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Mexican muralists « Kindle // TLNU2FRGTU Mexican muralists By Source Reference Series Books LLC Mai 2012, 2012. Taschenbuch. Condition: Neu. Neuware - Source: Wikipedia. Pages: 47. Chapters: Diego Rivera, David Alfaro Siqueiros, Juan O'Gorman, Verónica Ruiz de Velasco, Alfredo Ramos Martínez, Fernando Castro Pacheco, Gabriel Flores, Raúl Anguiano, Rufino Tamayo, Rodolfo Morales, Jorge Figueroa Acosta, Teodoro Cano García, Vlady Kibalchich Russakov, José Clemente Orozco, Miguel Covarrubias, Francisco Eppens Helguera, Mexican muralism, Arnold Belkin, Federico Cantú Garza, Gabriel Fernández Ledesma, Jean Charlot, Dr. Atl, Melchor Peredo, Roberto Montenegro, Philip Stein, Antonio Pujol, Agustín Lazo Adalid, Pablo O'Higgins, Jesús Helguera, Arturo García Bustos, Julio Castellanos, Ángel Zárraga, Germán Cueto, Arturo Estrada Hernández, Aurora Reyes Flores, Fanny Rabel, Fermín Revueltas Sánchez, Antonio M. Ruíz, Luis Arenal Bastar, Emilio Amero, Elvira Gascón, Marion Greenwood, Aarón Piña Mora, Rigel Sauri, Ernesto Icaza Sánchez, Feliciano Peña, Olga Costa, Grace Greenwood Ames, Amado de la Cueva, Rafael Coronel, Héctor Martínez Arteche. Excerpt: Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez (December 8, 1886 November 24, 1957) was a prominent Mexican painter born in Guanajuato, Guanajuato, an active communist, and husband of Frida Kahlo (1929 1939 and 1940 1954). His large wall works in fresco helped establish the Mexican Mural... READ ONLINE [ 4.85 MB ] Reviews An extremely wonderful book with perfect and lucid information. This can be for all those who statte there had not been a really worth reading through. Its been written in an exceptionally easy way and it is only after i finished reading this ebook in which actually modified me, alter the way i really believe. -- Kaelyn Reichel Extensive information for ebook fans. it was writtern very flawlessly and useful. You are going to like just how the author publish this pdf. -- Jarrod Prosacco DMCA Notice | Terms.

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PHOTO Libraryinc. 305 EAST F O R T Y-S E V E N T H STREET • NEW YORK 17 • PL 2-4477 October 5> 1966 Miss Laura Gilpin P‘O
PHOTO LIBRARYinc. 305 EAST F O R T Y-S E V E N T H STREET • NEW YORK 17 • PL 2-4477 October 5> 1966 Miss Laura Gilpin P‘O. Box 1173 Santa Fe, New Mexico Dear Miss Gilpin: One of our clients is anxious to obtain as quickly as possible illustrative material, both in color and black and white, for a forthcoming book on Mexican art and architecture. I’m enclosing a list that you can use. as a guide; as you can see, our client Is most specific. Do you think you can mail us some of your photographs? We are looking forward to hearing from you. Very truly yours 1) Head of a coyote. Tequixquiac, Mexico State. About 10,000 B.C. 2) Small Seated Statue. Cairo de las Mesaas , Veracruz State. 300-800 A.D. Institute Hacional de Antropoligia e Historia, Mexico City. 3) Olmec Dwarf, and Mara Glyph. Cairo de las Mesaas, Veracruz State. 300-800 A D Institute Hacional de Antropologia e HLstorla, Mexico 6ity. 4) Head of a young Maya. Palenque, Chiapas State. Jgbout 683 A D Institute Hacional de Antropologia.....Mexico City 5) Facade of the Codz-Pop Building. Cabah, Tucutan State. 800-1200 A D 6) Temple of the Warriors. Chichen Itza, Yucatan State 800-1200 A D 7) Entrance to the Temple of the Warriors (see above for location) 8) Great Bail Court. Chichen Itza.... 9) Temple of Venus, with the Castillo in the background, Chichen Itza.... 10) Bearded ’Dancer*. Monte Alban, Oaxaca State. 200-100 B.C. 11) Zapotec Urn.
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Gallery of Mexican Art
V oices ofMerico /January • March, 1995 41 Gallery of Mexican Art n the early the 1930s, Carolina and Inés Amor decided to give Mexico City an indispensable tool for promoting the fine arts in whatI was, at that time, an unusual way. They created a space where artists not only showed their art, but could also sell directly to people who liked their work. It was a place which gave Mexico City a modem, cosmopolitan air, offering domestic and international collectors the work of Mexico's artistic vanguard. The Gallery of Mexican Art was founded in 1935 by Carolina Amor, who worked for the publicity department at the Palace of Fine Arts before opening the gallery. That job had allowed her to form close ties with the artists of the day and to learn about their needs. In an interview, "Carito" —as she was called by her friends— recalled a statement by the then director of the Palace of Fine Arts, dismissing young artists who did not follow prevailing trends: "Experimental theater is a diversion for a small minority, chamber music a product of the court and easel painting a decoration for the salons of the rich." At that point Carolina felt her work in that institution had come to an end, and she decided to resign. She decided to open a gallery, based on a broader vision, in the basement of her own house, which her father had used as his studio. At that time, the concept of the gallery per se did not exist. The only thing approaching it was Alberto Misrachi's bookstore, which had an The gallery has a beautiful patio.
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L Banco Nacional De México a Través De Fomento Cultural Banamex
JUAN CORREA MIGUEL CABRERA ANÓNIMO JOHANN MORITZ RUGENDAS ÉDOUARD PINGRET JOSÉ AGUSTÍN ARRIETA Arcángel Sealtiel (detalle), ca. 1690-1713 Virgen del Carmen (detalle), 1750 Virrey don Juan Vicente Güemes Pacheco de Padilla, segundo conde de Revillagigedo (detalle), ca. 1790 Volcán de Colima (detalle), ca. 1834 Retrato de Anacleto Polidura y sus hijos, ca. 1852 Cristales, ca. 1859 Óleo sobre tela Óleo sobre tela Óleo sobre tela Óleo sobre tela Óleo sobre tela Óleo sobre tela Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México realizaron bellos paisajes, escenas costumbristas, tipos po- l Banco Nacional de México a través de Fomento Cultural EL VIRREINATO Durante el virreinato la Iglesia se su apogeo los mejores representantes del paisajes urbanos o rurales, que dan cuenta de los oficios, las diver- el paisaje y la naturaleza muerta gozaron de gran éxito entre la bur- Banamex, A. C. y el Museo Arocena presentan la expo- pulares y bodegones, los cuales contribuyeron a construir la sirvió del arte para transmitir los preceptos de la religión católica; barroco del mundo hispánico, encabeza- siones, el vestuario, los ajuares domésticos, la flora regional y la guesía mexicana, la cual los encomendó y los coleccionó. Destaca- E sición La colección de pintura del Banco Nacional de México. identidad nacional. por ello, los artistas novohispanos pintaron principalmente temas dos por Cristóbal de Villalpando. El siglo posición social de los personajes. dos exponentes del retrato lograron un equilibrio entre la exactitud xvIII, a partir de la década de los treinta, física del modelo y su idealización, e introdujeron diversas formas En ella, el visitante podrá apreciar un amplio panorama Con los artistas modernistas como Germán Gedovius y Julio religiosos.
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La Vendedora De Frutas Olga Costa Representó Una Parte De La Diver- Sidad Frutícola De México: 58 Especies Y 10 Variantes
ciencia Novedades científicas Desde el Conacyt De actualidad Reseñas volumen 71 78 número 3 ciencia Juan Antonio Reyes Agüero, Claudia Heindorf y Juan Rogelio Aguirre Rivera n n nnn n n Olga Costa y la fiesta de la diversidad frutícola de México En La vendedora de frutas Olga Costa representó una parte de la diver- sidad frutícola de México: 58 especies y 10 variantes. Las frutas proce- den de distintas regiones: son mesoamericanas (46 %), les siguen las de oriente lejano (30 %), oriente cercano (13 %), las de origen sudamericano (6.0 %), y en menor cantidad (4.5 %) las de África, aunque de aquí también procede nuestra especie, Homo sapiens. Olga Costa y La vendedora de frutas n algún día de 1925, a los 12 años la niña Olga Kostakowsky Fabricant des- cendió del Espagne en el puerto de Veracruz con sus papás y su hermana Emenor, Lya. El casi imperceptible rocío de las flores, la diversidad de colores que contrastaba con el gris-guerra de Europa, los tonos morenos de la gente y los aromas de la brisa marina empezaron a diluir la nacionalidad germana y la ascen- dencia rusa de Olga. A la niña le encantaron las voces de los vendedores callejeros, el novedoso idioma español y el ambiente del hotel donde se hospedaron, pues tuvieron que esperar en vano en el puerto por sus equipajes perdidos. Esas impre- siones y muchísimas más moldearon a aquella niña ruso-germana para convertirla en Olga Costa (1913-1993), pintora mexicana de renombre, Premio Nacional de Bellas Artes en 1990. A contracorriente de los muralistas mexicanos, Olga se alejó de los dogmas estéticos que impusieron, y evitó discriminar tendencias y valores en el arte.
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David Alfaro Siqueiros's Pivotal Endeavor
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-15-2016 David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 Emily Schlemowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/68 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 By Emily Schlemowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History Hunter College of the City of New York 2016 Thesis Sponsor: __May 11, 2016______ Lynda Klich Date First Reader __May 11, 2016______ Harper Montgomery Date Second Reader Acknowledgments I wish to thank my advisor Lynda Klich, who has consistently expanded my thinking about this project and about the study of art history in general. This thesis began as a paper for her research methods class, taken my first semester of graduate school, and I am glad to round out my study at Hunter College with her guidance. Although I moved midway through the thesis process, she did not give up, and at every stage has generously offered her time, thoughts, criticisms, and encouragement. My writing and research has benefited immeasurably from the opportunity to work with her; she deserves a special thank you.
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Olga Costa El Ángel Blanco De La Pintura Mexicana
REVISTA ELECTRÓNICA JUNIO 20, 2013. AÑO 3 NÚM. 40 Olga Costa El ángel blanco de la pintura mexicana Lucas Alamán Tecnólogo, estadista, historiador Sylvia Earle María Marcos Cedillo y Valentina Tereshkova y su amor por los océanos Dos mujeres de altura La Revista Campus Cultural está conformada por el siguiente Comité: CulturalCAMPUS Patrimonio Cultural • Depto. de Lenguas Modernas Revista electrónica mensual gratuita, distribuida durante los períodos académicos regulares dentro • Programa Académico de Música del Campus Monterrey. • Depto. de Estudios Humanísticos • Lic. en Lengua y Literatura Hispánicas Las opiniones expresadas en la editorial y artículos, • Escuela de Arquitectura, Arte y Diseño son responsabilidad de quienes los firman. JUNIO 20, 2013. AÑO 3 NÚM. 40 Directorio Dr. David Garza Rector de la Zona Metropolitana de Monterrey Dr. Humberto Cantú Director de la Contenido Escuela de Negocios, Ciencias Sociales y Humanidades Olga Costa, el ángel blanco de la pintura mexicana Pag. 4 Dra. Lucrecia Lozano Editora Sylvia Earle y su amor por los océanos Pag. 10 María de Alva Dos mujeres de altura Pag. 16 Miguel Ángel Arreola Susana Patiño Lucas Alamán Pag. 20 Hugo Garza Margarita Fernández Consejo Editorial Muestra del Arte de la franja fronteriza Pag. 26 Paul F. Martínez Documentales Pag. 30 Diseño Editorial Bibi Zárate Pag. 36 Cristina Ibarra Coordinadora Editorial 40 años del exorcismo más famoso Pag. 42 Transformará con su música el 70 Aniversario Pag. 50 Aída Ortiz Adriana Nelly Correa Pedro y el lobo Pag. 54 Ana Betancourt Alma Valdés IMusic6 Pag. 56 Beatriz Livas Daniela Bravo Gerardo Salvador González Lara Margarita Fernández Oswaldo Torres Sandra Fabiola Cerda Colaboradores Portada: Olga Costa, “Corazón egoísta”, 1951.
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Jazzamoart El Estado Chileno No Es Editor
EXCELSIOR MIÉrcoles 27 DE MAYO DE 2015 Foto: CortesíaFoto: INAH PATRICIA LEDESMA B. TEMPLO MAYOR, NUEVO TIMÓN La arqueóloga Patricia Ledesma Bouchan fue designada ayer como nueva titular del Museo del Templo Mayor, en sustitución de Carlos Javier González. Así lo anunció el Instituto Nacional de Antropología e Historia mediante un comunicado, en el que destacó su labor en temas relacionados “con la gestión del patrimonio arqueológico y la divulgación del conocimiento científico”. [email protected] @Expresiones_Exc Foto: Cortesía Nuria Gironés El Estado chileno no es editor “Chile tiene que hacerse cargo de un problema estructural que se arrastra desde la dictadura militar (1973-1990), cuando se destruyó el tejido cultural por la censura”, dice en entrevista Marcelo Montecinos, presidente de la Cooperativa de Editores de La Furia. >4 Reaparece Jazzamoart Una obra de carácter vibrante, que a ritmo de pinceladas “se hace lumínica y cromática”, es lo que ofrecerá el pintor y escultor mexicano Francisco Javier Vázquez, mejor conocido como Jazzamoart, Revelan la trama acerca de la sustracción, en 1904, del llamado en su exposición Improntas, que M A PA se presenta a partir de ayer en el Lienzo de Tlapiltepec, patrimonio “extraviado” de México > 5 Museo Dolores Olmedo. >6 Foto: Cortesía Fundación Alfredo Harp Helú Oaxaca FOTOGALERÍA ESPECIAL Exposición Visita MULTI Galería Throckmorton Recintos celebran ¿Qué me pongo? MEDIA Exhiben en Nueva York imágenes Recomendaciones para Marcelino Perelló. 2 poco comunes de Frida Kahlo. la Noche de los Museos. 2: EXPRESIONES MIÉRCOLES 27 DE MAYO DE 2015 : EXCELSIOR ¿Qué me pongo? PALACIO DE CULTURA BANAMEX MARCELINO PERELLÓ El desastre que viene Retorna La jungla sudamericana no es únicamente el pulmón de la Tierra.
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Documentary Essay by Dr
David Alfaro Siqueiros Self-Portrait with Mirror An essay by Dr. Irene Herner with the collaboration of Mónica Ruiz and Grecia Pérez. mary-anne martin | fine art 23 East 73rd Street New York, NY 10021 (212) 288-2213 www.mamfa.com Cover: David Alfaro Siqueiros Self-Portrait with Mirror 1937 pyroxylin on Bakelite 30 × 24 × ¼ in (76.2 × 61.0 × 0.6 cm) PROVENANCE Acquired directly from the artist by George Gershwin, NY, 1937 Estate of George Gershwin By descent to the present owner Photo: Grecia Pérez In 1936-37 New York, “Siqueiros’ workshop was a brave and dazzling new world, a calamitous introduction to a new way of thinking about art... Siqueiros generated a ‘torrential flow of ideas and new projects’ with a child’s eye for investigation and surprise.”1 I have written about and looked for Autorretrato con espejo since 1994. It was painted by Siqueiros in New York in his Siqueiros Experimental Workshop, signed and dated 1937. This is one of the key paintings in the process of the artist to construct kinetic dynamism in painting. It was out of sight, nobody knew who owned it, until now that it is on view at Mary-Anne Martin Fine Art, New York. The specialists thought it had been destroyed. In 1994, I rescued an archive photograph of it in black and white. Raquel Tibol published this photo on the cover of her 1996 anthology: Palabras de Siqueiros. David Alfaro Siqueiros, Self-Portrait What a great achievement it is to have found this original with Mirror, detail of the signature, 1937.
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Presentación De Powerpoint
INFORME CORRESPONDIENTE AL 2017 INFORME CORRESPONDIENTE AL 2017. Informe presentado por el Consejo Directivo Nacional de la Sociedad Mexicana de Autores de las Artes Plásticas, Sociedad De Gestión Colectiva De Interés Público, correspondiente al año 2017 ante la Asamblea General de Socios. Agradezco a todos los asistentes de su presencia en la actual asamblea informativa, dando a conocer todos los por menores realizados en el presente año, los cuales he de empezar a continuación: 1.- Se asistió a la reunión general de la Cisac, tratándose temas diversos según el orden del día presentado, plantando sobre el acercamiento con autores de los países: Guatemala, Panamá y Colombia para la conformación de Sociedades de Gestión en dichas naciones, donde estamos apoyando para su conformaciones y así tener mayor representatividad de nuestros socios, además de la recaudación de regalías. Les menciono que en primera instancia se desea abrir con el gremio de la música, pero una vez instaurada la infraestructura se piensa trabajar a otros gremios como la nuestra. Actualmente estamos en platicas de representación de nuestro repertorio en las sociedades de gestión ya instaladas en Costa Rica y Republica Dominicana donde existen pero para el gremio musical, considerando utilizar su plataforma e infraestructura para el cobro regalías en el aspecto de artes visuales en dichos países, tal como se piensa realizar en las naciones antes mencionadas una vez creadas. Dentro de la asamblea general anual de la CISAC, llevada a cabo en New York, logramos cerrar la firma de un convenio con la Sociedad de Autores y Artistas Visuales y de Imágenes de Creadores Franceses, con residencia en París, con ello cumpliendo con la meta de tener más ámbito de representación de los derechos autorales de nuestros socios nacionales.
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Departamento De Padres De Familia
Servicios Educativos del Estado de Chihuahua DEPARTAMENTO DE PADRES DE FAMILIA Directorio de Centros de Trabajo activos en la Entidad de Chihuahua Ciclo 2013-2014 C.T. NOMBRE DEL CENTRO DE TRABAJO LOCALIDAD MPIO. TIPO DIRECTOR PRESIDENTE DE PADRES DE FAMILIA 08DJN0280Z LEONOR LOPEZ ORELLANA MIGUEL AHUMADA AHUMADA PREESCOLAR LETICIA HERRERA MERAZ ROCIO CECILIA ORTEGA APODACA 08DJN1406W JARDIN DE NIÐOS PROGRAMA ESPECIAL FRANCISC LAS PLAYAS AHUMADA PREESCOLAR BLANCA ALICIA CALDERON BETANCOURT CRISTINA QUEZADA JIMENEZ 08DJN1415D JARDIN DE NIÐOS PROGRAMA ESPECIAL ISAAC NE MIGUEL AHUMADA AHUMADA PREESCOLAR MARISELA GARFIO FERNANDEZ MAIRA IDALY ALVIDREZ PIÑON 08DJN2068T OSCAR MARES MIGUEL AHUMADA AHUMADA PREESCOLAR ADRIANA RIVAS SANTIESTEBAN MARIBEL PIÑON RAMIREZ 08DJN1428H JARDIN DE NIÐOS PROGRAMA ESPECIAL NIÐOS HE ALAMOS DE PEÑA AHUMADA PREESCOLAR MAURA ELENA AGUIRRE RUIZ ANTONIA RECENDEZ ARREONDO 08DJN1418A JARDIN DE NIÐOS PROGRAMA ESPECIAL ESTEFANI CHIHUAHUITA AHUMADA PREESCOLAR GRACIA ARMENDARIZ NORIEGA RUBI JIMENEZ 08DPR0569Q JUAN ALVAREZ LAS PLAYAS AHUMADA PRIMARIAS LUZ IRASEMA VILLANUEVA RUEDA YURIDIA JIMENEZ BAEZ 08DPR1711V AGUSTIN MELGAR MIGUEL AHUMADA AHUMADA PRIMARIAS PROFRA OLIVIA CRUZ PIZARRO GRACIELA SOLEDAD MOLINA GONZALEZ 08DPR1750X VALENTIN GOMEZ FARIAS EJIDO ZARAGOZA AHUMADA PRIMARIAS JESSICA RIOS YUDMA GAYTAN QUIÑONES 08DPR1963Z CASA ESCUELA VENUSTIANO CARRANZA MIGUEL AHUMADA AHUMADA PRIMARIAS MARIA DE JESUS LOPEZ RUIZ PRISMA ARCINIEGA AVILA 08DPR2117B 13 DE JULIO DE 1981 SAN LORENCITO AHUMADA PRIMARIAS CLAUDIA SOCORRO MORENO
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Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education.
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Finding Aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154 Finding aid updated by Meghan Jordan, June 2016 AG 154: Lola Alvarez Bravo Archive, 1901-1994 - page 2 Lola Alvarez Bravo Archive, 1901-1994 AG 154 Creator Bravo, Lola Alvarez Abstract Photographic materials (1920s-1989) of the Mexican photographer Lola Alvarez Bravo (1903 [sometimes birth date is recorded as 1907] -1993). Includes extensive files of negatives from throughout her career. A small amount of biographical materials, clippings, and publications (1901-1994) are included. The collection has been fully processed. A complete inventory is available. Quantity/ Extent 32 linear feet Language of Materials Spanish English Biographical Note Lola Álvarez Bravo was born Dolores Martínez de Anda in 1903 in Lagos de Moreno, a small city in Jalisco on Mexico's Pacific coast. She moved to Mexico City as a young child, after her mother left the family under mysterious circumstances. Her father died when she was a young teenager, and she was then sent to live with the family of her half brother. It was here that she met the young Manuel Alvarez Bravo, a neighbor. They married in 1925 and moved to Oaxaca where Manuel was an accountant for the federal government. Manuel had taken up photography as an adolescent; he taught Lola and they took pictures together in Oaxaca. Manuel also taught Lola how to develop film and make prints in the darkroom.
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