Saul Leiter · Soames (nudes)

Saul Leiter ~ Soames (Nude), ca. 1965. Gelatin silver print | From the exhibition ‘In My Room’ at Howard Greenberg Gallery
Saul Leiter ~ Soames (Nude), ca. 1965 | From the exhibition ‘In My Room’ at Howard Greenberg Gallery
Saul Leiter (1923-2013) ~ Untitled (Nude), 1950s | src In My Room @ Howard Greenberg gallery
Saul Leiter (1923-2013) ~ Soames, ca. 1960 | src In My Room @ Howard Greenberg gallery
Saul Leiter (1923-2013) ~ Soames, 1950s | src In My Room @ Howard Greenberg gallery
Saul Leiter (1923-2013) ~ Soames, 1950s | src In My Room @ Howard Greenberg gallery

Remedios Varo and the mask

Kati Horna (1912-2000) ~ Remedios Varo with a mask by Leonora Carrington, Mexico, 1957 | src NYBooks
Kati Horna ~ Portrait of Remedios Varo [wearing a mask by Leonora Carrington], 1957 | src Princeton University Art Museum
Kati Horna ~ Remedios Varo y la máscara, 1956. Varo, posing with a mask made by Leonora Carrington | src Morton Subastas
Kati Horna ~ Surreal portrait of Remedios Varo [wearing a mask by Leonora Carrington], 1957 | src Princeton University Art Museum

« L’Œil de l’Amour » 1952

René Goebli :: From « The Eye of Love » series (# 519), 1952
René Groebli :: Série « L’Œil de l’Amour » 1952 (# 532) | src René Groebli
René Groebli :: Série «L’œil de l’amour», 1952 (# 535) Collection MEP, Paris © René Groebli
René Groebli :: Série « L’Œil de l’Amour » 1952 (# 512) | src René Groebli
René Groebli :: Série « L’Œil de l’Amour » 1952 (# 531) | src René Groebli
René Groebli :: Série « L’Œil de l’Amour » 1952 (# 1557) | src René Groebli

La quema · Kiln · Alvarez Bravo

Manuel Álvarez Bravo (1902-2002) ~ Kiln [The Burning] / La Quema, 1957, printed 1974. Gelatin silver print | src getty.edu

Billowing, black smoke fills the sky, obscuring the grazing burro on the right, in this photograph of an adobe brick kiln. Manuel Alvarez Bravo called this image La Quema, a term meaning “the fire” or “the burning.” Depicting a landscape threatened by human industry, the image may symbolize more sinister historical events. Alvarez Bravo, who came of age during the violent Revolution of 1910-1920, often saw dead bodies burning in the street.

The Mexican people may have viewed the kiln–a site of fiery transmutations–as an allusion to the Spaniards’ conquest and purging of the Aztecs in the 1500s. About this image, one historian has said: “The photograph does not project sorrow or excessive drama, but quiet and noble resignation. Even the human figure standing at the base of the kiln/pyramid has an attitude, extremely Mexican in character, of resigned acceptance of destiny.” | src getty.edu

Callas in color, 1950s-1960s

Photograph of Maria Callas as Violetta, taken by Houston Rogers during a performance of ‘La Traviata’ in London in 1958.
Photograph of Maria Callas as Floria Tosca in Act II of Puccini’s opera ‘Tosca’ at Royal Opera House, Covent Garden, 1964, England. | src and © Victoria and Albert Museum, London