que), Aaron Siskind (USA), et Henri Cartier-Bresson
(France); Muse ́eRe ́attu, Arles, France
1986 50 an ̃os de la exposicio ́n de Manuel Alvarez Bravo y
Henri Cartier-Bresson; Palacio de Bellas Artes, Mexico
City, New York
1989 On the Art of Fixing a Shadow: One Hundred and Fifty
Years of Photography; National Gallery of Art, Wash-
ington, D.C., and traveled to The Art Institute of Chi-
cago, Chicago, Illinois; Los Angeles County Museum of
Art, Los Angeles, California
Selected Works
Arena y pinitos(Sand and Pines), 1920s
Peluquero(Barber), 1924
Colcho ́n(Matress), 1927
Los agachados(The Bent Ones), 1934
Sed pu ́blica(Public Thirst or The Public Fountain), 1934
Sen ̃or de Papantla(Man from Papantla), 1934
Obrero en huelga, asesinado(Striking Worker, Assassinated),
1934
La buena fama durmiendo(The Good Reputation Sleeping),
1938
La mama ́del bolera y el bolero(The Mother of the Shoeshine
Boy and the Shoeshine Boy), 1950s
Further Reading
Coleman, A.D.Manuel Alvarez Bravo: Aperture Masters of
Photography. New York: Aperture, 1987.
del Conde, Teresa.Mucho sol: Manuel Alvarez Bravo. Mex-
ico City: Fondo de Cultura Econo ́mico, 1989.
Kismaric, Susan.Manuel Alvarez Bravo. New York: The
Museum of Modern Art, 1997.
Livingstone, Jane.M. Alvarez Bravo. Washington D.C.:
Corcoran Gallery of Art, 1978.
Luna Co ́rnea. 1 (Issue dedicated to Manuel Alvarez Bravo.)
Winter (1992–1993).
Ollman, Arthur, and Nissan Perez.Revelaciones: The Art of
Manuel Alvarez Bravo. San Diego: Museum of Photo-
graphic Arts, 1990.
Paz, Octavio, and Manuel Alvarez Bravo.Instante y revela-
cio ́n. Mexico City: Fondo Nacional para Actividades
Sociales, 1982.
Perez, Nissan, and Ian Jeffrey.Dreams-Visions-Metaphors:
The Photographs of Manuel Alvarez Bravo. Jerusalem:
Israel Museum, 1983.
Poniatowski, Elena.Manuel Alvarez Bravo: el artista su
obra, sus tiempos. Mexico City: Banco Nacional de Me ́x-
ico, 1991.
Scime`, Giuliana.Manuel Alvarez Bravo. Barcelona: Orbis,
1994.Interviews with Manuel Alvarez BravoPacheca, Cristina. ‘‘Manuel Alvarez Bravo: La fotografı ́a
como el realismo ma ́ximo.’’La luz de Me ́xico: entrevistas
con pintores y foto ́grafos. Mexico City: Fondo de Cul-
tura Econo ́mico, 1995.
Hill, Paul, and Thomas Cooper. ‘‘Manuel Alvarez Bravo.’’
Dialogue with Photography. Manchester: Cornerhouse
Publications, 1979.JOSEF BREITENBACH
German-American
Josef Breitenbach embraced photography in its
entirety as a professional and artistic photographer,
collector of historical photography, and instructor of
photography. Shaped by the desperation and inge-
nuity of exile, a passion for photography, and a keen
interest to preserve the ‘‘other Germany,’’ Breiten-
bach participated in the creative foment of the refu-
gee artists, intellectuals, and scientists in Paris,
France, in the 1930s. His photographs are poetic in
the tradition of Euge`ne Atget and at times, recall the
psychological depth of Christian Schad’s portraits.
Creating disparate bodies of work in Germany,
France, and the United States, it was only in the
late decades of the twentieth century that his con-
tribution has been fully recognized.
Breitenbach was born into an upper middle-class
family of Franconian Jews in Munich on April 3,- Although his parents were newcomers to this
Bavarian metropolis, the move to Munich brought
upward economic, social, and political mobility.
Upon graduating in 1912 from theOberrealschule
(modern high school), Breitenbach undertook a
commercial apprenticeship, as he would eventually
take over the family business, a successful wholesale
wine business. He also became an activist in the
youth section of the Social Democratic Association,
a pacifist organization. In spite of this, Breitenbach
was drafted into the army in early 1916, but was
discharged for health reasons at theend of the year.
His civilian life resumed and gravitated around
the circle of Kurt Eisner, where he met Oskar
BRAVO, MANUEL ALVAREZ