Skip to profile content
Log In

Additional Artworks

From Villanova University Art Collection

  1. Dresses, Gabis, Namibia by Kristin Capp, Image 2.

    Kristin Capp

    Dresses, Gabis, Namibia, 2013

    Archival pigment print

    24 x 30 in

  2. Reflects III by Diane Burko, Image 1.

    Diane Burko

    Reflects III, 1989

    oil on canvas

    60 x 98 in

  3. San Juan by Abraham A. Davidson, Image 3.

    Abraham A. Davidson

    San Juan, 1971

    Photograph

    9.25 x 7.25 in

  4. Rome, Palantine Hill by Ethel Lunenfeld, Image 2.

    Ethel Lunenfeld

    Rome, Palantine Hill, c. 1970

    Watercolor

    11 x 14 in

  5. Woman in a Red Shirt by Tadashi Nakayama, Image 1.

    Tadashi Nakayama

    Woman in a Red Shirt, 1959

    woodblock print

    23.75 x 15 in

  6. Mexican Church by Francis C. McCarthy, Image 3.

    Francis C. McCarthy

    Mexican Church, c. 1955

    Watercolor on paper

    19.5 x 14.5 in

  7. Sailboats and Buildings by William W. Corasick, Image 2.

    William W. Corasick

    Sailboats and Buildings, c. 1950

    Oil on canvas

    39 x 33 in

  8. Mrs. Oakley in the Red Rose Garden by Violet Oakley, Image 1.

    Violet Oakley

    Mrs. Oakley in the Red Rose Garden

    Pastel and pencil on papaer

    17 x 11 in

View All Artworks

About the artist

Manuel Alvarez-Bravo

"Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston.

In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization." - MoMA
Image of artist

Please Note: These records are part of an active and evolving database. It may include information sourced from historical documentation that has not been recently reviewed and may be incomplete or inaccurate. Some language or imagery may reflect outdated, offensive, or harmful views. These records are shared in the interest of transparency and research. Our work to research, update, and expand the collection is ongoing. We welcome your insights.

Questions, suggestions, or feedback? Please reach out to us at artgallery@villanova.edu