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Paris as a Site of Avant-Garde Art and Cultural Exchange in the 1920s

To this conceptual line pertain his still lifes and urban photographs, among which stands out his famous El perseguido The followed, , in which the game of shadows captured by the photographer informs the image with an entirely new narrative dimension.


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In he held an influential exhibition at the Centre Popular Catalanista de Sant Andreu, and in the magazine Art de la Llum devoted a monographic issue to his work. He also took part in exhibitions abroad and nurtured relationships with institutions such as the Royal Photographic Society. Manel Armegol would continue to work as a photojournalist and correspondent until he suffered a serious accident in From that point onward, he has evolved toward a form of observational photography which he develops in Barcelona and while on photographic travels Nepal, India, Iceland The multifarious style of his photographs can easily adapt to the range of themes he tends to explore.

Of note are his images of textures and close-ups, where color is the protagonist. A good proportion of his material from the s and above all after is in black and white, with special attention to natural landscapes, which he captures in dream-like images charged with deep poetic feeling. A freelance photographer, following the publication of his photographs about the Transition.

Barcelona: Lunwerg, ; Voices of Water. Tokyo: Shiseido-Word, ; Memories of Winds. Tokyo: Shiseido-Word, ; Herbarium. Madrid: Turner, ; Transiciones. Barcelona: Alpha-Decay, ; Terrae. Madrid: Turner, Having worked as a tailor and a watchmaker, he came to photography with a box camera. While he specialized in portraiture, he carried out a lot of work as a photo chronicler. As well as working in his studio, he hit the streets with his camera to capture day-to-day life in Iniesta and in neighboring towns, such as Montilla del Palancar, Villanueva de la Jara, or Quintanar del Rey.

He was one of the photographers who, from onward, would use fake backgrounds and stages in his portraits.

The A - Z of Spanish Photographers by Bint Bint - Issuu

During the final years of the XIX century he also. Similarly, he worked in the production of religious images. These prints of saints and patrons hold significant historical value. Barcelona, In he opened his first studio. Specializing in advertising photography, he combines this task with personal projects in which he experiments with Polaroids, video and collages. Presently he is also pedagogic director and lecturer at the Idep School in Barcelona.

Since he develops an extensive personal project focused on natural and urban landscape. It encompasses his series of black and white photographs Terra and Urbe. The former, produced in Mali and Burkina Faso, captured the skies and landscapes of these two countries in West Africa. Urbe is a reflection about contemporary urban architecture inspired in the North American city of Houston in the s. Equally of note are his research projects about the human body, which feature as the protagonists of series such as Animal and Sculpture.

Composed of black and white images, the photographs of these two series take spectators to the sculptural work of classical artists such as Auguste Rodin and Leonardo Da Vinci. Iniesta, ca. Barcelona and Madrid: Lunwerg, p. In the Ateneo de Caixa Laietana of Barcelona held the retrospective Works, , which selected four of his most artistic works: Animal, Sculpture, Urbe, and the experimental video Transformer. Barcelona: Udyat, ; Terra.

Barcelona: Actar, ; together with Robles, Marta. Valencia: Civis Project Management, She collaborates with ABC since , having worked for the newspaper on a permanent basis in the city of New York and at the headquarters of the United Nations. Her work as current affairs photographer, which began in Manhattan, is partly responsible for the social commitment she builds into her projects and for the way she approaches photography, which reveals a desire to formulate a visual narrative.

Interested in troubled migration flows, in she developed together with the journalist Alfonso Armada the documentary project Desde la frontera From the border , for which she traveled and photographed from coast to coast the over 3,kilometer-long border that separates Mexico from the USA. She used these same images in to. The following year, the Cervantes Institute of Madrid hosted her series Desde la frontera, which during that year and toured the venues of the Cervantes in Morocco and Lisbon.

El rumor de la frontera The murmur of the border.

Manu Chao - Me Gustas Tu

Madrid: Alento, ; Ars Itineris. Madrid: SECC, He moved to California in to study photography completing his degree from the San Francisco Art Institute in Between and he was an associate lecturer of the Faculty of Fine Arts of Cuenca. As a photographer he has specialized in architectural photography and the reproduction of art works, while at the same time developing his personal projects in which he focuses on the representation of space from a highly intimate vision, deploying a magical and dream-like form of documentary, largely indebted to that originated in the s.

Barcelona: Actar, ; La Plaza del Obradoiro. Madrid: Abada, ; Desenlace Denouement. Madrid: Espacio Valverde, Focusing on stage photography, he has worked for international theater companies and festivals over the last 26 years. That same year, he collaborated as a photographer in a project by Clowns Without Borders in Nicaragua.

Una Mirada One regard.

El Tango Canción

Barcelona: Sirpus, An engineer by trade, he arrived in Spain in to work in the construction of the railway between Alar del Rey Palencia and Reinosa. The contracting company commissioned him a series of photographs to document the work, with the intention of offering them as a gift to the then young Queen Isabella II, who was an enthusiast of photography. The images of this commission constitute the oldest collection of photographs in Spain. The album consists of 87 images, split into a folder of 39 photographs that range between 9.

He used the collodion process, which meant that an unlimited number of copies could be produced. Nevertheless, to this end he had to carry a portable dark room at all times, since the copies needed to be processed immediately. Encouraged by the. He was equally interested in the surroundings, photographing the landscape and taking portraits of other engineers and people linked to the works.

Conceiving each shot as an objective document, he became the first foreign photographer to escape the romantic topics that other artists would so often appeal to in excess in their vision of Spain at the time. The album is stored in the Archive of the Royal Palace in Madrid. At the same time, the Municipal Library of Santander holds 41 photographs of the series. Barcelona: Lunwerg, pp. Pau Audouard received technical and visual instruction in the studio owned by his father, fellow photographer Jean-Oscar Audouard. Having become a fashion photographer, he devoted most of his time between and to the portrait.

He was the first photographer to modernize the structure and traditional lighting of photo studios, installing an entire electrical system to work with different lighting and stages. Additionally, he was also active in architectural and industrial photography, had an interest in film, and made some contributions to the theater, of which hardly any evidence remains. His most famous works include his production during the International Exposition: photographs of the construction of the pavilions, of the visitors, and the atmosphere.

Madrid: ca. Recuerdo International Exposition of Barcelona Barcelona: Audouard y Cia, ; Rius, Nuria. He studied fine arts in Zaragoza, but his first artistic interest was the theater. Toward the beginning of the s he established and directed the independent theater company, Grupo Following over productions and a handful of awards for stage design, setting and direction, the theater took him to film. In he produced his first film in small format, La gitana The Gypsy , which was followed by other award-winning films in international festivals. In he began to show some interest for photography, working in his own studio.

He progressively focused on creative photography, especially on surrealist techniques and in photo col-. The dramatic origins of his career will always be present in his work, a visual universe that merges aspects from the classical tradition, mythology, tragedy, drama, sarcasm, happiness, sexuality, life and death. Avellaned interprets them from his intimate memory, halfway between candor and debauchery, purity and morbidity, life taken to the limit with a passion that links him to Goya, to witchcraft, to the otherworldly and the visionary. Sobriety, impact and expressiveness characterize the work of this troubled artist.

Retratos Pedro Avellaned. Zaragoza: Prensas Universitarias de Zaragoza, ; Pedro Avellaned, los restos del naufragio Pedro Avellaned, the remains from the shipwreck. Zaragoza: Ayuntamiento de Zaragoza, ; Piedra papel tijera Rock, paper, scissors. Photography album of the city of Barcelona. State of the works in Fine Arts Palace. He returned to Seville in , where he worked as a photojournalist and portraitist until he gave up photojournalism to focus on his personal projects. His first work, journalistic in nature, helped him to connect with the documentary genre, heavily influenced by the masterful Cartier-Bresson.

His more personal work, mostly in black and white, evolved later, and his compositions evidence influences from painting, with the use of a very natural kind of light, devoid or gimmicks, and paying great attention to details. In terms of themes, his predilections lay on the people, the environments, and the lifestyles of the Andalusian scene.

The last series of photographs by the artist came, precisely, in the book titled Paisanos Compatriots , published in This group of photographs was preceded by the series Sevillanos Sevillian people , finished in as a result of 20 years taking portraits of his neighbors in the Andalusian capital—of note are the ones where the lens dwells on the activities at shops and stores in the city—and his most notorious project, Marismas del Guadalquivir Marshes of the Guadalquivir, , which merited him the FotoPres scholarship.

Works such as Locus: bosque sagrado Locus: sacred forest, , De luce et umbris , or Sit tibi terra levis reflect about the contradictions between reality and representation, the symbolism of images, the constructive nature of photographic vision, the quest for that which is pristine, or the return to the origins. His work has been exhibited regularly since Among his most noteworthy exhibitions should be included the shows organized by the Parisian gallery J.

Salamanca: Universidad de Salamanca, ; Plasma. Salamanca: Universidad de Salamanca, La Alharia farmhouse in Sierra Bermeja. A graduate in fine arts with a specialization in sculpture from the Universitat de Barcelona, through the s he obtained several scholarships and awards in this discipline. Since the end of that decade he has turned to photography as a means of expression, to reflect through different projects about the notions of progress and wellbeing and their consequences, not always positive, in the ordinary life of individuals.

Presently he is a lecturer in the Art School of Zaragoza. In his photography, Ayguavives applies new digital technologies to the images in order to touch upon concepts such as the speed of evolution and the difficulties of social integration within this development, as well as the lack of control over these new technologies. In his first photographic work he reflected about the paths opened in the field of genetics Otro cuerpo [Another body], , although the bulk of his oeuvre—and of his concerns—revolves around the relation between people and their surroundings.

The problems and the absence of signs of identity of contemporary urban space; Orthez, ; the relation between human beings and the elements in their surroundings created by humans; the damage humans have caused on the. He regularly holds exhibitions in Spanish galleries. Otra ciudad One city. Another city.

Zaragoza: Apila, ; El ocho dormido The slumberous eight. Zaragoza: Prensas Universitarias, Her reportage, social and political in nature, is characterized by the use of black and white photography and high contrasts. She has also devoted part of her professional career to portraiture, above all photographing the most outstanding women in Catalan culture and the protagonists of the resistance against the dictatorship, both within the country and in exile. She has also produced features about architecture and drama.

La cultura com a defensa, which features portraits of socially committed intellectuals and artists same venue, Selected works Caterina Albert: retrat. Barcelona: Departament de Cultura, Enrique Aznar was part of the second generation of pictorialist Spanish photographers and, like most of them, was an amateur photographer who only used the medium as a form of expression. His most prolific period spanned the s and the s. The focus of his work is on the landscape. He used the bromoil process, an early technique favored during the first half of the XX century, which consists in bleaching a photographic print of silver.

His work later evolved from his first pictorialist stage to the creation of images in which he used the aesthetic principles of the New Vision. Part of his work is found in the collection of Juna Naranjo Barcelona. He began his solo professional career toward , developing it fully during the s and s. His work captured the history of Catalonia through the beginning and the middle of the XX century. It encompasses diverse subjects, such. He visited some of the more sordid areas of Barcelona to carry out a number of his features, and he also covered the first year of the Civil War as well as events linked to it, such as urban protests and disasters.

He contributed with his work to the constant renovation of photojournalism in Catalonia. He was the first Catalan photographer to use a Leica camera in He was a contributor to La Tribuna and La Noche, publishing images of sporting events and political or social gatherings. Las fuentes de la Memoria II. Photography and society in Spain Soon after his birth, his family moved to Barcelona and shortly thereafter to Madrid.

A photojournalist specializing in bullfighting, he first worked as a typesetter and an apprentice bullfighter. In he began publishing scenes of costumbrismo in the daily newspaper La Tribuna, where he met journalist Manuel Cervera, who introduced him to the world of bullfighting. During the Civil War they collaborated with the republican government, and after the end of the conflict they had to interrupt their activity as photographers until When he returned to his profession, Baldomero was part of the founding members of the magazine El Ruedo, where he published features until his death.

The Baldomero and Aguayo Archive in an essential source for the study of bullfighting during the first half of the XX century. It comprises approximately 26, images with a bullfighting theme, including photographs of matadors active between and A South American engineer with Spanish heritage, he was one of the reporters who captured the changes undergone in Catalan society at the start of the XX century. Following her death in , Ballell traveled to Barcelona to study Industrial Engineering. That is where he discovered photography.

In he returned to Catalonia, and gave a new direction to his professional career turning toward informative images. His work, which encompasses different formats from glass plates to the pages of newspaper and magazines, is an example of the evolution experienced by photography until it reached the modern period. In the exhibition Frederic Ballell, fotoperiodista Palau de la Virreina, Barcelona was organized as a tribute to him. The best part of his work is preserved in the AHCB. Selected work Frederic Ballell. La Rambla. Bienvenida, Estudiante, M. A moment's rest for the tramway workers.

A painter, sculptor, and video artist as well as a photographer, he completed an undergraduate degree in fine arts in specializing in Italian and Flemish painting from the XV and XVIII centuries. Since he works blending painting and photography, and he has focused on a form of photography that is architectural and urban, and which reveals an influence from classical art, both in the approach to his work and the treatment of his shapes and perspective.

A part of his work features a markedly poetic aspect in which the contrast of lines and of interior and exterior spaces is highlighted together with the pairing of nature versus architecture. He also produces abstract photography with a strong presence of intense colors and movement, as can be seen in his series Nocturno sobre Broadway Night scene over Broadway.

Guided by a third line of creation is his project Espacios ocultos Hidden spaces , in which the artist digitally manipulates photographs of works by masters of the history of western art in order to establish a dialogue with classic artists from a contemporary perspective. Forests of light. Madrid: SEAC, They are both brought into play so that our qualities of being finite, mortal and largely insignificant make his work impact upon our human awareness in a similar way to when one is placed before the immensity of a desert, the spectacular view from a mountain top or the inconceivable endless size of the sea for the first time.

His gaze on these architectural constructions, which are mainly emblematic buildings by significant architects, entails giving them back the freedom they lost when they were made material in concrete decisions as to accessibility, orientation, sustainability, structural calculations, considerations about the lighting, the ever-present signposting and other details that are essential but which stray from the original idea from which all these buildings sprung. Through his photographs Ballester travels the path of concretion to abstraction; he decomposes and dematerializes in such a manner that it seems like these structures he portrays lacked any weight, as if they did not possess the matter of which they are built and only the skeleton of the perfect, pure and integral idea had remained to be admired.

The Abstraction in Reality. She completed an undergraduate degree in journalism in Barcelona and trained in photojournalism in London London College of Printing. Since she teaches photography at the Universitat Ramon Llull of Barcelona, an activity she combines with her photographic work. Her first destination as a professional was the war in Croatia, which she covered in as a freelance contributor for The Times.

From that moment and until the year she focused her work on the Balkan region and other conflict areas.

Americans in Paris: Huidobro. Girondo. Tarsiwald. Vallejo

Her classic style and close proximity to the person photographed reveal her concern for the story and the situation in which the victims find themselves. She has asserted that for her it is necessary. She spends plenty of time reflecting, which allows her to go deeper into the causes of the war and its consequences on the civilian population. She uses a careful perspective, various points of view that act as windows, in which architecture frames the protagonists and in which she pays particular attention to symbols and the breakdown of everyday life.

Her compositions are reminiscent of the plastic organization of classical art. From a very early age he expressed great interest in photography, which led him to learn the trade in the studio of a professional photographer. Later he would combine his trade as a portraitist with his journalistic activity, earning the position of correspondent for the weekly Blanco y Negro in , and in for the daily newspaper ABC. Additionally, he was a successful producer of Valencia-themed postcards.

After his death the position would be filled. As a professional he sought to incorporate the latest technical innovations into his work, regularly traveling to cities like Paris or Brussels for this purpose, and he was able to blend his documentary interests with fine aesthetics in his work. Colecciones ABC Valencia Part of his archive is found in the photography collection of ABC and in private collections. Valencia: Generalitat Valenciana, In he opened his own artisan photography workshop, first in Palma, and in in Perpignan, in southern France.

Quimper, Following studies in photography and video at Idep Barcelona, his interest shifted to new forms of expression and to travel memoirs, works on which he could focus thanks to the FotoPres scholarship, which he was awarded in He combines photography with illustrations and texts in his work, generating a powerful narrative sense. She started working professionally as a photojournalist in , collaborating with various magazines and publications both in Spain and abroad. The strength of her work hinges on her choice of subject and her approach to them.

Venezuela, Cuba, Chernobyl, Dubai and Guatemala are a few of the places about which she has reported, looking for stories of social and human interest, for situations in which humans are trapped by their traditions or by other humans and capitalism. They reveal her contemporary training and a highly personal regard, which is further emphasized by her photographs, most of them shot in color with sharp contrasts of hues and light that help her identify the emotions of the scene.

Her most famous work is Caracas. La sucursal del cielo Caracas. She has also held exhibitions at the Fotohof Gallery in Salzburg Austria, In she received the Inge Morath Magnum Foundation Award, presented on a yearly basis to a female photojournalist, making her the only Spanish woman to date to have scooped the prize. Working as a television cameraman for the agency EFE, he decided to enroll in the audiovisual communication program of the University of the Basque Country. In he completed the master in photography of the EFTI academy in Madrid, where he presently teaches. He combines his duties as a lecturer with commercial photography and the development of personal projects.

Specializing in documentary photography, in he moved for two and a half months to China in order to produce his series Conciencias desplazadas Displaced consciences. This work, which seeks to portray the dramatic changes taking place in the Asian country, received the Roberto Villagraz scholarship that same year. Nevertheless, his most notorious project to date is War Theatre , a series of representa-. It is the result of two years of work, traveling across Europe, recreating the task of a World War II photographer.

He discovered his passion in , after taking some photographs during a protest in London. Journalism and Human Rights Lecturer and guest lecturer in various universities and institutions focused on journalism and human rights, he has taught photojournalism in the Universitat Pompeu Fabra Barcelona and in the I. He was the director of the journalism workshop of the University of Oviedo In he founded Periodismo Humano, an online publication with a focus on human rights which he directs since its onset and which has already received a dozen awards.

A self-taught photographer, he is interested in social problems. He started photographing the revolts of Rif in and the violent protests by Asturian miners in Since then, he has worked in Bosnia, Rwanda, Chiapas, Guatemala, Palestine and El Salvador, among other places in conflict, with the hope of churning hearts and providing information about the violation of human rights.

His photographs do not follow a fixed aesthetic formula, although he favors the use of black and white. Periodismo Humano, Nablus, Palestine, The corpse was not removed for several hours, but the seasonal activity of a beach crowded with visitors continued unhindered. Tarifa, Spain, Initially she freelanced for the now-defunct magazine El Mon. She presently combines commissioned journalistic work with her personal projects. Specializing in documentary photography, she has produced features in places as varied as Israel, Cuba, Colombia, Montenegro, Senegal, Barcelona or Morocco.

For four years she recorded the cultural and natural heritage of Colombia, Argentina, Brazil and Mexico for the company Gas Natural. Between and she traveled the latter country to photograph the Day of the Dead festivities, producing the images that would lead to her black and white project, Muertitos Little dead. Raval, a report shot as individual flash stories in which her analog camera registered unique moments, distanced from the typical images of this emblematic neighborhood in Barcelona.

He comes to photography in His first professional assignment comes in on behalf of a Dutch company, which asks him to take school portraits. Later he starts publishing in magazines and weekly newspapers. In he uses for the first time a twin lens RolleiFlex 2. He starts publishing and featuring in group exhibitions. Two years later he would fit a black and white lab to provide a service for other professionals.

He starts collaborating regularly with publishing houses and carries out commissions for advertising campaigns on behalf of record labels and other media. Resulting from his travels abroad, to India in , he hosts his first solo exhibition. Street photography, portraits of people and animals, as well as travel photography, landscapes, and the atmosphere of selected cities are recurring themes in his production. At the same time he started working for modeling agencies in Madrid, Valencia and Barcelona.

In he moved to Milan, where he collaborated with major media and international brands. His multidisciplinary influences are manifestly evident in his work, which is characterized by a poetic and sensual vision in which elegance and a touch of erotism are running threads, together with calculated sobriety. The classical beauty of the Renaissance and Italian cinema of the s have inspired many of his photographs.

For his camera. In he collaborated with the dance critic Roger Salas in the production of the book and itinerant exhibition Men in Skirt, a project that gathered 40 domestic designers and for which he photographed relevant figures of the dance establishment. Men in Skirt, Selected works Escatapartes. Barcelona: Lunwerg, ; Autogarabatos. Teruel: Museo de Teruel, ; Ladrones de corazones Burglars of hearts. En Valencia In Valencia. Universitat de Valencia, ; Par de dos Two of a kind. Madrid: Blur, ; Guirigato. Born in Seville to a French family, Emilio Beauchy is considered one of the most prolific photographers to have stemmed from this city and one of the first photojournalists in Spain.

In he moved to a larger studio in La Campana, which he called Casa Beauchy. Emilio Beauchy noted the absence of images from emblematic places in Seville and identified in them a business opportunity. He produced a series of over photographs about bullfights, styles, representative neighborhoods and monuments in Seville. This material served him as the foundation to commercialize innumerable copies. One of his most famous. Equally famous are his photographs of the collapse of the cathedral dome, which happened on August 1st His extensive body of work is split between the National Library Madrid , the University of Seville, the Ayuntamiento de Sevilla, the digital Photography Archive of Espasa Calpe, the Fototeca hispalense, and other private collections.

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Selected works Prohibido el Cante. Flamenco and photography. From there, he would continue his journey to Algeria, and in. He experimented with different techniques, excelling in the use of calotype or paper positive, a process that back then was easier than glass plates, considering the risks and accidents germane to a long journey. Using this technique he produced picturesque scenes that pursued the romantic ideal.

He methodically controlled every detail, from the focus to the lighting or the composition of the scene. Uyuni, Bolivia, Tokyo, London, The genealogy of this family of photographers began with Jaime Belda Alted, who owned a photo studio in Novelda and another one in Albacete. Hundreds of his crystal plates remain, primarily family portraits and costumbrista photography in formats that range from 18 x 24 to 9 x His son, Belda Seller, inherited the business. After the Spanish Civil War he destroyed a large proportion of his work in order to keep the winning side from identifying the people who attended the republican events he had photographed in Albacete during the conflict.

His work was influenced by the appearance of black and white negatives in 6 x 6 format. Equipped with his Rolleiflex and Hasselblad cameras, he devoted his time to architectural photography and social studies. Once he finished university, he started helping at the family studio, only to end at the helm of it until His work is characterized by the use of color, with his images of landscapes from La Mancha standing out.

In the Ayuntamiento de Albacete hosted the exhibition Albacete, cuatro miradas Albacete, four perspectives , which looked at the work of the four photographers of the family; and in the building of the former ayuntamiento of the city hosted Tiempos de Feria Fair time , photographs taken by the Beldas between and which provide an anthropologic chronicle of the evolution of the Fair of Albacete.

In he graduated with a degree in history of art from the University of Valencia, the city where he lives and works. He has been the recipient of a number of creative scholarships and awards, in-. That same year he was one of the finalists of the International Contemporary Photography Prize Pilar Citoler, and in he was nominated for the Prix Pictet. As well as photography, which he has pursued since , in he began to work on video as a form of expression, carrying out projects in which both media feed off each other.

He lives and works in Berlin. The axis of his oeuvre is articulated around the city as an un inhabited space, the transformation of the territory, and real surroundings which become artificial. Many of his projects reflect about the relation human beings establish with such surroundings through their absence.

Berlin: Galerie Invaliden1, ; Western. He was a painter and photographer. In Cuba he worked between and editing photos and as a lighting technician. As well as portraiture, a photographic genre he was able to supply with great expressiveness and variations, and which he also produced outdoors, he was interested in artistic photography and selfportraiture, experimenting with photomontage and avant-gardist techniques akin to New Objectivity and New Vision. He produced advertising work for several Spanish agencies, establishing a photographic collaboration with La Falange.

Noteworthy was his contribution between and to the magazine La Gaceta del Arte, directed by Eduardo Westerdahl, which promoted the ideology of the Bauhaus, rationalism and surrealism. In his work could again be viewed in the Cultural Space El Tanque of the same city. Dubai, United Arab Emirates, Paris, France, A Place to Hide but not for All.

From the series Entuausencia Inyourabsence. Porto, Portugal, He graduated in with a degree in photojournalism from the Tower Hamlets College of London, and in completed a specialization in documentary photography from the University of Wales Newport. Interested in the anthropology, ethnography, political history, culture, and architecture of Europe and Latin America, he develops his work along the colorist vein of contemporary documentary photography. Presently he lives and works in Belo Horizonte Brazil. Of note is his project Cuentos para supervivientes Tales for survivors , a delicate series of Polaroid shots taken in Lisbon between and , in which the author ponders about the fleeting nature of the present time.

The simultaneous development of both aspects turns him into one of the few professionals in Spain who know in detail the ins and outs of the contemporary art scene. His passion is split between being an artist and owning a gallery. Mira emphasizes a theatrical analysis of humans through his group portraits: settings in which religious and moral values meet psychoanalytic and educational theories; empty and gloomy stages.

His projects seek to reveal themselves as a faithful reflection of the social, economic, culturaleducational, and political situation of the times. Valencia: Generalitat, ; Al raso: textos Out in the open: texts. Valencia: Tres i Quatre, ; Panorama new economy. Madrid: Universidad Complutense, He studied fine arts for six years and worked as graphic artist at advertising agencies.

In he decided he would become a photographer and moved to Paris. Unlike other photographers at the time who approached their work from a highly technical perspective, Bernad began to develop a more aesthetic vision of his trade. This has enabled him to work over the past 40 years with the best international magazines, establishing himself among the most renowned and coveted fashion photographers in the publishing world.

But Bernad is not only a professional fashion photographer: his work as a portraitist reaches beyond professional commissions. Stylistically, it is difficult to place him in a single category. He injects his photographs with a magnificent control of the stage, which reveals his passion for art, architecture, film, the theatre, dance and music. All of these disciplines compose a creative universe that he uses as a source of creativity in his images, and that he expresses through the treatment of shapes and light indoor and outdoor.

This allows him to create universes, to narrate stories and to evoke feelings. His portraits always seek to reach the soul, avoiding histrionics and aiming for a clear and direct reading of the image. To this end, he constantly tries to distract his models in his interaction with them, in order. Barcelona: Edicions 62, He holds an undergraduate degree in fine arts with a specialization in photography, film and video from the University of Barcelona, and completed a master of advanced studies in sociology from the Public University of Navarre.

In he received one of the grants for artistic creation awarded by the Government of Navarre, and a year later he held his first exhibition, which took place at the Museum of Navarre Pamplona. Since the beginning, his photography has evidenced commitment for social and political causes. In this respect, his first work, Jornaleros Day laborers , which he developed between Having completed his studies in architecture, he began to display an interest in photography.

Its possibilities as a narrative discourse in which there is room for simulation, contradiction, or even irony finally made him opt in favor of it. In his photographs, he picks out surprising and humorous landscapes from the surrounding reality using a large format camera. Most of his work originates in a commission that transcends in time toward more personal proposals. His latest exhibitions include Insula peninsular. Barcelona: Actar, ; Europa. Selected works Clemente Bernad. Pamplona: Alkibla, ; La memoria de la tierra. Exhumations of victims murdered by Francoist repression. Pamplona: Alkibla, Karma Madrid.

Madrid, Greatest hits. With the intention of promoting new documentary photography creation, the group also manages an academy where courses, workshops, conferences and portfolio reviews are conducted. It offers access to scholarships and is open to supporting new talent.

Our projects originate directly from the way we are and the need to narrate something in detail.

We believe in photography as a vehicle to generate judgment and knowledge. In the Blassi brothers created, together with Salvador Bru, the illustration and design studio where for the following years they would collaborate in various projects, with Jaume working on the photography and Jordi on the design. Photographer Jaume Blassi first came to the world of photography in His friend, painter Salvador Bru, who directed the magazine Punto y Moda, appreciated his ideas about lighting, composition, and staging, and turned him into a professional photographer.

In he discovered the work of Paul Strand, and especially the straight photography movement. As a photographer, his specialization is the reproduction of artworks and architecture. In he collaborated with the National Geographic Society, under the photographic direction of Robert E. Gilka, and he has taken part in the editing process of several landscape books.

Meanwhile, Jordi Blassi began his training as a graphic artist working for the publicity agency. Hacienda of Candelaria, Bolivia, Peru, While one photographed, the other was in charge of the design of the book. Especially noteworthy within his work at the Museum of Abstract Spanish Art is the publication of books for bibliophiles about the most relevant painters represented in the museum. Jordi accompanied and collaborated with his brother Jaume in various professional trips.

Ediciones El Viso, ; Capitales europeas de la cultura European capitals of culture. Francis O. Since then they have developed a professional career defined by the prevalence of space, history and memory. Their photographs embrace sceneries that are marked by the events that took place in them. These series enable them to speak, through an apparent objectivity in their representation of space, about a personal, social or historical time.

In they were awarded the National Photography Prize. Madrid: Ministerio de Asuntos Exteriores, From the series Supervivientes Survivors. Mauthausen, ca. Reproduced in Matador, volume F. Bleda y Rosa. But their works simultaneously allude to a new meaning for the tradition of historical painting, which in modernity took commemorative dimensions, linked both to the historical document and to the monument. In our own baggage as spectators these references are completed on reading these images from another angle, this time associated to the reportage and more specifically to press photography in wartime conflicts.

This is a genre which in the wider context of press photography has been identified as a replacement for the witnessing functions of historical painting, crossing through the documentary condition to the context of an information society that provides a support for the new reporting of history. Jeff Wall has pointed out these issues with an interesting analogy between press photography and historical becoming.

Indeed, the aspect of the new image of war in the mass media has served as a background for some theoretical fascinations. The new status of that imaginary and the game with the anachronisms of nineteenth-century or romantic evocations are necessary coordinates. Of course, there are other cultural references that have already been mentioned, such as the cinema or the contemporary history of photography itself. But all of these contexts would be incomplete without the poetic character with which they show their pictures through the minimum description of the territories they include […] Perhaps the great variety of topics that the works give rise to have partially hidden the almost ritual work that Bleda y Rosa undertake in each new setting, both in studying the historical background of the conflicts and in composing an image of the present that alludes to all of the semantics buried beneath the landscape.

The relationship between the semantics of the place and the final aspects of the image has an interpretational charge that has its beginning in a careful process of documentation and decision-making about the final surface that the image will have. This recognizing of the place, the journey to the setting, the physical and documentary inspection and its recalling suited to the image, forge the artistic origin of this proposal.

His luck did not turn with the break of the Second World War, during which he was kept, together with many other Spanish citizens, in the Nazi death camp of Mauthausen Austria between and Sent by the SS to the scientific lab of Mauthausen, he was given the task of photographing new prisoners and documenting day-to-day life in the camp, but with the support of the Resistance Committee, a clandestine agency formed to help prisoners survive, he decided to hide the images that could be used as evidence later; specifically those incriminating high ranking Nazi officers of the horrors of the camp.

The day when the camp was liberated, in May , he started a feature that. Boix appeared as a witness in the International Tribunals of Justice of Nuremberg, providing numerous photographs of the direct presence of various Nazi leaders in the camp of Mauthausen. He recovered approximately 20, snapshots of the over 60, he had to take for the SS.

DVD; Bermejo, Benito. He spent his adolescence in Tarifa, where he started to practice windsurfing, a hobby that would take him to Hawaii to compete at an international level in this sporting discipline. In he settled in Amsterdam and studied photography, to which he turned professionally after attending an exhibition by Ed van der Elsken which marked him deeply.

He is a founding member of the agency NOOR. Pep Bonet captures the atmosphere of that which he photographs thanks to unusual framings, forced foci and impossible perspectives. This is the line of work he has followed to cover many stories in the African continent, focusing primarily on Somalia, Darfur, Angola, and Ethiopia. His most. Another of his most important works is the book titled One Goal , a portrait of amputee children and youngsters in Sierra Leone who have fallen victim to anti-personnel mines.

Also noteworthy is his work Women and Microcredit , in which he carries out a study on how microcredits work in countries like Peru or Guatemala. Hunt Collection. Muro, Balearic Islands: Fonart, He first comes to photography in In he studies photography in Belgium, specifically in the Agfa Center of Mortsel. He lives in Barcelona until , when he moves to Passanant, Tarragona. All of them have in common the participation. Multiple family portraits compose the portrait of this community. He is the cofounder of the Association of Professional Photographers and the creator and director of the photography competition Passanant Foto.

He has also worked as photography director in adverts, video clips and documentaries. Of all the awards he has won, the gold medal at the New York festival should be highlighted. Barcelona: Focal, ; Instants. Barcelona: Artual Ediciones, ; Fotografia blanco y negro. Barcelona: BJP, Somalia, Freetown, Sierra Leona, From the beginning of his professional career in , he has kept a close relationship with the renovation of theater in Catalonia, specializing in the coverage of circuses and theater and dance companies, such as Circ Cric, Els Joglars, La Machine, Le Phun In he began alternating photography with an active role in the scripting and performance of plays.

Bover feels photography is closer to literature than to plastic arts. He takes photography to be a narrative synthesis, and finds such narrative in the. The combination between what is real and what is fictitious, constantly present in performing arts, is the driver of his passion for the theater, where people are the very tools of fiction.

While he has photographed all forms of theater, he has a preference for street performances, where all efforts are focused on the fragility of an instant that is subject to a large number of variables, but that is equipped with the unique and unrepeatable trait of the ephemeral moment when that which is imaginary can burst into that which is real. An anthropologist and photojournalist specializing in social and investigative reportage, she has focused above all on depicting the feminine universe and the different cultures around the world.

Her work is the result of incursions into the most diverse themes and places, the main goal of which is to study that which makes us human beings. On note are her series La mujer y Dios Woman and God, , a journey through the spirituality of women in the world, and Matriarcados Matriarchies, , focused on matriarchal societies, where women with access to power educate their children and administer the law. She is a regular contributor of the Ayuntamiento de Barcelona and the Contac Agency, and has had her work published in several national and international publications, such as the Magazine of La Vanguardia, Stern, Vsd, or Courrier.

Barcelona: Ayuntamiento de Barcelona, ; Matriarcados Matriarchies. Selected works Le Royal de Luxe. Barcelona, ; Royal de Luxe Barcelona: Nova Era, Barcelona, ca. A pioneer of photojournalism in Catalonia, he worked on assignments and also acted as an industrial photographer. His work evidences the social and urban transformation of Barcelona at the time. His first major feature was the photographic series devoted to the Tragic Week Among his clients featured major enterprises, such as the ones in charge of the public works of the network for the subway and the installation of electric lights in Barcelona.

It was acquired in by the Generalitat de Catalunya and stored in the Arxiu Nacional de Catalunya. If you cannot beat your rivals, at least establish the rules of the competition. No more and no less […]. His wish for distinction resided in his accumulated work, in his corporate labor and in his small firm. He identified himself as a professional in Castilian Spanish but spoke Catalan whenever it was appropriate.

He photographed businesses and products, firms at industrial or agricultural fairs, factories proudly being inaugurated or about to be inaugurated, official acts, political events, accidents of daily life or of his city. The ideological world of Barcelona from the early XX century to the forties was agitated. One never knew whether those in power would keep it in the future and whether those who had gone to prison would not end up—at least for a while—governing.

In relation to the competition of other photographers, he above all wished to maintain his firm, as well as a style of working; a perfectly finished product, with its own recognizable mark. Judging by his images, he must have been distant by nature. In the most obvious way possible, he did not want to be a part of the photograph, given that by definition he was outside of it in being the person who had taken it.

His role was outside of the image. When one sees a photo of his, it becomes clear that he did not want anyone to notice his presence, not even his gaze, although he could not help it. His illusion is the fiction of his invisibility, almost of his lack of existence. He was the son of Aldolphe Braun , a French photographer primarily focused on photographing artworks and known for using the latest printing techniques at the time and for selling his production internationally.

In he entered in a partnership with his father-inlaw, photographer Louis Person , and in he negotiated for his company then still called Adolphe Braun et Cie an exclusive contract as the official photographer of French museums, including the much disputed Louvre. Based in Mulhouse Alsace, France , the firm boasted branches. Inscribed within the pictorialist tendencies of XIX century photography, Gaston Braun traveled to Spain in order to capture picturesque period scenes. At the time the country was an enclave that attracted a number of photographers in their quest for the romantic ideal.

Of note among the snapshots he produced is the photograph of the Court of the Lions of the Alhambra ca. He used a carbon process, the Swan method, for which his father had purchased the patent, with a negative that had the same dimensions as the final print. The photographer transported the negative to positive by impregnating the paper in bichromate gum. Using this technique, one of the most developed of the ones used by photographers toward the end of the XIX century, he managed to enhance artistically his vision of reality, concealing the photographic effect as such.

He has specialized in coloring processes such as gum bichromate, cyanotypes, toning, transported carbon, as well as platinotypes and black and white analog photography. These kinds of processing, as well as the use of pinhole cameras, define him as a thorough photographer, interested both in the photographic shot and in its subsequent development. His most frequent photographic projects are artistic works linked to nature and architecture, especially connected to ancient artistic monuments. Uno de los pioneros de la tendencia fue Anselme Bellegarrigue. Au fait! A su vez, Han Ryner conciliaba el anarquismo con el estoicismo.

Butaud era un individualista "partidario de las comunidades libres , editor de "Flambeau" "un enemigo de la autoridad" en en Viena. Las diferencias entre los seguidores de la Plataforma y el Sintetismo de Volin se convirtieron en un abismo. Algunos sintetistas posteriormente se reafiliaron a la UAC en , y fueron quienes finalmente tomaron la iniciativa durante el Congreso del 20 y 21 de mayo de , a fin de unir al movimiento anarquista frente al avance del fascismo.

Durante la Batalla de Francia , los anarquistas quedaron completamente desarticulados y desorientados. Por entonces, algunos surrealistas comenzaron a trabajar junto a la FA. Daniel Guerin escribe Para un Marxismo Libertario. Nacimiento del grupo Marge, que busca reunir a todos los marginados delincuentes, prostitutas, ex presidiarios, drogadictos, homosexuales, travestis, okupas Se publica la revista La Lanterne noire editada por ex-miembros de la revista Noir et Rouge. La OCL se rompe definitivamente luego de la deriva consejista de Luego de las huelgas de en los bancos, los ferrocarriles y los correos, se funda una tendencia sindicalista y obrerista revolucionaria en el seno de la ORA.

El grupo Confrontation Anarchiste se disuelve y da lugar a Organisation Combat Anarchiste OCA , que ahora es impulsada por militantes organizacionistas. En mayo es liberado Jean-Marc Rouillan. El Monde libertaire se convierte en semanario libertario. Deja de salir el semanario Front libertaire.