Manuel Álvarez Bravo, ‘Un Cuarto Para Las Doce (A Quarter Past Twelve)’, 1957, Photography, Gelatin silver print, printed later., Phillips
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Un Cuarto Para Las Doce (A Quarter Past Twelve), 1957

Gelatin silver print, printed later.
9 2/5 × 7 3/5 in
23.8 × 19.3 cm
Bidding closed
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P
Phillips

Please note this lot is to be sold under standard UK VAT rules.

Medium
Signature
Signed and annotated 'Mexico' in pencil on the verso.
Manuel Álvarez Bravo
Mexican, 1902–2002
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Manuel Álvarez Bravo initially photographed abstract paper forms, but became known for capturing the rise of a post-revolutionary modern culture in his native Mexico. Encouraged to pursue his art by an admiring Edward Weston, Álvarez Bravo photographed what he saw around him, his unique perspective adding a poetic quality to the quotidian scenes. The Great Penitent (1930), for instance, captures a woman lying face down on a sidewalk in front of a church; shot from a bird’s eye view, electrical wires run through the frame and the heads of the saints adorning the building have been cut out, lending the image a striking visual composition and intellectual complexity. Álvarez Bravo also flirted with Surrealism without fully embracing it, shooting real yet uncanny subjects, such as an optical store plastered with eye illustrations (Optical Parable, 1931).

Manuel Álvarez Bravo, ‘Un Cuarto Para Las Doce (A Quarter Past Twelve)’, 1957, Photography, Gelatin silver print, printed later., Phillips
Save
Save
View
View in room
Share
Share
P
Phillips

Please note this lot is to be sold under standard UK VAT rules.

Medium
Signature
Signed and annotated 'Mexico' in pencil on the verso.
Manuel Álvarez Bravo
Mexican, 1902–2002
Follow

Manuel Álvarez Bravo initially photographed abstract paper forms, but became known for capturing the rise of a post-revolutionary modern culture in his native Mexico. Encouraged to pursue his art by an admiring Edward Weston, Álvarez Bravo photographed what he saw around him, his unique perspective adding a poetic quality to the quotidian scenes. The Great Penitent (1930), for instance, captures a woman lying face down on a sidewalk in front of a church; shot from a bird’s eye view, electrical wires run through the frame and the heads of the saints adorning the building have been cut out, lending the image a striking visual composition and intellectual complexity. Álvarez Bravo also flirted with Surrealism without fully embracing it, shooting real yet uncanny subjects, such as an optical store plastered with eye illustrations (Optical Parable, 1931).

Un Cuarto Para Las Doce (A Quarter Past Twelve), 1957

Gelatin silver print, printed later.
9 2/5 × 7 3/5 in
23.8 × 19.3 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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