Manuel Alvarez Bravo Art
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Artist: Manuel Alvarez Bravo
Muchacha viendo pájaros (Girl watching birds)
By Manuel Alvarez Bravo
Located in Carmel, CA
Beautiful original photograph. Hand printed silver gelatin. Signed in pencil on verso.
Category
Mid-20th Century Manuel Alvarez Bravo Art
Materials
Silver Gelatin
Fruta Prohibida
By Manuel Alvarez Bravo
Located in Santa Fe, NM
Manuel Alvarez Bravo. Fruta Prohibida, 1976. Vintage gelatin silver print. Signed and annoted "mexico' by the artist in pencil on verso lower right margi...
Category
1970s Manuel Alvarez Bravo Art
Materials
Silver Gelatin
El Perro Veinte
By Manuel Alvarez Bravo
Located in New York, NY
1958
Gelatin silver print, printed later
7 1/2 x 8 3/4 in.
Artist's signature in pencil on verso
Category
1950s Other Art Style Manuel Alvarez Bravo Art
Materials
Silver Gelatin
Portrait of the Eternal
By Manuel Alvarez Bravo
Located in Carmel-by-the-Sea, CA
Signed and dedicated to Lee Witkin on front of the print. From the estate of Lee Witkin. Print in 1981 an edition of 25.
Category
1930s Manuel Alvarez Bravo Art
Materials
Silver Gelatin
Espejo Negro (Black Mirror)
By Manuel Alvarez Bravo
Located in Santa Fe, NM
Manuel Alvarez Bravo. Espejo Negro (Black Mirror), 1947, gelati silver print, Signed and annoted "mexico' by the artist in pencil on verso lower right ma...
Category
1940s Manuel Alvarez Bravo Art
Materials
Silver Gelatin
Despues del mercado
By Manuel Alvarez Bravo
Located in Santa Fe, NM
Manuel Alvarez Bravo. Despues del mercado, c. 1940, platinum palladium print.
Category
1940s Manuel Alvarez Bravo Art
Materials
Platinum
Caballo en Aparador, Segundo, c. 1930 / Printed Later
By Manuel Alvarez Bravo
Located in Santa Monica, CA
Signed in pencil on recto
Platinum/palladium print
10 x 8 inches
Category
1930s Manuel Alvarez Bravo Art
Materials
Platinum
"Un cuarto para las doce"A quarter past twelve, c. 1945-1947
By Manuel Alvarez Bravo
Located in Santa Monica, CA
Signed, titled, & dated in pencil on verso
Gelatin Silver Print
Paper 10 x 8 inches; Image 9 5/8 x 7 5/8 inches
Category
1940s Manuel Alvarez Bravo Art
Materials
Silver Gelatin
La hija de los danzantes (The daughter of the dancers)
By Manuel Alvarez Bravo
Located in New York, NY
Silver print
Signed in pencil, verso
Also inscribed "México" and "(C) 976" in pencil, verso
This artwork is offered by ClampArt, located in New York City.
Category
1930s Modern Manuel Alvarez Bravo Art
Materials
Black and White
Fruta Prohibida
By Manuel Alvarez Bravo
Located in Santa Monica, CA
Signed in pencil on recto
Manuel Alvarez Bravo was a pioneer of artistic Latin American Photography in the 20th Century and produced a proliferate body ...
Category
Late 20th Century Manuel Alvarez Bravo Art
Materials
Platinum
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Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch:
"When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since.
To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection.
The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there.
Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning.
Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture.
During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..."
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Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...
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Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch:
"When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since.
To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection.
The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there.
Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning.
Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture.
During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..."
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Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...
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Located in Los Angeles, CA
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Silver gelatin on Ilford multigrade paper, signed, edition of 5
Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch:
"When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since.
To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection.
The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there.
Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning.
Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture.
During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..."
- Katie Peyton Hofstadter
Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...
Category
2010s Feminist Manuel Alvarez Bravo Art
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Silver Gelatin, Black and White
Stripper Performers, Atlanta, Vintage Photograph Nude Female Dancers USA 1990s
By Leonard Freed
Located in New york, NY
Stripper Performers, Atlanta, 1996 by Leonard Freed is an 11" x 14" vintage print, stamped on verso (back of photo) with Freed's copyright stamp and signed (back of photo) by the art...
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1990s Contemporary Manuel Alvarez Bravo Art
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The Kate Series, Portfolio of (5) Black And White Photographs of Female Nudes
By Leonard Freed
Located in New york, NY
The Kate Series, 2002 by Leonard Freed came as a welcome reprieve near the end of Freed's life before which time the photographer tackled social-documentary subjects for which he bec...
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NM-A-N2G
By Edward Weston
Located in Carmel-by-the-Sea, CA
Printed by Cole Weston from the original negative now housed at the Center for Creative Photography in Tuscon, Arizona, retired. The Weston Gallery is owned by Matthew (grandson of Edward Weston) and his wife Davi Weston and we've been dealing in fine art photography since 1975! Edward Weston (1886 – 1958) was an American photographer, and co-founder of Group f/64. Most of his work was done using an 8 by 10 inch view camera. In 1902, he received his first camera for his sixteenth birthday, a Kodak Bull's-Eye #2, and began taking photographs in parks in Chicago and at his aunt's farm. The young Weston met with quick success, and his photographs were already being exhibited at the Chicago Art Institute merely a year later, in 1903. Weston worked mainly with nudes, still life - his shells and vegetable studies were especially important - and landscape subjects. After a few exhibitions of his works in New York, he went on to found Group f/64 in 1932 with fellow photographers Ansel Adams, Willard van Dyke...
Category
20th Century Manuel Alvarez Bravo Art
Materials
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Previously Available Items
El Trapo Negro (The Black Cloth)
By Manuel Alvarez Bravo
Located in Dallas, TX
No Edition
Gelatin silver print, 10 x 8 in.
Signed and misc. notation in pencil on print verso by Manuel Alvarez Bravo.
Category
Late 20th Century Post-Modern Manuel Alvarez Bravo Art
Materials
Silver Gelatin
La Hija de los Danzantes (The Daughter of the Dancers), 1933 - Alvarez Bravo
By Manuel Alvarez Bravo
Located in London, GB
La Hija de los Danzantes (The Daughter of the Dancers), 1933 - Alvarez Bravo
Signed and inscribed 'México' on reverse
Silver gelatin print, printed c. 19...
Category
Late 20th Century Manuel Alvarez Bravo Art
Materials
Silver Gelatin
"El Payasito" (The Little Clown)
By Manuel Alvarez Bravo
Located in Santa Monica, CA
Signed and titled in pencil on verso
Manuel Alvarez Bravo was a pioneer of artistic Latin American Photography in the 20th Century, and produced a proli...
Category
Mid-20th Century Manuel Alvarez Bravo Art
Materials
Platinum
Retrato de lo Eterno (Portrait of the Eternal), portrait of Isabel Villaseñor
By Manuel Alvarez Bravo
Located in Dallas, TX
Signed and location in pencil on print verso.
Category
Early 20th Century Modern Manuel Alvarez Bravo Art
Materials
Silver Gelatin
Manuel Alvarez Bravo art for sale on 1stDibs.
Find a wide variety of authentic Manuel Alvarez Bravo art available for sale on 1stDibs. You can also browse by medium to find art by Manuel Alvarez Bravo in silver gelatin print, platinum print and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the modern style. Not every interior allows for large Manuel Alvarez Bravo art, so small editions measuring 7 inches across are available. Customers who are interested in this artist might also find the work of Helen Levitt, Len Prince, and Ida Lansky. Manuel Alvarez Bravo art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $590 and tops out at $14,000, while the average work can sell for $10,000.