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The "Photographers of the Revolution" launched on 20 November 2008, was intended with spaces "Protagonists" and "Encyclopedia of the amateur photographer" to vindicate the work of Heliodorus J. Aurelio Gutierrez Escobar and Escobar Castellanos, attracting the attention of specialists in the field as well as a wider audience with a taste for photography, with the passage of time realizing I went through different monitoring tools of interest Blog visitors, not only by their number and also regularly by stereotypes of their searches, and personal communications, the need to cover other areas, the same conclusion I came to the further research on specific issues and discover the interrelationships between groups of photographers, to be fair it was necessary to bring presence of other actors, which are abundant and in most cases equally unknown.

The Blog has paid off, has become a benchmark, more than two years after a change is necessary, modify the virtual space to host who belong in "Photographers of the Revolution" later give you a collection of actors of the names on the list some are specifically photographers, other producers of postcards, press correspondents, and trade names, initials, news agents, reporters, editors, etc.., but all with a stake in the creation and dissemination of images generated during the Mexican Revolution, are not all the time and will surely increase the number of them, here's a little over 400 at the end of 2009 Miguel Angel Berumen released 300, there has been a small step forward.

The amendments we propose to perform include a reordering of the information, and a new look. Place in "Encyclopedia of the amateur photographer" the full text of 10 volumes for online access, and other materials devoted to the technical knowledge of photography and materials. Include in "stars" of the postal history in Mexico with their creators, editors and photographers, just as the revolution that the first step is to introduce a partial list of those involved, far in excess of two hundred, and the postcard was an essential tool in the process media of the revolution, still communicating vessels.

the project is ambitious, and hopefully start this year completed some of the goals, I use the word "Complete" because it is also an invitation to join forces.

Abitia Brothers. Abitia
Garces, Jesus AC
Hermenegildo
Acme News Pictures Inc.

Aguilar Aguilar, Eugenio Alba


Mayor Alexander, Jim Alexander & Green

Almagro
Alvarez Tostado, Ezequiel
Am B & P Co. American
Press Association
America's Feature Film Co.
Andrade, Manuel L. Arauz

YMCA Army Argus

Arreola, RL
Arriaga, Jose P.

Ashton ASS AS Duff

Aultman, Otis A. Auto Mex

Azaruta
Bain News Service

Bieber
Barret TJ White, A.
Blumenkron, Guillermo
Blumenthal, Henry
Bobier, Grand J. Boo

Botte, Louis
Brendan Connolly, James
Brandon, Gerald
Brawley, Bunnell
Brehme, Hugo

Brown Brothers Brown, CH
Brown, Harry D. Cape
Paris, John M. Cachu

Cabrera Ramírez, Antonio Ramírez
Cachu, Juan
Canabine, Doran

Cantu Cantu, MN
Capua
Carmona. AV
Carow, WM
Carrasco, Ezequiel
Carrillo, Antonio
Carrillo, JC
Carnatz, WF
Carvajal Gabriel Velasco
Casasola, Agustín Víctor Casasola
Velasco, Miguel Víctor Casasola
Zapata, Agustín Casasola
Zapata, Gustavo Casasola
Zapata, Miguel
Castaño Martínez, José
Castaño, José María
Castrejon, Sara
Cerda, Eduardo
Chapin, Roy D.
Chávez, LM
Chávez, José M. Chester and Prairie

Chusseau-Flaviens
Clarke, Frank L. Cobos

PF Collier and Sons
CMW
Connolly, JB
Coolidge, Dana
Sotelo Cortes, Vicente
Crey's souvenirs of Guaymas
Cribb
Cronin, Cornelius F. Cruse
and Shaw
C. T. Photochrom
Cundill, Frank
Daguerre, Fotografía
Davis, Richard Harding
De la Porta, Adolfo
Dean, (Widow)
Denler, Edward E.
Díaz
Díaz, C. P.
Díaz, Enrique
Díaz, Ramón
Dickson Chaplain
Dishman
Domínguez, Pedro
Dorman, Roberto
Doubleday, Ralph Russell
Downing, Eugenio B.
Dunn, Robert
Durack, Daniel S.
Durborough, William H.
Dyer, Ambrosio L.
Echaniz, Enrique
El Gran Lente
E.M.I.
Enhart, Vicente
Enríquez, Manuel
Escalera, José López
Escobar Castellanos, Hermanos Escobar
Aurelio (Aurelio, Henry, Ignacio)
Espindola, S.
European picture service
Evening News Pub Co.
Eylar, Call
F.
Fano, Ciro
Feldman, Fred J. Femina

Fitzgerald, Gertrude
Flores Pérez,
Ponciano Flores, Alberto Sanchez Photography
Forbin

Photography zigzag
Fox, William
Franco, Julio G. Freudenthal

Fugazy J. FWC

Galloway, Ewin
Garcia Studio

Garcia Diaz Garcia, E. Joseph
Garcia, Jose L.
Garcia, Refugio Z.
Garcia, Rosendo
Garduño, Antonio
Gibbons. Floyd P.
Glenn, PS
Gobson, WL
Godoy, Alberto L. Goerz

Goldbeck, Eugene
Gonzalez, Macario
González, MJ
Goodman, Clara
George Grantham Bain
Green

War Guerrero, J Gutierrez Escobar

Guillén, Juan
Heliodoro Gutiérrez, R. HJ
Gutiérrez
Hadsell, Walter P. (Elis)
Halm, Karl

Hardfield Harden, William
Hare, James Henry Harris
Harlingen
Inc.
Harris and Ewing, Charles
Hecox, Frank C.

Herazo and Vera Hernandez, Geronimo
Herrerias E.
Herrerías, Ignacio
Herskovits, Melville Jean
Heuther (J. H.) & Doubleday (R. R.)
Hilburn
Hilderbrand
Hoard, Roy
Hoffman, David W.
Hofphot
Hopkins, Geo W.
Horne, Walter H.
Hoyas
Hueffer, Oliver Madox
Hugelmann
Hunter
Ibáñez
I.H.
I. M.
International Film Service
International News Service
Intransigente Fot
Ironson, Jack
J & S Photo
Jano, A.
Jorchke photo
Kann, Reginald
Karl, Arnold
Kauth, Eliot.
Kahlo, Guillermo
Kavanaugh's war postals
K. C.
Keystone View
Kiefer, Harvey
Koch, M.
Koch, W.
Kososky, Fernando
Kossio, Alberto Wayasoki
Kubes, Victor
La Rochester Photo Stock House, S. A.
Lahn (Amelia?)
Landenberger, E.
Landerberger, Bern
Lane, Edith
Lange, Emilio
Langrange, Desiderio
Laroque Tinker, Edward
Lazareno
Lazcano Orizaba, L.
Leeds, Stanton
León, Víctor G.
León, Víctor O.
Lewis, Alfred Henry
Lima. C.
L+L
Lohn, A. W.
London, Jack
Long & Lowman
Lonn Photo
López , M.
López Escalera, José
López and
Palacios López, E.
Lorentzen, Wayne Lowe & Nelson

Lupercio, Abraham
Lupercio, José María
Maceo Mack

Madseli
Maigne, Charles M. Margot and Co.
. Marroquín

marst
Marston, Roderick James
Martin, GA
Martin, JM

Martínez Martínez, J.
Mathewson, Mathias and Co. Tracy


Maya Mayorga, José
McCutcheon, John Tinney
McCormick, Robert R.
McCormick, Medill
McFall, Burge
Medrano Chávez, Ignacio
Melcherí
Melhado, Eduardo Melo and Co.
.,
Vicente Mendoza AV
Mendoza brothers (José and Pedro)
SA Mexico View
Miller Cook Co., Hartford H.
Miller, CR Miller
,
Fred Miller (Milner), Victor
Miret, Felix
Monkmeyer
Montoya, Eustace
Mora, José
Morales, Armando Moreno
,
Isaac Moreno, Ricardo K. Morris MS


Muller, E.Jr. Numma
FOT.
Muñana,
Muñoz Carlos Guevara, José Antonio
Murray, John C.
Murray, RH
National Mutual Film Corporation
Photo Print Co.
Nakawa (Nakakawa)
Negrete, H. Neurdein

Neville, Jack T.
New York Herald Newspaper Co.
Enterprise Ass.
Newton, Byron R. NY Evening Telegram

Obregón, Gustavo Amezcua
Ocampo, Ignacio
Olguin, G.
Olivares, HY
OPP.
Ordaz, Ramon Ortiz

Ortho, Joseph S.
Ortiz, Martin
Osborn, Cal (Carl Benton Osborn)
Osuna, Sabino
OTA
Overholtzer and Sangren
Schockey, PC
P.
Padelford, Joseph F.
Palmer, Frederick
Pentland, YJ
Peral, S.
the Pilgrim, Francisco Pérez
Thous, Manuel Pérez Vázquez
Nicolas
Pérez, Cuthbert
Patterson, Joseph Medill

PGS Photo Chic
Photoprint
Pichardo
Pictorial News Co.. Pierce

Pimentel Ramirez, Luis
Pix
Portillo, E.
Prentis, Mark O.
Press Illustrating Co..
R / A
Rabiella, F.
Ramirez, Rafael Ramirez
Pimentel, Luis Ramirez
, Sadot
Ramírez, V.
Ramos Sánchez, Manuel Ramos and Co.
. Rangel Melendez

Recio, B.
Reed, John
rete, M.
Repetto, J.
Reuterdahl Henry
Reygaud

Rivera Rivera Melo, Vicente
Rivera, Miguel.
Roberts, W.

Robles Rodríguez Barragán, N.

Romero Rojas, Francisco
Pichardo Roqueñí and Rousset and Magana

Ruhl, Arthur B. Moncada
Ruiz, Miguel
Rummel, Walter W.
Runyon, Robert Rush-News Photographs

Safordd
Salas Correa, Bartolo
Cazares Salazar, José cross
Saldaña, Ignacio
Salinas Carranza, Alberto
Salmerón, A.
Salmerón Sánchez
brothers,
Cruz Sandoval,
Angel Sandoval, Jesus R. Sandoval News Service

Santamaría, Luis
Sara
Schlattman Brothers
Schreiner, George Abel
Scott, Homer A. Scott White & Co.

Segovia, S. She
, LO
Shepherd William G.
Shulman, I
S / H
Silberstein
Silva, G.
Simpson, Smithers

Somerfeld Kirk, Felix
Soriano, J.
Soriano, José V.
Sosa, Fernando
Sosa, Rafael Rivero Sosa

Spyer, Laurence Boyly
Starrett, Vincent
Stein, Max-Pix
Steinheimer
Steene

Stephenson Stevenson Stewart
, WF
Strauss, Eva Esther
Stratton, HH Stuart
, William F.
Sutton, Arthur L.

Aguilar Tagle and feathers and Hairpieces Shops
Tampico
Tavizon Optical Co.,
Manuel Tenorio, CJ
The Fleet Review
Thew, JB
Thompson, William Thompson
, Paul
TM
Tinoco,
Samuel Todd, PA
Toquero, Rodolfo
Torresilla
Trampus, Charles
Trenkle, Ernest Joseph.
Trigueros, E. Tucker
Beckett, C. Tundell

Underwood and Underwood
Urgoiti
Uribe, Francisco
Uribe, Miguel
Van Zile & Chalk
Ponce Velez, Francisco Villalobos

Villegas, Sabino A.
Wagner, Fritz Arno
Waite, Charles B.
Walz, William G. War Photo Postcard Company

Weigel, Edwin F.
Wheelan, John Davidson
Wells, Leslie C.
Whiffen, Walter Clifton
Willis, WA
Windhorst
Wood, Junius
Wray, F.
Yañez Yañez and Guillen


Yañez Yañez and Zazueta, Mauritius
ZYA
Zavala Zarate and
Arreola, P. Zazueta Hermanos

Zazueta, G.
Zogbaum, Rufus Fairchild

Updated April 14, 2011

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Drupal 6.2. To format a date type field (for example, in a view), one can choose from a combo. Typically, the alternatives include options Default, Long, Medium, Short. But it is possible to add more options.

This can be done by entering to

Administration Site Settings, Date and Time Formats, Set

. In Add format type to a name, for example DiaMed (which is what appears in the combo), and a type, such diametrically opposed (it's for the machine).

Then go to Add

format. In the Format String box enter one following the syntax of the php manual . For example d / m to show day and month only in the form dd / mm.

Finally, re-Setting and in the combo format type define (Date Format IMBD), choose the format you just created.

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Add Copy Going

Today, in a content type called Labour had a date type field called Duration (field_duracion) to save the dates From and To.

For various reasons (one was that it was not possible to keep an empty value if it was mandatory since), I decided to use two fields of type date they were called Home (field_inicio) and Finished (field_terminado).

To pass values \u200b\u200bfrom one field to another, I explored what were the names of tables and fields involved, and what were the changing table after an insert with the interface. I found that out of the cache and similar tables when doing a insert only added a record in the table content_type_trabajo. So, using phpmyadmin, run:

content_type_trabajo UPDATE SET
field_inicio_value = field_duracion_value,
field_terminado_value = field_duracion_value2

cleaned the cache and I see values \u200b\u200bin the new fields.

Then, I removed the Duration field.

This operation would be easier if CCK had an option to rename fields (using drupal-6.2). Although there is a beta plugin

for it, preferred it that way.

Another thing I noticed is that it would be desirable to allow CCK also off a field. For example, I would have liked a few days off length to see that all was well, before disposal.

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CCK field

In web development, usually use HTML, CSS and Javascript. Also some retouching of images and Flash.

When viewing a site, it is interesting to imagine the sequence of steps one might take to do something similar.

can learn many things to try. It also helps to answer whether you can do something, how long is the task and how long it could take.

Aunque el resultado que se visualiza sea el mismo, puede haber muchas formas de codificar un site y de producir ese código. Sin embargo, con el tiempo, uno va notando que hay maneras estándar de organizar los archivos y el código fuente, y también la producción de éstos. Esa especie de orden establecido ayuda a que un desarrollador pueda compartir su trabajo con otros. O incluso consigo mismo, porque después de un tiempo hasta el propio código puede parecer un recuerdo ajeno. Cuanto más claro y evidente sea, mejor. Y compartir cosas ayuda a que éstas evolucionen más rápido.

Uno de los problemas que encuentro a la hora de aprender using a framework like Drupal is relearning how to do the same things I can do with any framework.

My simple framework consists in building the site from an empty index.html and go functionality implemented layer by layer. I binding styles, declaring libraries, outlining the structure, and completing the things little by little, making and testing, until it is complete. And so it is relatively simple change, remove or add something later, which is usual.

a site I tend to think in terms of the minimal framework. To imagine how they built with that framework. It can be simple, orderly, disciplined. But it's like going barefoot. One can walk. But you can not run, at least not quickly. Or go too far, unless you have wings.

A framework like CodeIgniter or CakePHP can be like having shoes or boots. You can make runs, marathons, cross country, perhaps crossing a swamp, climbing or skiing. But how far can you go?.

A framework like Drupal, however, can be like going into a car early. Vas seated while the wheels turn and take you. It has an engine. You can add things like speakers, lights, or a body more beautiful. With some expertise you even improve the engine and give more power. It can sometimes exceed someone running or riding, but eventually, you can go further and do more. It is simple enough to understand what an amateur. Is small enough not to need roads, or to be easily pushed or towed, if necessary.

the analogy, I would love a framework that was like a bicycle. A relatively simple and lightweight mechanism that magnifies our effort (
also be interesting to go counting on motorcycles, boats, sailboats, gliders and planes
). Even now, the bicycle remains the most efficient means of transport. Many times can reach there no end to a car. Furthermore, progress can be fun without the noise of an engine, feeling the breeze on her face. Hopefully there will be some version of Drupal so:)

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Revolution Marginality, neutrality, and commitment.

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"Photographing the Mexican Revolution, commitments and icons."
John Mraz

"Other photographers of postcards also brought his experience to document the Ten Tragic. Collaborating agency "HJ Gutiérrez" walked in the streets photographing buildings in ruins, the rubble, the federalists and a happy gunners who sat in the Citadel (photo 83). This photo was made on 18 February after the arrest of Madero, build a stage with representatives of different factions of disloyal soldiers, Military School students and civilians Candidate seems designed to indicate the extent of dissatisfaction with Madero.

Arturo Guevara Escobar says Aurelio Escobar Castellanos is who did the photography for Gutiérrez agency during this event, along with his deputy, Enrique Escobar Castellanos. If so, we should ask why someone so committed to the woods - Aurelio Escobar was among the first to go cover the rebellion in the border during 1911 and went into exile a few days after the tragic ten-I wanted to make a picture clearly staged to convey a political message that he must have been disgusting. "

agree with John Mraz, but made me reflect on some details to reach a different conclusion had not previously taken into account. The picture which refers to John Mraz, like most of the images created by Aurelio Escobar during the Tragic Ten belong to a series, of which we know as jacks numbered: 15, 17, 18, and 19-this latter is mentioned by John Mraz, all dated 18 February. Aurelio Escobar is one of the few photographers who date their work in a timely manner during the military coup, comparing written records with graphics gives us certainty in the dates used, so we rely on a date even if we do not know the written description event.




as there would be doubts as to the date, time is relevant when it is before or after the arrest of Francisco I. Madero. The chronicles written between 12 noon and one thirty in the evening to the arrest of the President, Francisco Pineda Gómez "the Revolution in the South 1912-1914" talks about one thirty in the afternoon, same view of Friedrich Katz. To determine the time of creation of the photographs need to establish the geographical position of the scene, using the photo n º 37250 Fund Casasola SINAFER find the position in the corner northwest of the Citadel, from the streets of Enrico Martínez and garden Morelos Aurelio Escobar therefore worked at midday, put forward, no astronomical noon time, the February 18, 1913 noon astronomical specific geographic position was at 12:50 + -.

seems more likely to see the photographer A. Escobar performing their work while Madero's arrest and not after, the question is: What was there ...? Not only him, all the reporters and photographers had been working visibly, A. Escobar, Manuel Ramos, Osuna, Augustine V. Casasola, Leopoldo Zea, Salvador Toscano, etc., Gathered on the roof of the Citadel.

We face an event not mentioned in any written source but palpable to read images, when waiting for the definitive attack by federal forces and as announced by Victoriano Huerta, is introduced to the Citadel the largest possible group of reporters and photographers regardless of their ideals, commitments political or pragmatic, and exactly when they are on the roof of the Citadel is arrested on President Madero. What was the lure of the trap, it is clear that wanted no witnesses at the National Palace.

When we analyzed the sequence of film and photography Salvador Toscano # 19 of A. Escobar correspond to each other, while we talk about a performance is not created by photographers, but an involuntary actor on stage, unfortunately the film Toscano is silent because the sound would no doubt, those present tranquility inspect the roof at a time when the alleged attack began at the Citadel, which would not have lasted beyond then ten minutes to reach the end.

not matter much if Aurelio Escobar served by visual hunting instinct, or had time to reflect on the meaning of the composition, subsequently exploit the emotional burden that emanates from it, integrating it into the albums commemorating the Ten Tragic, something in which we can not engage the photographer. Here we would have the answer to the question of John Mraz, why did an image of such court, is a photograph circumstantial. Nor is it easy to determine if Escobar acted out of conviction or practicality to take the side of the tree, there are other clues to give us an idea, most images remaining of the Ten Tragic Aurelio Escobar attributable to correspond to the happy, the series dedicated to them are the best preserved, then we can assume a censorship, self or external login only once to the Citadel with a large group of photographers, despite devoting a lot of shots to portray happiness troops to any of their leaders.

Many years later Don Aurelio Escobar would enjoy family Sunday meetings at his brother Salvador Velez de la Torre, eat, play dominoes and talk politics. In 1940 he openly take sides with an old Madero, Huerta and Zapatista, John Andrew Almazan, with her photographer officer during the presidential campaign and stick to their movement.

Postcard, Artistic and Literary Property HJ Gutierrez, AGN. Aurelio Escobar Castellanos portrays the announcement of the end of the Revolution, a monument to Juárez, Ciudad Juárez, May 1911.
Aurelio Escobar Castellanos portrays a rally during the presidential campaign in Ciudad Juárez JA Almazan, 1940.

The same question what do we Heliodoro Juan Gutierrez Escobar, where he starts his pragmatism and where his commitment and with whom. By choosing the second board of the Society of Photographers Press in late 1912, Ezequiel Alvarez Tostado is elected president and treasurer Miguel Uribe, in early 1913, Uribe leaves office and replaces HJ Gutierrez, same circumstances are repeated a few months later, Ezequiel Alvarez Tostado, abandons his post and is replaced by HJ Gutiérrez. Who would have to face or deal with the military government of Huerta from the trenches of the Society of the dam would be photographers Gutiérrez. On August 6, 1913 Carmen Mondragón, Manuel Rodríguez Lozano marriage contract, including the study of HJ Gutiérrez-a photograph of the event is preserved in the Museum Estanquillo was presented in the exhibit "You look so much to me ", unsigned and no marks but identifiable Photographic Study of the elements of the set-Heliodoro J. Gutiérrez would photograph the bride's father, General Manuel Mondragon, not Felix Diaz, Aureliano Blanquet and Victoriano Huerta. In mid-1915 HJ Gutierrez and family leave Mexico permanently back to 1917.

John Mraz from the title of his book and throughout his speech making the argument of the commitment, the commitment of the photographers for any reason with one faction or another, sometimes this commitment leads to conditions ranging from pragmatism and ambivalent conviction. By strange

we have tried to keep a photographer aura of neutrality, as if that were possible, many stayed away, but neutral ... we refer to Hugo Brehme.

Lately we have been learning more Brehme's work during the Mexican Revolution, or at least of what is attributed. Taken the path of accepting that he is the author, we must also accept that he took part, for pragmatism or conviction.

show three photos printed on photo paper 5x7 credited to Hugo Brehme, the three with the catalog number Brehme, the first on the roof of the Citadel taken on February 9, the other two according to the tagline on its reverse inside the Citadel. It's hard to believe that someone is not committed to the disloyal have been immersed in the Citadel in the early days of the uprising, and portray Aureliano Felix Diaz and Blanquet is clearly a statement of opinion, Hugo Brehme had taken sides as a photojournalist committed to the news the consequences that entails, or an ideological commitment to any party. On February 11 representatives of the United States and Germany, Wilson and Felix Diaz dress Hintze inside the Citadel, it may be a likely date for the return of the Citadel Brehme. Blanquet The third picture has to be after 14, even after 18, as we see rural.

Getty Collection, photography credited to Hugo Brehme. To date the picture we draw on the following: no apparent damage to the structure of the Citadel, in photographs at the end of the Ten Tragic yes we see it, but the uniforms of dead soldiers are displayed impeccable dusty leggings. On the back it reads: 9/2/1913 Citadel.

Photo credited to Hugo Brehme, the back of the image reads: "Felix Diaz with his friends at the Citadel, the center of the group Félix Díaz and Manuel Mondragon.

Photo attributed to Hugo Brehme. It reads on the back in pencil almost imperceptible at the Citadel General Blanquet.

Invalid Brehme justify the attitude of the premise to work for Casasola, unknown input which was the system working with external agents in the agency of the Casasola, as we see with other partners such as Manuel Ramos had exclusive employed produce postcards and channel their works independently of the Agency, and the signature. We have a strong argument to say that working with Casasola Hugo Brehme, just that there are material attributed to him in Casasola Archive, for a time he thought the same thing HJ Gutiérrez. There are hundreds of photographers who could fall into the same case. Do not even know for certain whether Juan Manuel Casasola acquired the material produced by Brehme, or if it was made during the life of Augustine V. Casasola.

The reality so far indicates that commercially Hugo Brehme not reproduce their pictures of the revolution during the Mexican revolution, or did it anonymously and not binding, which is quite logical and pragmatic logic itself complicated was economic necessity. I mean with binding to produce the material differently than accustomed to his other work, materials and different finishes.

Throughout the working life of Hugo Brehme is expressed as a commitment - a pattern of behavior, "and we can compare among others.

With the onset of World War II will give a gradual shortage of products worldwide, not only in the countries directly involved, especially those of strategic nature. Cameras, photographic films and papers are in that category to the extent of certain materials only restricted to military use. For example discontinued Eastman Kodak Cine-Kodak camera for amateur use between 1941 and 1942 because of the shortage of metal and lenses, accordingly, "Signal Corps" and "War Activities Committee" asked amateur photographers to sell their equipment, especially 16mm. By 1942

Aurelio Escobar had a large customer base for its large-format panoramic photographs, unfortunately for the films he used were the same as required for aerial cameras, and there was enough material for all needs, as a consequence, banned for civilian use. There were two options, find another niche market, or find ways to acquire the material, by his daughter writes a touching letter to President Franklin Delano Roosevelt, obtaining in exchange for permission to acquire the films. There was a gratuitous act of humanity, Aurelio Escobar worked for the American agency "Reconstruction Finance Corporation (RFC) government agency dedicated to coordinating the efforts of war.



Hugo Brehme encountered the same problem, however he acts naive, arrogant or according to personal commitments ... well with a cocktail of all at the same time, in 1942 requested photographic material directly to Germany; the consequences of an act so reckless were immediate (negligence is the least we can say), the "Trade Intelligence Division of War" the U.S. government immediately places it in the blacklist, the time coincides with the end of freedom exercised by the German community in Mexico, the list contained the names of German citizens and companies suspected of involvement with Nazi Germany, and which forbade U.S. citizens having trade among other things. The blacklist or "The Proclaimed List of Certain blocked nationals" was intended to strangle the economies of the belligerent powers contrary to the "democracies."

emphasize the reckless act, in late 1941 with the first edition of the list were included Rüdiger Rudolf, Agfa representative in Mexico, and their companies the same picture Successors Mantel (Mantel picture, SA), SA Agfa Photo, Photo Ghent, SA, and branch offices in Baja California, Nuevo Leon and Jalisco, in 1942 all firms were audited.

Here we enter another of the many mysteries of the German photographer, how you managed to survive the consequences of being on the list, with Hugo Brehme is included in Annex published on May 22, 1942 (Summary for Interdepartmental Committee, Brehme, Hugo, May 1, 1942: NA, RG 353, Division of World Trade Intelligence, box 22, folder III.), days before Mexico will declare war on Germany, being that many small and large German businessmen in Mexico not exceeded or did with many difficulties. In December 1941, Mexico broke off diplomatic relations with Nazi Germany, May 28, 1942 Mexico entered the war.

Blacklist 1942

Blacklist 1944

In Dennis Brehme biographical works about his grandfather tells the story:

"Neutrality during the Second Mexican World War ends in May 1942 to Mexico declaring war on the Axis powers. Quickly, Hugo became a suspect because a German citizen and photographer as well. Would not it be revealing rolls German spies? At least that authorities came to believe, and one day his name appeared in the infamous "Black List" of suspects who appeared daily on the front page of newspapers in the capital. Hugo was very angry, certainly a man as apolitical as he did not deserve to be included in that list. Whether the request of his father or because he acted independently, Arno strongly protested in person, but not before a Mexican government official, but by the consul of the United States, since in view of the Arno, the blacklist had their origin in the U.S. embassy. After a confrontation with the consul who gave his very clear view of the matter, the next day he saw his father Arno had disappeared from the list, but what was his surprise to see now his own name on it! The duration of the state of war between Mexico and the Axis powers came the "intervention" of business in the hands of the Germans, Italians and Japanese. Such intervention was not to allow the businesses were run by their owners but by Mexican citizens or neutral countries. I do not know what was the situation in Photo Brehme, but perhaps Hugo has taken advantage of the fact that Weber was Swiss (and used as a front man despite having retired) and this has been saved from the intervention. "

However we have not found when you remove the name of Hugo from the list, it is you do (every edicición of the list included the annexes: supreciones additions), and until 1944 when the name of Arno two years later, to the address on Francisco García Conde 27, Tacubaya, Mexico City, while Hugo will record the address of your business in Francisco I. Madero 8, and both he and the business were on the list. The evidence indicates that there was an exchange rather included both ended, that Arno Brehme Mexicanized use the name of Armando in 1943, is evidence of diversionary tactics used to keep working (yes know Arno Brehme opt for the Mexican or German) in the last 10 months of the war neither could have worked.

almazanista motion proposed by the armed overthrow of Cardenas after the imposition of government candidate Avila Camacho, and had taken steps leading to an uprising, the decision of John Andrew Almazán was to maintain internal peace of the country by car sacrifice, there was no armed revolt. Aurelio Escobar takes a pragmatic desicion despite being declared almazanista bends, Mexicans generally have to do the same to pressure from the powerful neighbor. A. Stock Escobar, visit to Mexico City General DD Eisenhower, August 1946.

To Hugo Brehme ... repeated over and over again: it was apolitical and neutral, but the pictures below show also came out of his studio.

Since 1939 the so called "German People" or "Deutscher Volksgemeinschaft" was the visible face of the Nazi party in Mexico, with its headquarters in the German Centre located across the street from Uruguay 80, Mexico City, responsible for all social and recreational activities of the German community in the country. Among the member organizations were the Humboldt Society, the German Club, the German Rowing Club, The House of Germany, and German schools of the capital, the German Society of Mexicans German Chamber of Commerce (founded 1929), etc. A seemingly harmless act as photographing the activities of the German community clearly linking him with an organization that actively sought the support of all the Germans in Mexico to the Nazi Party.

Mexiko Deutsche Haus, attributed to Hugo Brehme, February 1913.

Mexiko Deutsche Haus, signed by Hugo Brehme, late thirties early forties.

The Casino German or Deutsche Haus in his later years until his seizure during World War II was located on the second street López n º 23, Mexico City. On May 16, 1942, after the collapse of Mexico's oil "Potrero del Llano", The Journal News reported the attack on the German Casino where windows were broken, days after it was confiscated by the Mexican government. The accepted German Casino German and Swiss partners.

Given the characteristics of the Nazi movement was to take a categorical approach, it is or is not, most Germans incurred the complacency or pragmatism, therefore responsibility. From 1921 to 1931 Hugo Brehme repeatedly announcing "The Ancient Mexico: International Journal of Archaeology, published by the German Society of Mexico, German Society on Mexico in Mexico City (to our knowledge) in May 1940 a report by the Secretariat Interior and presented to President Lázaro Cárdenas attests to the cultural political propaganda work of the society. In 1940 Brehme announced in Terry's guide to Mexico, and in "Modern Mexico", organ of the Mexican Chamber of Commerce in the United States.

"Hugo Brehme Avenida Madero 8 PO Box 2253 Phone: 01 December 1900 Eric. Branch: Wagons-Lits Cook, Madero 1. The Most Beautiful Views of Mexico, Enlargements-Real bargains in cameras, postcards, first class photo finishing, Leica Specialists ... "Wagons Lits Cook

is the first official travel agency in the city of Mexico, which began operations on 25 June 1935, was in the same direction where the study of Brehme burned in 1930.

Is this ad a measure to give its opinion on the change of sponsors? Rüdiger does exactly the same.

During 1929 and 1936 he released "Helios, Photography Monthly Magazine", organ of the Association of Photographers of Mexico in his first season in charge of Louis G. Guzmán and then in the hands of Antonio Garduño president and founding member of the association. The magazine even intending to be broadcast photographic technician, had a political tinge social anti-Semitism. It announced Hugo Brehme and Rüdiger Rudolf, both collaborating and translators of articles in German. (This has wanted to see as an anomaly in the life of Brehme and not as a link in a coherent chain of events.)

Between 1921 and 1940 Brehme locate that works 43 times in various publications, including 19 German, decreasing German proportion as we approach 1940, between 1940 and 1949 do not collaborate with any German edition, almost all publications Germany are in the sciences.

German School ca 1940. Attributed to Hugo Brehme.

We often see the ambiguity, inconsistency and opacity in the life of Hugo Brehme. Hugo Brehme was a member of the Deutsche Haus? It is probable, William Weber his business partner and friend from Switzerland could think the same, or at least worked for the casino for many years, has said that Hugo Brehme was the official photographer of the German community, it is not ... Maria Emilia Paz

Salinas, "Strategy, security, and spies: Mexico and the U.S. as Allies in World War II, 1997"

"The Nazis Have an organization in Mexico Which is next to perfect, in Which all the Germans living in Mexico Are Enrolled ..." NARA, RG 38, ONI, C-10-K/22512-I, Confidential Report on Nazi Activities in Mexico, June 4, 1940 "

Although the assertion is not true perception is a factor in the assessment, and other Germans had treated cases of injustice ...

Jugens

Hitler or Hitler Youth was a movement with many similarities to the Boy Scouts, the national leader was the German School professor Kurt Schlenker. Photo attributed to Hugo Brehme 1940 ca. It could deal of the German School in Puebla, until 1941, social policy different activities of the German community in Mexico Nazi public and private lot in Puebla.

While Hugo Brehme remained on the blacklist could not advertise on any guidance from Terry's, or any other American publisher, or provide artwork for print, or even do work for developing and printing for U.S. citizens, or to buy photographic equipment manufactured by American companies-Kodak-maybe that's why postcards without recourse to make, when Mexico enters the war on the side of the Allies the provisions of the blacklist are own freeze the bank accounts of all German citizens in Mexico, and is called on the intervention of German business, which focused on the chemical-pharmaceutical industry and hardware dealer, but not know to what degree it was with Brehme (For the lists can see that photo hardware store they also paid attention, if not the only Brehme), in a nutshell the Germans could not work. Without intervention the economic situation would be precarious Brehme photographers for 1945, many Germans and German-born Mexicans by difficult economic conditions which are subjected requested repatriation others were detained in a concentration camp in Perote, Veracruz, in April 1942 arrested 270 German civilians and met with 550 sailors, others were extradited to the United States and then sent to concentration camps.

Brehme had friends in the Mexican government that often follow the old adage "compliance but not obey" it looked the other way, maintaining relations with the Ministry of National Economy and Tourism Department are proof of that .. . You able to get some kind of protection? Arno Brehme worked until 1944, once on the blacklist also restricted his mobility ... we can even imagine a statement simulated to allow them some control.

Or government-Brehme relationship was actually the intervention of your business? Or do

Brehme were the need to sell your records and study to survive?

German businesses were operated on (when they received a benefit to the nation) or closed voluntarily unable to make any commercial activity, after the war did not return to normal immediately, in some cases it was thought the nationalization. In late 1944 the Mexican government softened some economic punishment releasing the funds under twenty-five thousand pesos. For more accurate information would be necessary to thoroughly investigate the files of the Board of Management and Surveillance of Foreign Ownership, active between 1942 and 1946. For its part, the Foreign Ministry called in some cases, unknown if the Brehme were among them.

Time, Volume 14, Number 359, year 1949:

"In general, those properties are still operated, definitely German, and that surely applies to damages of war."

business Interestingly Hugo Brehme, with the same name, set out in the streets of Francisco I. Madero 8, the same that existed in 1942, continued working until 1965 even as jewelry, also sold postcards. According to the chronicles of Dennis Brehme and the collated data to the latest study of his grandfather was the street of Ghent No. 1 third floor, operating since 1951 and where Arno Brehme continue working on their own after the death of his father ...



After losing the war, Germany is geographically fractured, was founded German Democratic Republic on 7 October 1949 in the area under Soviet control, the hometown of Hugo Brehme, Eisenach, is within the area Communist. On 1 September 1951, Hugo Brehme obtained Mexican citizenship, only after they have ceased to exist in his beloved Germany, died three years later. (The unified Germany created in 1871, Hugo Brehme was born in 1882)

Hugo Brehme was faithful in all things to his beloved Germany. He was raised and educated in the principles of Wilhelmine Germany.

During the worst economic crisis in his native country did not hesitate to take your money there ...

In the twenties, bought a house in his hometown of Eisenach, where he planned to spend his last years, after the Second World War is expropriated.

not hesitate to send his only son to study in these lands as Nazism took power ...

First unknown reason he was able to leave Mexico, stayed.

The claim of the essay is to demonstrate the importance of knowing the life of the artist on a par with his work, in the case of a photographer can not judge just by looking your pictures, you need to know, is essential to argue the extent possible plausible elements and they only speculate on the empty documentaries.

Hugo Brehme was a politically committed man throughout his life, but pragmatic, as a talented photographer and publicist, advertising is not an absolute truth on which we can trust and he shaped his own image, the photographs credited to his atelier meet a rationale, and the goal is to know what it is. Hugo Brehme

probably not take communion with Nazism but opted for Germany.

Aurelio Escobar was also a pragmatic politician, but simple and idealistic and opted for Mexico. In 1935 with him on the board of the Employers' Union of Photographers of Mexico, not Semitic tone is seeking the legal bases for solving the problems of the photographers (During the second part of the 1930's and early 1940 the European migration Jewish aggravated the economic situation of the photographers in Mexico).

thank

contributions made by Francisco Montellano images to provide some examples.