{"id":68,"date":"2014-02-15T20:40:24","date_gmt":"2014-02-15T20:40:24","guid":{"rendered":"https:\/\/researchbdev.wpengine.com\/surrealist-photography\/?p=68"},"modified":"2014-03-27T21:44:12","modified_gmt":"2014-03-27T21:44:12","slug":"bravo","status":"publish","type":"post","link":"https:\/\/research.bowdoin.edu\/surrealist-photography\/2014\/02\/15\/bravo\/","title":{"rendered":"Manuel \u00c1lvarez Bravo, <i>Two Pairs of Legs<\/i>, ca. 1928-29"},"content":{"rendered":"<p>by Andrea Rosen, Curator of\u00a0<em>Under the Surface.<\/em><\/p>\n<p>In Manuel \u00c1lvarez Bravo\u2019s <i>Two Pairs of Legs<\/i>, 1931, a peeling billboard shows only the legs of its fashion models, laying bare the fa\u00e7ade beneath. The image appears flat, but the dark windows suggest an unknown private space lurking behind.<b> <\/b>\u00c1lvarez Bravo depicted with sensitive lyricism and rich symbolism the culture, people, and landscape of his native Mexico.<b> <\/b>His often mystical images prompted surrealist leader Andr\u00e9 Breton, who met \u00c1lvarez Bravo on a visit to Mexico in 1938, to dub him a \u201cnatural surrealist.\u201d<b><\/b><\/p>\n<h6>Image details:<\/h6>\n<h6>Manuel \u00c1lvarez Bravo (Mexican, 1902\u20132002)<br \/>\n<em>Two Pairs of Legs<\/em>, ca. 1928-29<br \/>\nGelatin silver print<br \/>\nGift of Michael<b>\u00a0<\/b>G. Frieze, Class of 1960 \u00a01979.81.10<br \/>\n\uf8e9 Colette Urbajtel \/ Archivo Manuel \u00c1lvarez Bravo, SC<\/h6>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>by Andrea Rosen, Curator of\u00a0Under the Surface. In Manuel \u00c1lvarez Bravo\u2019s Two Pairs of Legs, 1931, a peeling billboard shows only the legs of its fashion models, laying bare the fa\u00e7ade beneath. The image appears flat, but the dark windows suggest an unknown private space lurking behind. \u00c1lvarez Bravo depicted with sensitive lyricism and rich [&hellip;]<\/p>\n","protected":false},"author":34,"featured_media":69,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[11,8],"tags":[22],"class_list":{"0":"post-68","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-curatorial-label","8":"category-street","9":"tag-manuel-alvarez-bravo","10":"entry"},"_links":{"self":[{"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/posts\/68","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/comments?post=68"}],"version-history":[{"count":0,"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/posts\/68\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/media\/69"}],"wp:attachment":[{"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/media?parent=68"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/categories?post=68"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/research.bowdoin.edu\/surrealist-photography\/wp-json\/wp\/v2\/tags?post=68"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}