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Manuel Álvarez Bravo’s portraits of Salvador Novo and Xavier Villaurrutia appear at first to exert a masculine and refined image of the two writers, yet the intimacy of these poses reveals a gentler side, a side closer to intellect than to masculinity. In congruity with these two portraits, Bravo’s portrait of Frida Kahlo asserts the power she had as an intellectual, an artist, and a woman. These portraits seem to cumulate in the Retrato desagradable, which signals that the power of a portrait is to evoke a sense of emotion and intellect beneath the surface of gender.

 
Diane Arbus

Diane Arbus

Nancy Burson

Nancy Burson

Andrew Bush

Andrew Bush

Antonio Caballero

Antonio Caballero

Jo Ann Callis

Jo Ann Callis

Graciela Iturbide

Graciela Iturbide

Wayne Lawrence

Wayne Lawrence

Jocelyn Lee

Jocelyn Lee

Nikki S. Lee

Nikki S. Lee

Susan Meiselas

Susan Meiselas

Yasumasa Morimura

Yasumasa Morimura

Lise Sarfati

Lise Sarfati

 
Tomoko Sawada

Tomoko Sawada

Katsumi Watanabe

Katsumi Watanabe

 

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