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Lola Alvarez Bravo (Mexican, 1907–1993). La Visitación (The Visitation), ca.1934, printed 1971. Gelatin silver print, image/sheet: 9 1/4 x 6 3/4 in. (23.5 x 17.2 cm). Brooklyn Museum, Purchased with funds given by the Horace W. Goldsmith Foundation, Ardian Gill and the Coler Foundation, 1995.125. © artist or artist's estate (Photo: , 1995.125_PS11.jpg)
Lola Alvarez Bravo (Mexican, 1907–1993). La Visitación (The Visitation), ca.1934, printed 1971. Gelatin silver print, image/sheet: 9 1/4 x 6 3/4 in. (23.5 x 17.2 cm). Brooklyn Museum, Purchased with funds given by the Horace W. Goldsmith Foundation, Ardian Gill and the Coler Foundation, 1995.125. © artist or artist's estate (Photo: Brooklyn Museum, 1995.125_bw.jpg)
La Visitación (The Visitation)
Lola Alvarez Bravo
Photography
Graciela Iturbide is one of the best-known Mexican photographers of the last four decades. The images in this gallery represent series from different parts of Mexico, of which the most important is her breakthrough photoessay Juchitán of the Women (1979–86). In a documentary style notable for its humanistic grace, the series focuses on the indigenous Zapotec people in the town of Juchitán, in southeastern Mexico, where women dominate all aspects of social life, from the economy to religious rituals. The most emblematic image of the series, Our Lady of the Iguanas, shows the power and dignity of a Zapotec woman, who carries on her head live iguanas that form a bizarre crown. Four Fishes shows a woman displaying fish for sale from the private space of her home, the clay and straw of the wall echoing the scales of the fish.
Like her teacher, the photographer Manuel Alvarez Bravo (at one time the husband of Lola Alvarez Bravo, whose work hangs nearby), Iturbide portrays Catholic traditions intertwined with pre-Hispanic rites and superstitions, showing a culture in constant flux. Approaching her subjects directly and frontally, Iturbide represents a dreamlike reality with great compassion, or, to use the artist’s own word, “complicity.”
Like her teacher, the photographer Manuel Alvarez Bravo (at one time the husband of Lola Alvarez Bravo, whose work hangs nearby), Iturbide portrays Catholic traditions intertwined with pre-Hispanic rites and superstitions, showing a culture in constant flux. Approaching her subjects directly and frontally, Iturbide represents a dreamlike reality with great compassion, or, to use the artist’s own word, “complicity.”
MEDIUM
Gelatin silver print
DATES
ca.1934, printed 1971
DIMENSIONS
image/sheet: 9 1/4 x 6 3/4 in. (23.5 x 17.2 cm) (show scale)
SIGNATURE
Signed on lower right of recto on mat: "Lola Alvarez Bravo"
COLLECTIONS
Photography
ACCESSION NUMBER
1995.125
CREDIT LINE
Purchased with funds given by the Horace W. Goldsmith Foundation, Ardian Gill and the Coler Foundation
MUSEUM LOCATION
This item is not on view
CAPTION
Lola Alvarez Bravo (Mexican, 1907–1993). La Visitación (The Visitation), ca.1934, printed 1971. Gelatin silver print, image/sheet: 9 1/4 x 6 3/4 in. (23.5 x 17.2 cm). Brooklyn Museum, Purchased with funds given by the Horace W. Goldsmith Foundation, Ardian Gill and the Coler Foundation, 1995.125. © artist or artist's estate (Photo: , 1995.125_PS11.jpg)
IMAGE
overall, 1995.125_PS11.jpg., 2018
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RIGHTS STATEMENT
© artist or artist's estate
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