in Lima, Peru ́, and his photos and postcards were
popular at the turn of the century. Rodolfo Torrico
Zamudio (1890–1955) traveled extensively record-
ing portions of Bolivia. He published the ground-
breaking Bolivia Pintoresca (c. 1926), and his
archive has been preserved. Photographers active
in the latter decades of the twentieth century
include Alfonso Gumucio, Jorge Morato, Eric
Bauer, and Manuela Zamora. Major exhibitions
include the work of Rolando Costa Ardu ́z and
German immigrant Arthur Posnansky’s work
from the early 1900s.
Brazil
Marc Ferrez (1843–1923) is among the most nota-
ble of Brazilian photographers, and his career
bridged the nineteenth and twentieth centuries. He
is known for his scenic views, architectural land-
marks, and street scenes. In the early 1900s, Ferrez
embarked on an ambitious project to visually
inventory a number of Brazil’s provinces, and he
also recorded the construction of each building of
Rio’s main avenue. Gilberto Ferrez and Weston
Naef described his images as ‘‘technically perfect
without being arid.’’ In the early part of the twen-
tieth century, photo clubs sponsored exhibits and
their members’ acceptance of the pictorialist aes-
thetic led in the 1930s and 1940s to an increased
acceptance of photography in Brazil’s museums
and galleries. The Photo Club Brazileiro (1923)
organized the first national photography show in
Brazil. Photography journals and periodicals that
used photographs included: Revista da Semana
(1900), Illustracao Brasileira (1901), Kosmos
(1904),Revista Photographica(1909), which was
Brazil’s first photographic journal, the modernist
O Cruzeiro(1928), andManchete(1950s).
Brazil has a significant tradition of photojournal-
ism. Between the 1930s and 1950s,O Cruzeiropub-
lished a visual record of the nation’s sociocultural
upheavals. In the 1950s, Thomaz Frakas photo-
graphed the creation of the city of Brazilia, the
symbol of modern Brazil. Another significant influ-
ence was the Sa ̃o Paulo School, where Geraldo de
Barros (1923–1998) was a major figure. Emphasiz-
ing ‘‘constructionism and asbtractionism,’’ the
school’s modernist approach gained Brazilian pho-
tography its first international recognition. More
recently, Mario Cravo Neto is recognized for
his use of Afro-Brazilian symbols in his syncre-
tistic images.
Sebastia ̃o Salgado has received worldwide recog-
nition for his images of workers and displaced chil-
dren. He once stated that since he comes from the
Third World, it would be ‘‘immoral’’ for him ‘‘to
think of nothing but aesthetics.’’ Women photogra-
phers include Alice Brill, Ana Regina Nogueira, and
Cynthia Brito. In the early 1960s, government cen-
sorship reduced opportunities for photography.
According to photography historian Maria Luiza
Carvalho, it was not until the 1980s that the pho-
tography scene in Brazil experienced a renaissance.
Nucleos de Foto ́grafos in Mina Gerais hosted a
major exhibition of women photographers in 1988.
Photo agencies like F4 and Agil Fotojoralismo were
formed by photographers concerned with social
issues such as indigenous land rights and the plight
of street children. In the 1990s, Nucleo Dos Amigos
da Fotografı ́a (NAFOTO) organized 27 exhibitions
attended by 150,000 people.Chile
Photo Clubs, which formed in Valparaiso at the
beginning of the twentieth century promoted the
cause of photography by sponsoring annual exhi-
bitions and competitions. Periodicals and newspa-
pers that used photographs included: Zig Zag,
Sucesos, El Diario Ilustrado, and El Mercurio.
Women photographers were active, and at least
three exhibited at the II Salon Fotografico del
Club Fotogra ́fico de Chile in 1938. Ana Maria
Parra Sanchez de Gabella (1911–c. 1965), daughter
of photographer Victor Parra, worked with her
father and later owned studios with her sister and
two other women photographers. Historian and
researcher Herna ́n Rodrı ́guez Villegas considers
the following to be the notable twentieth-century
Chilean photographers: In his day, Jorge Saure
Carpinello (1896–1984) was considered the most
prestigious portrait photographer in Santiago,
and his style marks a specific epoch in Chilean
photography. His studio was a gathering spot for
the intellectuals of the day. Antonio Quintana Her-
na ́ndez (1905–1972) specialized in industrial,
panoramic, and social photography. Jorge Opazo
(1908–1979) a portratist, is considered by Rodrı ́-
guez to be ‘‘one of the first modern photographers
in the western hemisphere.’’ Luis Ross de Ferari
(1880–1943) was known for his images of Chilean
daily life. Heliodoro Torrente Campos (1914–c.
1992) was a consummate photojournalist. Hugo
Ercilla Olea produced a major photographic record
of Chile from 1937 onward. Marcos Chamudes
(1907–1988), a World War II correspondent, is
known for a series of photo essays, many of them
political, and his portraits of writers and artists.SOUTH AMERICA, PHOTOGRAPHY IN