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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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