quitte l'école et commence à travailler à l'age de 14 ans à la Trésorerie générale de la nation (jusqu'en 1931)

suit des cours du soir

expose au Berkeley Art Museum

enseigne la photographie à l'Academia San Carlos

quitte la Trésorerie générale de la nation et devient photographe indépendant

publie certaines de ses photos dans la revue Contemporaneos

expose à Chicago

ouvre la Galeria Hipocampo à Mexico

devient photographe à la Seccion de tecnicos y manuales del sindicato de trabajadores de la produccion cinematografica de mexico

offre sa collection de photographies et d'appareils photo à l'Instituto Nacional de Bellas Artes

participe aux Rencontres internationales de la photographie à Arles

est nommé Officier de l'ordre des arts et des lettres

Manuel Alvarez Bravo
de Amanda Hopkinson

Quatrième de couverture
« La poésie profonde et discrète et l'ironie désespérée et raffinée émanent des photographies de Manuel Alvarez Bravo, comme ces particules suspendues dans l'air qui rendent visible un rayon de lumière comme s'il pénétrait une chambre noire. »

Manuel Alvarez Bravo
de B. Ollier

Quatrième de couverture
« La poésie profonde et discrète et l'ironie désespérée et raffinée émanent des photographies de Manuel Alvarez Bravo, comme ces particules suspendues dans l'air qui rendent visible un rayon de lumière comme s'il pénétrait une chambre noire. »

Polaroids
de Manuel Alvarez Bravo (Photographies)

Book Description
Manuel Alvarez Bravo is generally recognized as one of the masters of modern photography and one of Mexico's most significant artists. He is well-known for his black and white images, therefore this selection of never-before-published Polaroids might be a surprise to those familiar only with his signature style. The simple design of the book--a single photograph per page--reproduced in the original Polaroid's dimensions--creates an ideal context in which to enjoy this segment of Bravo's work. Colette Alvarez Urbajtel, the photographer's widow writes: "Although Manuel used a Hasselblad with special backing until his late career, when Polaroid cameras appeared on the market, he was quick to avail himself of their convenience and speed. He started taking black and white Polaroids with the appropriate fixtures, and then moved on to color. His work in color tended to be the result of some sudden impulse, when he had just supplied himself with materials or in quest of a particular effect. It might be at home, on the weekend, when there were people visiting, or when he wished to capture some prank of his daughters . . ." Beautifully reproduced, Manuel Alvarez Bravo: Polaroids reveals a playful, charming, and spontaneous side of the great Mexican master of light and shade, and is the first book on his work published since his death in 2003. It will appeal to those interested in photography and Mexican art in general. Essay by Colette Alvarez Urbajtel.

Nudes: The Blue House/Desnudos : LA Casa Azul
de Manuel Alvarez Bravo, Ariadne Kimberly Huque (Sous la direction de), Carlos Fuentes (Introduction)

Book Description
Born in 1902, Manuel Alvarez Bravo is Mexico's most celebrated living photographer. His far-reaching body of work includes many of the 20th century's most recognizable and iconic images. Collected here is a seductive, timeless, and entrancing sampling of the maestro's nudes, images taken in 1939 and as recently as the 1990s. Sensitively edited and sequenced by Ariadne Kimberly Huque, and with an impassioned and poetic introduction by Carlos Fuentes, this delicate, elegant volume beautifully reproduces some of Bravo's most favorite work, and provides an intimate window through which to view the career of one of the camera's true masters. Manuel Alvarez Bravo portrays and presents these women's bodies not to tell us to be content with what the world gives us, not to limit our desire, and not to ask us merely to conform, but to make us a gift of the body in person, a body here and now that does not sacrifice any of its potentialities, none of its "cans" and none of its "nevers". Here they are for anyone who knows how to look: the idea of the feminine body and its negation; the harmony of the body and the soul but also a possible disharmony; the presence of the body but also its inevitable absence; its pleasure but also its pain. --Carlos Fuentes
Edited by Ariadne Kimberly Huque. Introduction by Carlos Fuentes.

About the author
Manuel Alvarez Bravo was born in 1902, in Mexico City. He received a daguerreotype camera in 1915 as a gift, and began experimenting with the basics of photography at home using his mother's kitchen pots and pans. Within a decade of buying his first modern camera in 1924, he had won regional photo competitions, begun to teach photography, exhibited in group shows with Imogen Cunningham, Edward Weston, and Dorothea Lange, had his first solo exhibition, and met Diego Rivera and Jose Clemente Orozco. His pace has never abated and, since then, his work has been exhibited around the world and is in the collection of nearly every major museum. Nearly 100 years old, Bravo lives and works in Mexico City, as he always has.

Manuel Alvarez Bravo: Photographs from the J. Paul Getty Museum
de J Paul Getty Museum

Book Description
The career of Manuel Alvarez Bravo (b. 1902) spans many decades and reflects numerous changes in artistic fashion. A self-taught photographer, he purchased his first camera at the age of twenty, and around 1925 he won first prize in a photographic competition in Oaxaca. He returned to his birthplace of Mexico City and in 1927 met Tina Modotti, who introduced him to many Modernists in the city's lively art scene. Among them was Edward Weston, who encouraged Alvarez Bravo to continue his photography. Though his work went unrecognized in mainstream art circles for years, Alvarez Bravo is now considered by many to be one of Mexico's great artists.
The Getty Museum's collection of photographs includes more than ninety by Alvarez Bravo, and approximately fifty are reproduced here with commentary on each image by Roberto Tejada, an independent curator and critic, who also provides an introduction to the book and a chronological overview of the artist's life. The photographs reproduced display the array of styles, themes, and moods that typify art created in Mexico during the 1930s as modernism first flowered in that country; they also include examples of his work from later decades.

Manuel Alvarez Bravo
de Aperture, A. D. Coleman, Manuel Alvarez Bravo

Book Description
Manuel Alvarez Bravo began photographing in 1924 during Mexico's thriving post-revolutionary artistic renaissance. While his early work embraced Mexico's urban realities, its peasants and workers, and its hauntingly beautiful landscape, Alvarez Bravo's ever-present acknowledgment of the macabre prompted André Breton, the leader of Surrealism in France, to claim him as an exponent of the movement.