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Hugo Brehme, Part I. Matches. Quest photographer

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2010, commemorating the centenary of the beginning of the revolution of 1910 and the bicentennial of the beginning of the independence war of 1810, and in some ways it seems that has become the year of Hugo Brehme.

While the photographer end of life obtained Mexican citizenship in 1910 was a newcomer, actually his second stay in the country, from 1905 to 1907 had made contact with our land.

True, Mexico may have a magical attraction to catch foreigners but thought Brehme in 1910 as a German, acted as a German, was German.

In the words of the historian of photography, John Mraz:

"Hugo Brehme is the best photographer of the Mexican Revolution, in addition to his flawless technique, was there to capture the most important moments: the Centennial celebrations Independence, the Zapatistas in Morelos, the arrival of the conventioneers and the Constitutionalists to Mexico City, the invasion of Veracruz, etcetera. "

May 31, 2010. Notimex

Moreover, the exclusive publication "20/10 Report of the revolutions in Mexico," in its September-November 2008, from the pen of Alberto Torres Rodriguez, he dedicated an article: "Hugo Brehme and Ten Tragic. "

March 13 in San Diego California is inaugurated the photographic exhibition Colburn Collection; Photography of Ancient Mexico, by Hugo Brehme, also as part of the festivities.

May 22: Viva Mexico! Photo exhibition curated by Carla Ellard, during the celebrations in Mexico. Armada From the collection Witliff, Texas State University, from May to July 2010. Among the 100 photographs from over 40 photographers are 10 of Hugo Brehme.

On June 21 the Diario de Xalapa, the news was the donation of 400 photographs by Hugo Brehme the General Archive of the State of Veracruz, by former Governor Agustín Acosta Lagunes, and plans an upcoming exhibition on the occasion of the celebrations of the ancient homelands.


In the Third Regional Meeting for the archives, The Revolution and other revolutions "carried out by the end of last May in the former Convento de Tepoztlan, was presented the book: "Hugo Brehme and Revolution" the researcher Mayra Mendoza.

Since last November 24, 2009, began a tour of the exhibition "Hugo Brehme and the Mexican Revolution", now in the city of Monterrey and is expected back in August in Mexico City, with the headquarters Franz Mayer Museum.

This exhibition is interesting to note the comment of Nelly Pineda, representative of the Embassy of the Federal Republic of Germany, and coordinator of cultural events under the Bicentennial:

" In fact one of the photographs that were initially referred to this exhibition the hanging because we do not have the certainty that is Hugo Brehme. We have a 99 percent chance it is him, but we can not guarantee . "

With a 99% chance ... well.

That speaks to an interest in maintaining credibility in the image of Brehme, the work done by the Germans during the Mexican Revolution ...

Along the large group of researchers and historians, who in one way or another have been grouped to argument to the idea, "photographer Hugo Brehme the Mexican Revolution," I think together in completely opposite direction.

In an interesting exchange of letters, modern way Internet claro está, la especialista en Hugo Brehme, Susan Toomey Frost me recalcaba:

"Now I want to discuss the images that I have labeled "Revolution". (In my database, I have a column for keywords so that I can pull them up as a group.) I have relatively few Brehme cards that I am SURE are Brehmes! I think the Brehme Studio either didn't print that many postcards of the Revolution, or that I simply couldn't find them because they are already locked away in other collections.

I only had about 20 -- yes, only TWENTY -- Brehme cards related to the Revolution, and half of them were brand new reprints that were attributed to Brehme. I was very strict about what I accepted as legitimate images related to the Revolution that were published by the Brehme Studio. In other words, those ten cards have numbers and titles and a back stamp.

It seems to me that in recent years, many people want to attribute images of the Revolution to Hugo Brehme, but I am of the opinion that he took relatively few.

Here's my best argument: Do you find images of the Revolution in the books that he himself published? He didn't consider them picturesque! Remember that he came to Mexico trained in a German photography school in the then popular style of Pictorialism and that he advertised himself as an artistic photographer. He wasn't a documentary photographer. The Revolution was best left to documentary photographers."

This is a point of view, which add another, and we'll call "coincidences."

Previously, the July 19, 2009 published: "Photographing Zapata" , then mentioned the existence of a photograph of Emiliano Zapata, signed by Brehme in the collection of the Kunsthaus, Zurich, a copy of it was shown in "Mexico between romantic revolution," an exhibition mounted from 10 July to 28 August 2005 in the Thüringer Marstall Museum Eisenach. Photography is actually authored by Heliodoro Juan Gutierrez Escobar.

photo signed by Brehme. Published in "Song to Reality: Latin American Photography, 1860-1993." Written by Erika Billeter

Heliodoro Juan Gutierrez Escobar. SINAFER 65294, an exact copy of that used by Brehme is 639745.

Brehme For defenders would be strong enough that his signature appears on the negative. But there are other negative not only signed by HJ Gutierrez, but also came to us the testimony of two eyewitnesses to the shoot, irrefutably leaning the balance in favor of HJ Gutiérrez. In this

when we ask the question, is the only photo from the "HJ Gutiérrez" used by Hugo Brehme? Is an isolated case?

popular wisdom says, "One swallow does not make a summer" ... then look for the swallows.

Walking through the pages of Hugo Brehme and the Mexican Revolution "(Catalog of the exhibition of the same name), I came across a series of coincidences ...

On page 103, pictured above, 104, top and bottom, and 105, below, all with the caption: "Effects of the bombing, Mexico City, February 1913, or "Damage caused by the effect of artillery, Mexico DF, February 1913", and are poorly scheduled start, they are all related to the historical event known as "The Tragedy of Tacubaya Tacubaya or catastrophe."

Tacubaya The tragedy occurred on August 19, 1913, same year as the Decena tragic, but at different times, from February to August, six months intermediate ...

As Susan Toomey Frost says, the accurate identification of Brehme image need at least 3 arguments:

1. The numbering in the catalog generated by Brehme
2. A sign, whether on the image, outside or on its back, in the negative, or pencil, sometimes to be printed by Brehme photo could include a comet and the date.
3. The Photo Studio brand, through a rubber stamp, printed mechanically or industrially produced material, brochures, books, magazines, etc.

The other question would be on the original images used, including a note on its back, feet or classification and photography are the result of research by the curator ...

Mayra Mendoza telephone kindly informed us that approximately 75% included images of notes, and numbering generated by Brehme. That the text submitted to the editor, images with an original title appeared without parentheses, and those where they are assigned one, incidentally, unfortunately the editor considered it unnecessary to bother to put the parentheses, so the foot print all Pictured without parentheses ... Yes

Hugo Brehme throughout his photographic career demonstrates a good memory, or a reliable system log, it's possible such a mistake ...

The point does not end there, the tragedy of Tacubaya, was a local incident Federal District, with no national impact, no direct relationship with the major revolutionary events, was part of daily life in the city, a disastrous accident, yes.

was an event which was followed in local newspapers for a short time, the subsequent days, and then forgotten, as most of the accidents where the Mexican Government is a party.

Brehme So why be interested in something, is something completely out of your profile, or picturesque, or revolution, or German community, was not a known fact for most photographers the capital, except a few among them those of the "HJ Gutierrez." A decision

No. 3 of the series "HJ Gutiérrez" , yes it withdraws its tagline could pass for an image of Brehme ...

In other footage from the series we see the tingling of civilians, gendarmes and military rescue operations and debris removal, but this is the desolation, a military alone sits back to us, instead of a stone bench, provides for the destruction and the enigmatic characters who are cast in the staging of Brehme, is the human presence in the landscape, is a well-composed image, with alternating dynamic sightlines in the end zone in an upward zigzag to get lost in the deep woods ... coincidence.

Brehme.

HJ Gutiérrez.

photographic agency "HJ Gutiérrez, had the dominant presence of two photographers, Heliodoro Juan Gutierrez Escobar and Aurelio Escobar Castellanos, a student of another, which undoubtedly exerted a school within the other photographers of the organization, and in the same way that Brehme is considered "artists" ...

the comet is relevant, because none of the aforementioned two photographers, is the author of the "Catastrophe Tacubaya" and someone will raise his hand saying, Hugo Brehme are clear!

Probably the author is another member of the clan Escobar Enrique Escobar Castellanos. Demos

turn to another page, 122, we see two pictures with the caption "Federal Artillery Regiment, Xochimilco, DF, August 1914." Wrong again scheduled, it is the Buenavista railroad station in Mexico City.

Brehme. Mayra Mendoza
kindly confirmed that the original photo note is: "August 1914", "Xochimilco", "Gegen Zapatistas." "Gegen Zapatistas" can be translated as "contrary, rivals of the Zapatistas "

Aurelio Escobar Castellanos.

Coincidentally Aurelio Escobar Castellanos, photographer of the" HJ Gutiérrez "also captures the moment. In his photographs we see a business background with sign "El Recreo de Buenavista," and among the branches of trees stands the skeleton of the dome of the new Chamber of Deputies, and of course, curious tanks. The shadows tell us who are chronologically contemporary.

page 103, the image below his foot says, "The defense of Xochimilco, Mexico DF" the same event, federal defense of the people of Xochimilco in August 1914, is the picture on page 124, 125, 126, 129, and 131. And know, too Aurelio Escobar Castellanos, made photographs of the same event ...

Brehme.

Aurelio Escobar Castellanos. Pictured
Brehme distinguish exactly the same construction as in Escobar.

During the month of August 1914, Aurelio Escobar constantly travel between the city of Mexico and the Zapatista area of \u200b\u200binfluence in the state of Morelos, visiting the headquarters of the Army Liberator of the South, being in contact and photographing the general Emiliano Zapata repeatedly throughout the month, see " Between the cornfields." Coincidentally Brehme, too ... but it remains a mystery how I file Brehme contact Zapata, while for A. Escobar was a routine event.

Aurelio Escobar Brehme and also photographed the triumphal entry into Mexico City Constitutionalist Army on 20 August 1914 and the meeting of the armies of the Convention in December of that year ... But Aurelio Emiliano personally accompany the study of Gutiérrez JH, across the street from New Mexico 30, Dec. 6 1914.

On page 132, "Villistas in Guadalupe, December 1914," we wonder ... yes the entrance of Villa in Mexico City was Dec. 3 and between 10 and 22 all the Villa's troops leave the city and the 17th of that month Pancho Villa comes to the city of Guadalajara, without forgetting that the January 3, 1915 up to Ciudad Juárez, then when Hugo Brehme could photograph the Villistas in Guadalupe, Zacatecas, in December. ..

Brehme.

Aurelio Escobar Castellanos / HJ Gutiérrez. Aurelio

Escobar shortly before the convention of Aguascalientes in October 1914, is to Francisco Villa in Guadeloupe where he made several memorable portraits. And then escorted to the state of Morelos, to convince the commission to the Zapatistas from participating in the convention, then returned to Aguascalientes.

Take another page, 89, top image, "The Republican Guard, Mexico City, ca. 1912 ". During May 1912 there were two events magnum in the foothills of The Citadel, the first on day 2, with the inauguration of the monument to Morelos in the garden of the same name, opposite the Citadel, an event which corresponds to the image The next event was the military parade on May 5, represented by the photograph on page 88 upper and 89 lower. On the tape made by Toscano of the commemoration of the centenary of the siege of Cuautla, while unveiling of the monument of the hero, appears Aurelio Escobar with his camera, but know the material produced by the photographer himself ... how lucky are preserved Hugo Brehme.

Page 90, pictured below, "wood on Avenida Independencia, Mexico DF, February 1913. Here we see a match otherwise, Aurelio Escobar is also present, there is a photo dated Feb. 17 "No. 5 Federal on city streets, the same time portrayed by Brehme, but in the opposite direction, each photographer, face to face in making Escobar is a character, a photographer with an SLR, when print your plate, is it Hugo Brehme?

Brehme.

Aurelio Escobar Castellanos / HJ Gutiérrez.

No, Samuel Tinoco also takes images of the same scene and use SLR camera ... what a pity that neither captures Brehme.

the same page 90, pictured above, is the scene a bit back to front, we can compare with records of two other photographers, Sabino Osuna, and Austin V. ... Yes Brehme Casasola Casasola worked for why the two go to the same place at the same time ...

In fact in the same street are, A. Escobar, Tinoco, Osuna, Casasola, and Brehme, coincidence ...

Page 92, pictured below, is a well known scene of the artillery of General Angeles, used by different producers of postcards over and over. The caption gives the date: February 9, 1913, but Los Angeles was placed artillery until day 11, the day was in Cuernavaca, Morelos, in fact the federal army artillery that day no place anywhere, other web sites except at the gates of the National Palace ...

Page 96, pictured above, "machine guns in the Broad Street (now Luis Moya), DF, February 1913" . Do not ask me, but if, A. Escobar recorded the same circumstance, dated Feb. 18, "No. 6 Gunners in the streets of the city" during the Ten tragic, Escobar works with the system of series photo clustered around 63 shots, then if the socket is numbered " 6 ", 5 others were held earlier in the same place too early, the soldiers are just beginning to wake up and incorporated, especially in the presence of the photographer, again agreement between Escobar and Brehme, including photographs of both distance just in case only a couple of minutes ... Melhado arrives on the scene about two hours later, the same as Toscano.

Brehme.

Aurelio Escobar Castellanos / HJ Gutiérrez.

the group of photographs taken by way of example (statistically speaking is a substantial part of the exhibition), we see a consistent match between Hugo Brehme and HJ Gutiérrez photographers. Settled in a match misclassification of the pictures attributed to Brehme. The spatial overlap may be possible, it is true ...

The rest is left to ponder.

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"THE HEART OF TUAREG" Part 5.

My beloved Yassmine know how anyone knows what I mean and resignations, because she had to give up his land and his people to follow me, for love, for the most pure and sublime love of those who ever lived. And she, a Moroccan in times of the Green March, had to take a stand by the side of the man she loved, contrary to the provisions of his family and had to flee into the night to join me. Any further our shared existence was marked by war and economic needs. Our children were born without the presence of his father, as I commanded a cell of the Polisario Front and only rarely could meet her and love her as knew only love: body and soul.

result of those sporadic romantic encounters, creatures born of happiness that filled our lives stark and severe. Those suckers to my wife raised with bold sacrifice, were the reason we are impelled to follow, to continue fighting, because they, the result of our burning passion, was the future that should not be any effort bargain.

And in the end ... why? Both Yassmine like me and me both elderly and our children have had to fend for themselves thousands of miles from us, depriving us of their presence, their desired company. Our existence has not been easy, no, has not been, but I still do not give up any of the moments experienced by my beloved, my beautiful Houri, my

Yassmine ... not even the thousand and one difficulties and hardships experienced, nor cruel and inexorable time, they have plowed the once smooth skin of my beloved Yassmine, with the indelible imprint of dozens of deep furrows, have been off the intense brightness of his eyes. His eyes still look the splendor of the past on this thin line of kohl which, like dark boundary, gives them the depth of a lifetime brimming with emotion and delivery. That's the look of my Yassmine: dazzling as the glare of a bright star.

And now I'm going to serve that sparkling green tea in my humble tent and enjoy their taste and pungent aroma of mint, accompanied by my very dear son and my beloved Yassmine, the sweetest and most exquisite flowers, which has been, in my sorry life, an eternal spring.

FIN.

Paintings: "A Bedouin Arabs" (A Bedouin Arab), 1891, John Singer Sargent.

"Camels on a journey", 1857, Jean León Gérôme.

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Zapata, Part IV.

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Sometimes the obvious things are so obvious that we overlook.

The controversy generated by the iconic image of Emiliano Zapata to the chest band and rifle in hand, had different perspectives, when, where, by whom, why.

currently reach consensus on the location, Hotel Moctezuma, Cuernavaca, Morelos.

For anyone interested in the image, it is essential a visit to the historic site.
The building is largely preserved in their stores facades have been installed, changing the property to separate premises, and some of the inside arches were walled up, the rear building was added a second floor, paving patios are not the originals, and some beds have disappeared (flower), among other details.

Ex Hotel Moctezuma today, corner of Matamoros and Galeana, Cuernavaca, Morelos.

important thing, confront us with the space where the image is generated. Entering through the streets of Matamoros, a large wooden gate painted red allows us to access, what once must have been a hall with windows facing the street and a perimeter corridor, has become a tunnel, a grate at the other end, then the main courtyard.

To our right we have installed a small restaurant, happily arranged their tables, but with a notable absence of customers in one of its walls several pictures of Emiliano Zapata. At the back of the complex, feet down, in the second courtyard, lies a "beauty school" with a horrible eating carp of the patio. The rest of the building looks empty inside.

Yet the building is good, and the promised redemption by the Government of the State of Morelos, not be very difficult.

Turning to the main courtyard to the left we glimpse the stairs ... to the arcade of access has added an ugly fence, which fortunately is open. Once in the stairwell with sadness that we see the floor and steps have been covered with red cement, came up with excitement, first the sight is a wide corridor and turning another flight of stairs, here's the place ...

The second staircase leads to the upper floor of the facade, and yet another staircase continues up to the roof, here it retains the original pavement, as the rest of pressed brick building, the steps of the stairs covered white marble, we can distinguish the characteristic marks reflected in the picture.

first thing that makes us think, is the absence of shadows caused by the direct presence of the Sun, although we found some subtle shadows, they come from two light sources, the two buildings of the complex in the front, the reflection in the sky, it is difficult to determine.

The reflected light on the stairs, comes from the access openings to the roof, at the top level, and not from the patio.

The phenomenon is not typical of the direct light from the sun cast shadows are converging from two points; Artificial light causes shadows diverging from the light source, and the Sun because of its remoteness and size roughly generates shadows. Seeing the building from the courtyard walls are shaded.

And in the photograph of Zapata is

shadows ... Mainly in the version published in The Fair, 16 April 1913, we clearly see the shadow of the balustrade reflected on the steps, down diagonally to the floor and continue toward the viewer, also the pillar which supports Zapata generates a shadow, and the same revolutionary leader does.

Our next research subject is the building, its perimeter is highly irregular, and can be divided into several bodies, shapes and orientations, levels and heights can vary. So the shadows are complex, and are generated under different sun angles. Proper knowledge of the shadows can help you know when the photo was taken.

For this we need to talk a bit about astronomy, the earth has two movements relative to the Sun, rotation and translation. The rotation is done on its axis, but not in the same plane as the translation, having an inclination of the axis of rotation. This causes the shadows caused by the sun varies in its angle and length, depending on the season and de la hora del día.

El Sol a lo largo del año tiene un movimiento aparente en relación a la Tierra, que se conoce como eclíptica, y va de los 23.5 grados al norte del ecuador a los 23.5 grados al sur del ecuador. Por eso para los habitantes del hemisferio norte, a la latitud de México, vemos como el Sol sale en invierno en una posición hacia el sur, y en verano hacia el norte; y sí queremos una casa cálida en invierno la orientamos hacía el sur.

Como mencionamos el Hotel Moctezuma tiene una configuración irregular, y nos centramos en el bloque específico que sirvió de escenario; éste edificio tiene una orientación de 83 grados noreste; cero grados es el norte y 90 grados the east. To achieve the sun's rays illuminate the interior facade of the building, you need a superior sun azimuth at 83 degrees.


Taken as geographic location of the Hotel Moctezuma, 18 degrees 55 minutes 27 seconds north latitude and 99 degrees 14 minutes 10 seconds west longitude. Through the portal of the USNO (The United States Naval Observatory), we calculate the position of the Sun during the year 1911, and determine when it exceeded 83 degrees azimuth, had to be before May 21 at 11:30 or after July 24 at 10:55.

managed to date the creation of photography, is in relation to the delivery of city Cuernavaca General Zapata, which occurred on May 26, 1911, to this day the sun no longer shone inside the arcade where I photograph the Southern leader at any time of day ... Moctezuma the hotel attended the May 27, 2010, and June 12 to reproduce the circumstances.

This brings us a problem, a clear date for the presence of Emiliano Zapata in Cuernavaca.

Another emblematic image of Zapata, attributed to Hugo Brehme, "Zapata with their wives or Eufemio Emiliano Zapata and accompanied by their wives", and has been assigned a date of creation, 1911.

decision was also made in the Montezuma Hotel, one of pots see the logo of the hotel, and we took on the task of locating the specific point. At first he gave us work, because the two beds that appear in the image no longer exist, nor the steps visible on the right, the arcades are bricked up.

Once identified, we noted that the right vertical plane remained in the shadows again, but the picture is bright and generated a small but clear shadows in some of its elements. The composition is achieved by placing the characters in a bent over a corner, the right plane orientation of 79 degrees 57 minutes east, and left the flat north-south 170 degrees.

1 .- exterior photo, Brehme. 2 .- interior photo, F. Miller, F. Wray.

Here, the sun must not only overcome the azimuth of 80 degrees, but also to reach a position where it creates shadows as visible. Knowing what is the measure of walls, columns supporting the arches, and distance flown in the design of the staircase balustrade and cornice at the base of the arches, and averaged approximate certain altitude to the Sun than 53 degrees 4 minutes, and an azimuth of 101 degrees.

As the stairs and there we model those that do survive; the start of the arch is a pillar with the same orientation of the building, then projecting forward, initially at right angles, followed by two balusters, each turning out slightly, one more than the other to form a curved hand rails, the second baluster with a slope slightly less than 20 degrees relative to the plane of the building to be built so the shadow on his face as the visible interior requires a position of the Sun close to 100 degrees azimuth, data similar to that conclusion by calculating the angles of the shadows.

Photo attributed to Hugo Brehme, Getty collection. The shadows have been enhanced studied and indicates the angle about the plane on which are projected.

The two photographs were taken at the Hotel Montezuma similar lighting conditions. Unfortunately preserved copies of the photograph of Zapata on the stairs are very mutilated, or in the case of the Fair of such poor quality as to enable us to calculate the angles so closely shadows reasonable. We can only assert that it was in the first part of the morning.

The Sun's apparent motion along the ecliptic, passing twice a year for the same place, four minutes 53 degrees elevation, azimuth 101 degrees, achieved in 1911, on April 13 to 10: 12 am., and 31 August at the same time. The margin of error could be one day, depending on the angles obtained, but with a time very similar.

The story so far tells us about the life and adventures of Zapata:

August 1929: We held a Council of Ministers in which García Granados requested and approved, that General Victoriano Huerta chases throughout way of Emiliano Zapata.

August 1930: General Emiliano Zapata send three of its top leaders to ask Lt. Col. Raul Madero, in Cuautla, weapons that gave the Zapatistas graduates. Evening shifts Chinameca Zapata.

September 1: First fight seriously against the Zapatistas in Chinameca, attacked by the "red" by Federico Morales. Zapata manages to escape through the reeds, while the general progress and takes Huerta Villa Ayala, who found it deserted, as the inhabitants, men and women, went with the leader of the South. Alfonso

Taracena. The True Mexican Revolution. Editorial Porrua, Mexico, 1991 (First edition 1960). Sean

three photos of the day or not, we have a problem Brehme photography is sharp shadows, and it can focus more strongly.

was not taken before June 24, 1911 under any circumstances, August 31 2010, Moctezuma assist the hotel again to confirm the position of the shadows, and be correct calculations, the hypothesis is as follows:

The photographs were made inadvertently on a visit to Cuernavaca, Emiliano Zapata, therefore the photographer needed know where and when to meet with Zapata. The photographer was a person trusted by the rebel leader, and was only a photographer.

The visit can not be later than August, 1912, the month of registration of F. Miller, therefore would be in August 1911 or May 1912. Hopefully

until 31 August ...


"The governor of Morelos, Marco Adame Castillo, Sens. Melquiades Morales Flores, Patricia Galeana, Sergio Álvarez Mata, Graco Ramirez Garrido Abreu, and local representatives, they took a souvenir photo on the very spot where General Emiliano Zapata Salazar, posed in what was his headquarters in Cuernavaca ... " February 8, 2010, The Morning Choro .