
Edward Hartwig :: Winter Day, 1937
/ source: metro.warszawa
images that haunt us




In Portrait of the Eternal, Álvarez Bravo fashioned a modern vanitas image of contemplative mystery, which at first appears in line with Surrealist ideas of the female muse. But this was no ordinary choice of model and collaborator: it was Isabel Villaseñor. Already well known as a talented artist and poet, Villaseñor’s distinctive profile, curtain of luxuriant hair, and mestiza (mixed race) heritage resonated with Mexicanidad and an ongoing process of national re-creation during the post-revolutionary period. (text: MMoCA)

En Retrato de lo eterno, Álvarez Bravo construyó la imagen de una vanitas moderna de misterio contemplativo que a primera vista parece alinearse con ideas surrealistas sobre la musa femenina. Pero la elección de su modelo y colaboradora para esta imagen no fue una opción caprichosa. Se trataba de Isabel Villaseñor, ya para entonces bastante conocida como artista y una poeta talentosa. Su perfil inconfundible, el velo de su cabellera suntuosa y su herencia mestiza resonaban con el concepto de mexicanidad y con los procesos en curso de re-creación nacional durante el periodo posrevolucionario. (text: MMoCA · Madison Museum of Contemporary Art)



Marlene Dietrich as Shangai Lily in
Shanghai Express, directed by Josef von Sternberg, 1932 / via
womeninthewindow

Susanne Rosenthal (or stage name: Suse Rosen), Stuttgart Ballet, Germany
, 1928-32
|
unknown photographer
| source: The Met

Walker Evans
:: Girl Leaning on Wire Fence in Yard, Vicinity Bethlehem, Pennsylvania, 1935 | Film negative | source: Bad Hair at The Met
more [+] by this photographer

Siamese Fighting Fish kept in traditional Thai jars. 1937.
“At the sight of each other though these jars…the fighting fish display their gorgeous color changes.“