Brandt, Bill (Continued)
portrait commissions, 161
reality and surrealism, 160
social documentary photographer, 160
social interaction of classes, 160
stylistic grit, 340
subjects, 161
Surrealists and, 160
three-dimensional collages, 161
vision, 161
World War II London at night, 160
Brassaı ̈, 162–166
biography, 164
bracketing of reference to reality, 162, 163
diverse character of social relationships, 162
drawing, 164
fascination with built environment, 163
further reading, 165
graffiti and, 164
group exhibitions, 165
Harper’s Bazaarand, 163
Henri Matisse and, 164
Henry Miller and, 162
Hungarian-French, 162–164
image of rebellious bohemian, 163
individual exhibitions, 164, 165
interest in physical world, 164
journalism career, 163
landscapes of nighttime monuments, 162
magazine assignments, 163
magazines legers, 163
Nazi occupation, 164
nickname, 162
photography as illustration, 163
Picasso and, 163, 164
Proust’s interest in photography and, 164
pursuit of imaginative resemblance, 163
selected works, 165
sources of income, 163
style, 162
The Secret Paris of the 30s, 163
Transmutationsseries, 163
Trente dessins, 164
Bravo, Manuel A ́lvarez, 167–170
acknowledgement of innate capacity, 167
biography, 168
bonsai, 167
esthetic strategy, 167
further reading, 170
group exhibitions, 168–170
individual exhibitions, 168
influence of on Mexican photography, 168
international art forms, 167
interviews with, 170
La mama ́del bolero y el bolero, 168
Mexican revolution, 167
Mexico’s otherness, 167
modest imagery of, 168
politics of, 168
recurrent imagery of maguey cactus, 168
rejection of official nationalism, 168
respect, 167
Sand and Pines, 167
search formexicanidad, 167
selected works, 170
Seþor de Papantla, 167
understated esthetic, 168
Breitenbach, Josef, 170–172
apprenticeship, 170
association with Social Democratic party, 171
biography, 172
bleaching, 171
bureaucratic hurdles, 171
desperation of exile, 170
expatriate list, 171
family business, 170
flight from National Socialism, 172
forfeiture of German citizenship, 171
Fortunemagazine, 172
Free German Art, 171
further reading, 172
German-American, 170–172
group exhibitions, 172
hand-coloring, 171
individual exhibitions, 172
multiple printing solarization, 171
National Socialist government, 171
other Germany, 170, 171
poetic photographs, 170
portraiture, 171
recognition of contribution, 170
refugee artists and, 170
Royal Photographic Society of London, 171
selected works, 172
Social Democratic Association, 170
stage photographer, 171
thorough individual specialist training, 171
Walker Evans and, 172
Brotherhood of the Linked Ring, 87
Brownell, Frank A., 173
Brownie, 173–175
advertisements, 174
aesthetic potential of, 175
amateur snapshot photography, 173
ANSCO, 174
Baby 174
competing line of cameras, 174
cost, 173
description, 174
detective camera, 173
Eastman Company slogan, 173
Eastman Dry Plate, 173
element of everyday, 175
embellishments, 174
emphasis of initial advertisements, 175
first, 174
Frank A. Brownell and, 173
George Eastman and, 173
Jack Welpott’s use of, 1672
Kodak Girls, 174
marketing of camera to children, 173
marketing of camera to women, 174
Minor White’s use of, 1682
No. 1 Scout, 174
original packaging, 174
preloaded Kodak camera, 173
snapshot as subject of scholarly attention, 175
use of by George Tice, 1538
vernacular photography and, 1613
viewfinder, 173, 174INDEXI15