 3714: 3709: 3707:Lourdes Alaniz 3704: 3699: 3694: 3689: 3684: 3678: 3676: 3672: 3671: 3663: 3662: 3655: 3648: 3640: 3634: 3633: 3627: 3619: 3618:External links 3616: 3614: 3613: 3593: 3565: 3555:on 2 June 2012 3537: 3509: 3481: 3457: 3429: 3423: 3404: 3400:'s Art Online 3383: 3354: 3348: 3323: 3294: 3288: 3271: 3252:Revista Códice 3239: 3233: 3218: 3212: 3187: 3152: 3124: 3099: 3093: 3078: 3072: 3055: 3049: 3032: 3003: 2997: 2982: 2933: 2927: 2908: 2875:(in Spanish). 2860: 2854: 2839: 2805: 2803: 2800: 2797: 2796: 2784: 2759: 2757:, p. 213. 2747: 2745:, p. 326. 2735: 2723: 2711: 2699: 2684: 2672: 2660: 2645: 2633: 2621: 2606: 2594: 2577: 2565: 2553: 2551:, p. 343. 2541: 2515: 2492: 2477: 2441: 2439:, p. 187. 2429: 2427:, p. 170. 2417: 2405: 2403:, p. 161. 2393: 2381: 2379:, p. 177. 2369: 2367:, p. 186. 2357: 2345: 2330: 2316: 2304: 2292: 2280: 2268:www.google.com 2255: 2223:Observer Voice 2209: 2190: 2175: 2163: 2144: 2129: 2117: 2102: 2090: 2073: 2058: 2043: 2026: 2014: 2012:, p. 185. 1997: 1985: 1971: 1959: 1947: 1935: 1920: 1908: 1893: 1874: 1801: 1780: 1768: 1753: 1741: 1739:, p. 163. 1729: 1727:, p. 174. 1714: 1712:, p. 162. 1699: 1697:, p. 157. 1687: 1675: 1673:, p. 156. 1660: 1645: 1630: 1611: 1588: 1576: 1541: 1518: 1503: 1482: 1478:Whitelegg 2006 1433: 1421: 1406: 1394: 1375: 1373:, p. 162. 1363: 1332: 1316: 1315: 1313: 1310: 1308: 1305: 1302: 1301: 1292: 1278: 1268: 1267: 1265: 1262: 1260: 1259: 1244: 1230: 1215: 1204: 1193: 1182: 1171: 1164: 1149: 1138: 1127: 1109: 1094: 1083: 1069: 1058: 1051: 1036: 1026: 1019: 1012: 1005: 998: 991: 979:1943 (Group) 977: 966: 955: 953: 950: 949: 948: 941: 938: 937: 936: 930: 917: 900: 883: 877: 864: 847: 833:(in Spanish). 824: 821: 801:The Two Fridas 692:Lilia Carrillo 626: 625:Selected works 623: 607:Alfonso Michel 586:Latin American 556: 553: 502: 499: 398:(UNAM) in the 325: 322: 246: 243: 185: 182: 103: 102: 97: 93: 92: 89: 88:Known for 85: 84: 78: 76:(aged 90) 70: 66: 65: 59: 46: 44: 40: 39: 36: 28: 27: 24: 15: 9: 6: 4: 3: 2: 5768: 5757: 5754: 5752: 5749: 5747: 5744: 5742: 5739: 5737: 5734: 5732: 5729: 5727: 5724: 5722: 5719: 5717: 5714: 5713: 5711: 5696: 5693: 5691: 5688: 5686: 5683: 5681: 5678: 5676: 5673: 5671: 5668: 5666: 5663: 5661: 5658: 5656: 5655:Alfredo Zalce 5653: 5651: 5648: 5646: 5643: 5641: 5640:Héctor Xavier 5638: 5636: 5635:Barry Wolfrid 5633: 5631: 5628: 5626: 5623: 5621: 5618: 5616: 5613: 5611: 5608: 5606: 5603: 5601: 5598: 5596: 5593: 5591: 5588: 5586: 5583: 5581: 5578: 5576: 5573: 5571: 5568: 5566: 5563: 5561: 5558: 5556: 5555:Paulina Trejo 5553: 5551: 5548: 5546: 5543: 5541: 5538: 5536: 5533: 5531: 5528: 5526: 5525:Elena Tolmacs 5523: 5521: 5518: 5516: 5515:Silvia Tinoco 5513: 5511: 5508: 5506: 5503: 5501: 5500:Rufino Tamayo 5498: 5496: 5493: 5491: 5490:Valetta Swann 5488: 5486: 5483: 5481: 5478: 5476: 5473: 5471: 5470:Elena Somonte 5468: 5466: 5463: 5461: 5458: 5456: 5453: 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4393: 4390: 4388: 4385: 4383: 4380: 4378: 4375: 4373: 4370: 4368: 4365: 4363: 4362:Mario Fuentes 4360: 4358: 4355: 4353: 4350: 4348: 4345: 4343: 4340: 4338: 4335: 4333: 4330: 4328: 4325: 4323: 4320: 4318: 4315: 4313: 4310: 4308: 4305: 4303: 4300: 4298: 4295: 4293: 4290: 4288: 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4267:Roberto Donis 4265: 4263: 4260: 4258: 4255: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4235: 4233: 4230: 4228: 4225: 4223: 4220: 4218: 4215: 4213: 4210: 4208: 4205: 4203: 4200: 4198: 4195: 4193: 4190: 4188: 4185: 4183: 4180: 4178: 4175: 4173: 4172:Dolores Cueto 4170: 4168: 4165: 4163: 4160: 4158: 4155: 4153: 4150: 4148: 4147:Hugo Covantes 4145: 4143: 4140: 4138: 4135: 4133: 4130: 4128: 4127:Álvaro Cortés 4125: 4123: 4122:Pedro Coronel 4120: 4118: 4115: 4113: 4112:Vladimir Cora 4110: 4108: 4105: 4103: 4100: 4098: 4095: 4093: 4090: 4088: 4085: 4083: 4080: 4078: 4075: 4073: 4070: 4068: 4065: 4063: 4060: 4058: 4055: 4053: 4050: 4048: 4047:Rosa Castillo 4045: 4043: 4040: 4038: 4035: 4033: 4030: 4028: 4027:Jorja Carreño 4025: 4023: 4020: 4018: 4015: 4013: 4010: 4008: 4005: 4003: 4000: 3998: 3997:Gerardo Cantú 3995: 3993: 3990: 3988: 3985: 3983: 3980: 3978: 3977:Susana Campos 3975: 3973: 3970: 3968: 3965: 3963: 3960: 3958: 3957:Geles Cabrera 3955: 3953: 3950: 3948: 3945: 3943: 3940: 3938: 3935: 3933: 3932:Ángel Boliver 3930: 3928: 3925: 3923: 3920: 3918: 3917:Helen Bickham 3915: 3913: 3910: 3908: 3905: 3903: 3900: 3898: 3897:Félix Beltrán 3895: 3893: 3890: 3888: 3885: 3883: 3882:Valerio Bello 3880: 3878: 3877:Arnold Belkin 3875: 3873: 3870: 3868: 3865: 3863: 3860: 3858: 3855: 3853: 3850: 3848: 3845: 3843: 3840: 3838: 3835: 3833: 3830: 3828: 3827:Alfonso Ayala 3825: 3823: 3820: 3818: 3815: 3813: 3810: 3808: 3805: 3803: 3800: 3798: 3795: 3793: 3790: 3788: 3785: 3783: 3780: 3778: 3775: 3773: 3772:Anibal Angulo 3770: 3768: 3767:Raúl Anguiano 3765: 3763: 3760: 3758: 3755: 3753: 3750: 3748: 3745: 3743: 3740: 3738: 3735: 3733: 3730: 3728: 3725: 3723: 3720: 3718: 3715: 3713: 3710: 3708: 3705: 3703: 3700: 3698: 3695: 3693: 3692:Aurea Aguilar 3690: 3688: 3685: 3683: 3680: 3679: 3677: 3673: 3669: 3661: 3656: 3654: 3649: 3647: 3642: 3641: 3638: 3631: 3628: 3625: 3622: 3621: 3602: 3598: 3594: 3582: 3578: 3574: 3570: 3566: 3554: 3550: 3546: 3542: 3538: 3526: 3522: 3518: 3514: 3510: 3498: 3494: 3490: 3486: 3482: 3470: 3466: 3462: 3458: 3446: 3442: 3438: 3434: 3430: 3426: 3420: 3416: 3412: 3411: 3405: 3399: 3386: 3380: 3376: 3372: 3368: 3364: 3360: 3355: 3351: 3349:0-8234-1498-1 3345: 3341: 3337: 3336:Holiday House 3332: 3331: 3324: 3320: 3316: 3312: 3308: 3304: 3300: 3295: 3291: 3285: 3281: 3277: 3272: 3257: 3253: 3245: 3240: 3236: 3234:0-313-28934-4 3230: 3226: 3225: 3219: 3215: 3213:0-8103-8484-1 3209: 3205: 3201: 3200:Gale Research 3196: 3195: 3188: 3184: 3180: 3175: 3170: 3166: 3162: 3158: 3153: 3141: 3137: 3136: 3130: 3125: 3113: 3109: 3105: 3100: 3096: 3090: 3086: 3085: 3079: 3075: 3069: 3065: 3061: 3056: 3052: 3046: 3042: 3038: 3033: 3021: 3017: 3013: 3009: 3004: 3000: 2998:0-938262-24-6 2994: 2990: 2989: 2983: 2979: 2973: 2954: 2950: 2946: 2939: 2934: 2930: 2924: 2920: 2916: 2915: 2909: 2894: 2890: 2886: 2882: 2878: 2874: 2866: 2861: 2857: 2851: 2847: 2846: 2840: 2828: 2824: 2820: 2816: 2812: 2807: 2806: 2794:, p. 95. 2793: 2788: 2773: 2769: 2768:"Artist Info" 2763: 2756: 2751: 2744: 2739: 2733:, p. 15. 2732: 2727: 2720: 2715: 2709:, p. 96. 2708: 2703: 2697:, p. 49. 2696: 2691: 2689: 2682:, p. 62. 2681: 2680:Grimberg 1991 2676: 2670:, p. 25. 2669: 2664: 2658:, p. 60. 2657: 2656:Grimberg 1991 2652: 2650: 2643:, p. 22. 2642: 2641:Grimberg 1991 2637: 2631:, p. 23. 2630: 2625: 2619:, p. 39. 2618: 2613: 2611: 2603: 2598: 2591: 2590:Grimberg 1991 2586: 2584: 2582: 2575:, p. 18. 2574: 2569: 2562: 2557: 2550: 2545: 2529: 2525: 2519: 2511: 2507: 2503: 2496: 2488: 2481: 2473: 2469: 2465: 2461: 2457: 2450: 2448: 2446: 2438: 2433: 2426: 2421: 2414: 2409: 2402: 2397: 2391:, p. 59. 2390: 2385: 2378: 2373: 2366: 2361: 2354: 2349: 2342: 2337: 2335: 2327:. p. 73. 2326: 2320: 2314:, p. 23. 2313: 2308: 2302:, p. 27. 2301: 2296: 2290:, p. 21. 2289: 2284: 2269: 2265: 2259: 2251: 2239: 2224: 2220: 2213: 2206: 2201: 2199: 2197: 2195: 2188:, p. 11. 2187: 2182: 2180: 2172: 2167: 2160: 2159:Gonzalez 2013 2155: 2153: 2151: 2149: 2141: 2136: 2134: 2126: 2125:Debroise 1994 2121: 2115:, p. 46. 2114: 2109: 2107: 2100:, p. 31. 2099: 2094: 2087: 2082: 2080: 2078: 2071:, p. 52. 2070: 2065: 2063: 2055: 2050: 2048: 2041:, p. 29. 2040: 2035: 2033: 2031: 2024:, p. 50. 2023: 2018: 2011: 2006: 2004: 2002: 1995:, p. 20. 1994: 1989: 1982:. p. 75. 1981: 1975: 1969:, p. 21. 1968: 1963: 1956: 1951: 1944: 1939: 1933:, p. 36. 1932: 1927: 1925: 1918:, p. 17. 1917: 1912: 1906:, p. 14. 1905: 1900: 1898: 1890: 1885: 1883: 1881: 1879: 1871: 1866: 1864: 1862: 1860: 1858: 1856: 1854: 1852: 1850: 1848: 1846: 1844: 1842: 1840: 1838: 1836: 1834: 1832: 1830: 1828: 1826: 1824: 1822: 1820: 1818: 1816: 1814: 1812: 1810: 1808: 1806: 1799:, p. 25. 1798: 1793: 1791: 1789: 1787: 1785: 1778:, p. 22. 1777: 1772: 1766:, p. 34. 1765: 1760: 1758: 1750: 1745: 1738: 1733: 1726: 1721: 1719: 1711: 1706: 1704: 1696: 1691: 1685:, p. 17. 1684: 1679: 1672: 1667: 1665: 1657: 1652: 1650: 1642: 1641:Debroise 1994 1637: 1635: 1627: 1622: 1620: 1618: 1616: 1609:, p. 33. 1608: 1603: 1601: 1599: 1597: 1595: 1593: 1585: 1580: 1574:, p. 29. 1573: 1568: 1566: 1564: 1562: 1560: 1558: 1556: 1554: 1552: 1550: 1548: 1546: 1538: 1533: 1531: 1529: 1527: 1525: 1523: 1516:, p. 32. 1515: 1510: 1508: 1501:, p. 43. 1500: 1495: 1493: 1491: 1489: 1487: 1479: 1474: 1472: 1470: 1468: 1466: 1464: 1462: 1460: 1458: 1456: 1454: 1452: 1450: 1448: 1446: 1444: 1442: 1440: 1438: 1430: 1425: 1418: 1417:Debroise 1994 1413: 1411: 1403: 1398: 1391: 1386: 1384: 1382: 1380: 1372: 1367: 1360: 1355: 1353: 1351: 1349: 1347: 1345: 1343: 1341: 1339: 1337: 1329: 1324: 1322: 1317: 1296: 1289: 1282: 1273: 1269: 1257: 1253: 1249: 1245: 1243: 1239: 1235: 1231: 1228: 1224: 1220: 1216: 1213: 1209: 1205: 1202: 1198: 1194: 1192:, Mexico City 1191: 1187: 1183: 1180: 1176: 1172: 1169: 1165: 1162: 1158: 1154: 1150: 1147: 1143: 1139: 1137:, Mexico City 1136: 1132: 1129:1990 (Group) 1128: 1126:, Mexico City 1123: 1118: 1114: 1110: 1108:, Switzerland 1107: 1103: 1099: 1095: 1092: 1088: 1085:1985 (Solo) 1084: 1082: 1078: 1074: 1070: 1068:, Mexico City 1067: 1063: 1060:1983 (Group) 1059: 1056: 1052: 1049: 1045: 1041: 1037: 1035: 1031: 1027: 1024: 1021:1979 (Solo) 1020: 1017: 1014:1977 (Group) 1013: 1010: 1006: 1003: 999: 996: 992: 990: 986: 982: 978: 976:, Mexico City 975: 971: 968:1940 (Group) 967: 965: 961: 958:1935 (Group) 957: 956: 947: 944: 943: 933: 927: 923: 918: 914: 910: 906: 901: 897: 893: 889: 884: 880: 874: 870: 865: 861: 857: 853: 848: 844: 840: 836: 832: 827: 826: 820: 817: 816:Zapotec women 813: 808: 806: 802: 798: 794: 788: 786: 781: 778: 777:La Visitacion 773: 772:La Visitacion 768: 766: 762: 758: 753: 749: 744: 741: 737: 733: 732:Maudelle Bass 729: 725: 721: 717: 716:Anita Brenner 713: 709: 705: 701: 697: 693: 689: 685: 681: 675: 672: 668: 663: 661: 656: 652: 648: 640: 636: 631: 622: 619: 617: 613: 608: 604: 603: 597: 595: 591: 587: 583: 578: 574: 570: 566: 563:(CCP) at the 562: 552: 549: 545: 541: 537: 532: 528: 523: 521: 517: 513: 509: 498: 496: 492: 487: 485: 481: 476: 472: 468: 464: 460: 455: 451: 447: 442: 438: 436: 432: 428: 424: 420: 416: 411: 409: 405: 401: 397: 392: 390: 386: 382: 378: 374: 370: 367: 363: 359: 355: 354: 349: 348: 343: 339: 335: 331: 321: 319: 315: 311: 307: 303: 299: 298:La Visitación 295: 290: 288: 284: 280: 276: 272: 268: 264: 263:Rufino Tamayo 260: 256: 252: 242: 239: 235: 231: 227: 222: 219: 215: 211: 205: 203: 199: 195: 191: 181: 179: 175: 171: 166: 164: 160: 155: 150: 148: 144: 140: 135: 133: 129: 125: 121: 117: 113: 109: 101: 98: 94: 90: 86: 81: 71: 67: 62: 45: 41: 34: 29: 22: 19: 5695:Celso Zubire 5675:Gerardo Zarr 5570:Luis Valsoto 5485:Rosendo Soto 5475:Juan Soriano 5397:Froylan Ruiz 5387:José L. Ruíz 5372:Rosa Rolanda 5322:Diego Rivera 5162:Uriel Parker 5052:Antonio Nava 4947:Oscar Merino 4887:John Mc.Ghee 4882:Rafael Mazón 4722:Agustín Lazo 4637:Abel Jiménez 4472:Andrea Gómez 4412:María García 4407:Andrés Garay 4377:Byron Galvez 4342:David Flores 4292:Laura Elenes 4177:Germán Cueto 4107:Arnaldo Coen 4032:Beatriz Caso 3922:Ángel Bracho 3902:Luis Beltrán 3832:Héctor Ayala 3757:Jorge Alzaga 3741: 3605:. Retrieved 3601:FamilySearch 3600: 3585:. Retrieved 3581:the original 3572: 3557:. Retrieved 3553:the original 3544: 3529:. Retrieved 3525:the original 3517:aperture.org 3516: 3501:. Retrieved 3488: 3473:. Retrieved 3469:the original 3464: 3449:. Retrieved 3445:the original 3441:Hope College 3436: 3409: 3388:. Retrieved 3362: 3329: 3305:(1): 39–65. 3302: 3298: 3275: 3263:. Retrieved 3251: 3223: 3193: 3160: 3144:. Retrieved 3140:the original 3132: 3116:. Retrieved 3112:the original 3083: 3059: 3040: 3036: 3024:. Retrieved 3011: 2987: 2960:. Retrieved 2953:the original 2944: 2913: 2900:. Retrieved 2893:the original 2876: 2872: 2844: 2831:. Retrieved 2814: 2802:Bibliography 2787: 2775:. Retrieved 2771: 2762: 2750: 2738: 2726: 2714: 2702: 2675: 2663: 2636: 2624: 2597: 2592:, p. 7. 2568: 2556: 2544: 2532:. Retrieved 2527: 2518: 2509: 2505: 2495: 2486: 2480: 2463: 2459: 2432: 2420: 2408: 2396: 2384: 2372: 2360: 2348: 2324: 2319: 2307: 2295: 2283: 2271:. Retrieved 2267: 2258: 2226:. Retrieved 2222: 2212: 2166: 2127:, p. 4. 2120: 2093: 2088:, p. 3. 2017: 1988: 1979: 1974: 1962: 1950: 1945:, p. 2. 1938: 1911: 1771: 1744: 1732: 1690: 1678: 1658:, p. 7. 1643:, p. 2. 1579: 1572:Maynard 1996 1424: 1419:, p. 5. 1397: 1392:, p. 6. 1366: 1361:, p. 1. 1330:, p. 2. 1295: 1281: 1272: 1247: 1233: 1227:Buenos Aires 1218: 1207: 1196: 1185: 1184:1992 (Solo) 1174: 1173:1992 (Solo) 1167: 1166:1991 (Solo) 1152: 1141: 1140:1991 (Solo) 1130: 1113:Reencuentros 1112: 1111:1989 (Solo) 1097: 1086: 1072: 1071:1984 (Solo) 1061: 1054: 1053:1982 (Solo) 1039: 1038:1982 (Solo) 1029: 1028:1982 (Solo) 1022: 1015: 1008: 1007:1965 (Solo) 1001: 1000:1953 (Solo) 994: 993:1944 (Solo) 980: 969: 959: 921: 904: 887: 868: 851: 834: 830: 823:Publications 811: 809: 804: 800: 796: 792: 789: 784: 782: 776: 771: 769: 760: 756: 745: 676: 658: 644: 638: 634: 620: 600: 598: 593: 572: 558: 524: 519: 515: 511: 504: 494: 490: 488: 483: 474: 466: 458: 453: 449: 443: 439: 434: 430: 426: 423:urbanization 419:photomontage 414: 412: 393: 388: 384: 357: 351: 345: 341: 337: 327: 318:Emilio Amero 297: 291: 279:Tina Modotti 259:Diego Rivera 248: 234:develop film 223: 206: 187: 173: 169: 167: 151: 136: 123: 116:photographer 107: 106: 74:(1993-07-31) 72:31 July 1993 57:3 April 1903 18: 5721:1993 deaths 5716:1903 births 5690:José Zúñiga 5625:Luis Vizuet 5545:Jorge Tovar 5520:Luis Toledo 5307:Mario Reyes 5252:Alice Rahon 5247:Fanny Rabel 5217:Pedro Preux 5172:Tomás Parra 5157:Sandra Pani 4927:Olga Méndez 4907:Jaime Mejía 4837:Mary Martín 4772:Amador Lugo 4767:Nacho López 4762:Julia López 4732:Paula Lazos 4707:Marisa Lara 4687:Pablo Kubli 4672:Frida Kahlo 4627:Tania Janco 4477:Mauro Gómez 4367:Dina Frumin 4337:Luis Filcer 4212:Julio Chico 4162:Héctor Cruz 4077:Vita Castro 3927:Adrian Brun 3867:Sofía Bassi 3852:Pedro Banda 3807:Luis Arenal 3687:Luis Acosta 3607:25 November 3587:28 November 3559:11 February 3531:27 November 3475:27 November 3451:28 November 3390:11 February 3338:. pp. 3265:25 November 3202:. pp. 3167:: 333–352. 3146:29 November 3118:30 November 3026:25 November 2962:25 November 2902:26 November 2883:: 148–190. 2792:Puerto 1996 2772:www.nga.gov 2707:Puerto 1996 2695:Ferrer 2006 2466:: 333–352. 2389:Ferrer 2006 2246:|last= 2171:Gigena 2017 2113:Ferrer 2006 2069:Ferrer 2006 2054:Acosta 2011 2022:Ferrer 2006 1993:Ferrer 2006 1967:Ferrer 2006 1916:Ferrer 2006 1904:Ferrer 2006 1656:Ferrer 2006 1499:Ferrer 2006 1402:Dueñas 2016 1390:Ferrer 2006 1371:Ferrer 2006 1229:, Argentina 1120: [ 964:Guadalajara 952:Exhibitions 940:Collections 736:Julia López 704:Alice Rahon 680:avant-garde 667:chiaroscuro 540:Albuquerque 373:Guadalajara 294:Paul Strand 275:composition 218:Frida Kahlo 198:Mexico City 143:Frida Kahlo 91:Photography 80:Mexico City 5710:Categories 4977:Flor Minor 4667:Jazzamoart 4517:Irma Grizá 4467:Elva Garma 4262:Olga Dondé 4142:Olga Costa 3762:Pablo Amor 2833:2 December 2731:Riggs 2002 2668:Hooks 2002 2629:Hooks 2002 2617:Sills 2000 2602:Hooks 2002 2573:Hooks 2002 2472:1973902677 2413:Sills 2000 2098:Sills 2000 1955:Segre 2005 1931:Sills 2000 1776:Hooks 2002 1764:Sills 2000 1607:Sills 2000 1584:Hooks 2002 1514:Sills 2000 1307:References 1256:Manchester 1175:Frida-Lola 748:humanistic 696:Olga Costa 671:still life 582:James Oles 366:Surrealist 216:, meeting 53:1903-04-03 5427:Sebastián 4727:Rina Lazo 4677:James Key 3319:191603523 3183:1130-4715 3108:La Nación 2889:1405-9436 2823:1405-7913 1312:Citations 913:657939711 896:651487174 843:436876643 712:Pita Amor 602:Excélsior 3545:nmwa.org 3497:Archived 3495:. 2018. 3489:nmwa.org 3256:Archived 3020:Archived 2972:cite web 2827:Archived 2777:20 March 2468:ProQuest 2238:cite web 1214:, London 1181:, México 1106:Lausanne 1093:, Mexico 1050:, Mexico 860:19461363 655:Papantla 612:fine art 508:darkroom 369:collages 271:printing 82:, Mexico 5447:Sikuame 3675:Artists 3012:imer.mx 2534:9 April 2273:2 April 2228:2 April 1163:, Texas 1091:Tijuana 473:in the 454:Palacio 342:Espacio 283:Graflex 194:Jalisco 174:Galeria 114:female 112:Mexican 5057:Nefero 3503:9 June 3421: 3381: 3346: 3317: 3286: 3231: 3210: 3181: 3133:Lens, 3091: 3070: 3047: 2995: 2925: 2887: 2852: 2821: 2470: 1179:Oaxaca 1161:Dallas 928: 911: 894: 875: 858: 841: 726:, and 718:, and 706:, and 651:candid 536:Dallas 356:, and 347:Futuro 338:Avance 261:, and 226:Oaxaca 96:Spouse 5630:Vlady 3342:-39. 3315:S2CID 3259:(PDF) 3248:(PDF) 3206:-30. 3039:[ 2956:(PDF) 2941:(PDF) 2896:(PDF) 2869:(PDF) 1264:Notes 1124:] 4802:Maka 3609:2018 3589:2018 3561:2014 3533:2018 3505:2020 3477:2018 3453:2018 3419:ISBN 3392:2014 3379:ISBN 3344:ISBN 3284:ISBN 3267:2018 3229:ISBN 3208:ISBN 3179:ISSN 3148:2018 3120:2018 3089:ISBN 3068:ISBN 3045:ISBN 3028:2018 2993:ISBN 2978:link 2964:2018 2923:ISBN 2904:2018 2885:ISSN 2850:ISBN 2835:2018 2819:ISSN 2779:2024 2536:2021 2275:2023 2250:help 2230:2023 1258:, UK 926:ISBN 909:OCLC 892:OCLC 873:ISBN 856:OCLC 839:OCLC 795:and 546:The 269:and 69:Died 43:Born 3371:doi 3307:doi 3169:doi 765:gay 567:in 482:'s 358:Voz 353:Vea 5712:: 3599:. 3571:. 3543:. 3515:. 3487:. 3463:. 3435:. 3417:. 3377:. 3369:. 3365:. 3361:. 3340:31 3313:. 3301:. 3250:. 3204:28 3177:. 3131:. 3066:. 3018:. 2974:}} 2970:{{ 2943:. 2871:. 2825:. 2770:. 2687:^ 2648:^ 2609:^ 2580:^ 2526:. 2508:. 2504:. 2462:. 2458:. 2444:^ 2333:^ 2266:. 2242:: 2240:}} 2236:{{ 2221:. 2193:^ 2178:^ 2147:^ 2132:^ 2105:^ 2076:^ 2061:^ 2046:^ 2029:^ 2000:^ 1923:^ 1896:^ 1877:^ 1804:^ 1783:^ 1756:^ 1717:^ 1702:^ 1663:^ 1648:^ 1633:^ 1614:^ 1591:^ 1544:^ 1521:^ 1506:^ 1485:^ 1436:^ 1409:^ 1378:^ 1335:^ 1320:^ 1254:, 1250:, 1240:, 1236:, 1225:, 1221:, 1210:, 1199:, 1188:, 1159:, 1155:, 1144:, 1133:, 1122:es 1115:, 1104:, 1100:, 1079:, 1075:, 1064:, 1046:, 1042:, 987:, 983:, 972:, 714:, 698:, 694:, 350:, 344:, 340:, 257:, 253:, 192:, 3659:e 3652:t 3645:v 3611:. 3591:. 3563:. 3535:. 3507:. 3479:. 3455:. 3427:. 3394:. 3373:: 3352:. 3321:. 3309:: 3303:6 3292:. 3269:. 3237:. 3216:. 3185:. 3171:: 3150:. 3122:. 3097:. 3076:. 3053:. 3030:. 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