.
In the essay "comes to Mexico, Hugo Brehme, plates the hypothesis about the reasons for the arrival of Hugo Brehme to Mexico in 1906 and 1908, the line was still to develop the relationship with the geologist Paul Waitz, from a postcard where Brehme gives credit of authorship image, although for some years had profited as their own, the ambivalence of the relationship and the desirability of Brehme in the use of copyright merely complicate the real understanding of the situation in 1937 after accepting an authorship Waitz for claims as its own again.
to establish a direction of movement we need at least three points between alternations, beginning a middle and end. In the modus operandi of Hugo Brehme will do the same to establish a pattern of conduct.
The postal "758-Brehme Waitz is a temporary marker, we know that the image was created in October 1920 and released for the first time between 1921 and 1922, moreover tells us how in the catalog of Brehme until that date only had included 758 pictures, this is of the few images where maintaining the chronological parameters with the inclusion in the catalog. Another temporary marker is the change of direction in the establishment of the photographer's Cinco de Mayo 27 Francisco I. Madero 1 sometime in 1928, together with other indicators that will detail in a forthcoming essay, I like the last record within the period, "7127" (at the time of research), in just six or seven years, the catalog is increased ten Sometimes referred coincidentally being the image relative to the eruption of Popocatepetl in 1920.
This is not surprising as the catalog is comprised of a chronological or thematic, but universal in consecutive order where the images are placed under business needs of Brehme. The postal "7127" has the distinction of being an aerial view of Popocatepetl and the "7104, 7106 and 7107."
December 20, 1920 with the No. 75 biplane designed by engineer and Angel Lascuráin Osio and built in Mexico, drivers Fernando G. Proal and Agustin Enriquez made a flight from Mexico City to Veracruz in just 2 hours 20 minutes, then met with the circuit-Veracruz-Tampico Mexico-San Luis Potosi, Mexico, even in the year 1920 is given flyby Popocatepetl and Iztaccihuatl to make the first aerial photographs of volcanoes, so it was necessary overcome the 5500 meters high, while the world record altitude flight tax that year was over almost ten thousand feet, the plane designed by Lascuráin intended as a commercial and non-experimental model so it is quite a feat. Among the exploits of Lieutenant Proal we can relate the following: Carlos Comball next to Lieutenant in September 1920 the first film from an airplane flying over the Hippodrome de la Condesa, aerial photographs of Mexico City ordered from American Photo Supply Co. by the War and Navy and the Ministry of Communications and Public Works, published in journals such as: "Review of Journals", "The Universal Illustrated "and" Jueves de Excelsior ", the first wireless transmission from an airplane on September 30, 1921, obtaining a radio frequency to exploit commercially EX1F, etc.
The four photographs in the catalog of Brehme "7104, 7106, 7107 and 7127" are photographs of a pilot aerial photographer Fernando G. Proal. We mentioned a catalog created by Hugo Brehme and Wilhelm Weber partner that we have been able to draw interesting conclusions, it does not physically exist and its reconstruction is a work begun by Susan Toomey Frost, now the reconstruction has a significant group of images, while some areas are well represented in other holes are plentiful, so we can not say that they are all images of the specific topic .
The catalog is another group of cards the number "1510, 1512, 1518, 1520, 1521, 1524 and 1526" for Chinese Poblanas. Susan Toomey Frost collector and specialist in Hugo Brehme postcards purchased for his collection, now in Wittliff Collections at Texas State University in San Marcos, a post equal to the "1520" but with the signature Casa Osuna. The postal number "1521" was used by the magazine cover Alchemy as its edition No. 16 "Hugo Brehme. The Mexican prototype, "as Hugo Brehme paradigmatic beauty, in the texts involved: Dennis Brehme, Aurelio de los Reyes, Jesse Lerner, Mayra Mendoza Avilés and José Antonio Rodríguez. The number "1510" was published Debroise Olivier in his book "Mexican Suite: a history of photography in Mexico", of course credited to Hugo Brehme.
The discovery of Susan Toomey Frost was not a mere curiosity, now give space to a different story on October 13, 1919 Osuna registered with Artistic Property and Literature in Mexico City Photo Number 147, 269, 274 to 279, 281 to 286, 291 to 294 and 296, corresponding to the motion picture "Tosca", eighteen photographs from the film "Frou Frou" twenty-six photos artists of the dance company "Anna Pavlova": Sixty-five photographs from the film "The Seven Deadly Sins", all as Casa Osuna, Dealer of Camus and Co. Germain.
Of the 26 photograph of the dance company "Anna Pavlova" in the AGN remaining 15, nine of them Chinese Puebla. The Post identified by the name Susan Toomey Osuna is a photograph of the Russian ballerina W. Verina, the one used in Alchemy is a photograph of the dancer Helene Saxova both the company of Anna Pavlova, and all images Brehme attributed to correspond to the record made by Osuna.
The issue is not settled there, postcards made from film tapes are part of a global advertising program, the same images to produce postcards dealers in Spain under the exclusivity J. Gurguí (Barcelona), or in Italy Vettori G. (Bologna). As the entire record was made under the same formula: "Casa Osuna, Dealer of Camus Germain and Company." We must assume that all the material was a concession to Osuna, including dance company "Anna Pavlova" including There are postcards of Muriel Stuart and Hilda Butzow who are not dressed as Chinese Poblanas and belong to a previous study Pavlova's arrival to Mexico, in the Chinese Poblanas rafter itself is portrayed in Mexico but not for Osuna.
The author of such fine and delicate work is neither Sabino Osuna and Hugo Brehme, it would have been Osuna made a separate record your name will not believe you, both photographers portray itself and Chinese Charros Poblanas but their styles do not match the Images of the dance company, in part because of the same models, Brehme never recorded and the catalog numbers include at least after 1924. The postal "1315" is the first of ten where the font of Don Quixote in the woods of Chapultepec, which was a gift to Mexico City by Vito Alessio Robles Ambassador of Mexico in Spain in 1924.
Neither had a photo studio, here we have to make the point, the first two premises of Hugo Brehme not become strictly a photo studio, according to the standards of the time, are a small local misplaced and German advertising only makes mention of his specialist in developing and printing for amateurs ... with the acquisition of the study of Emily Lange in 1928 changed things in 1919 year of the visit of Anna Pavlova Brehme was fourth No. 6 in the third floor of the building Mosler, Bowen & Cook, who occupied the building block Vergara (now Bolivar) between 2nd in San Francisco (now Avenida Madero) and Cinco de Mayo. The building housed a whole branch of the hardware store, which reminds us of Guillermo Kahlo using a space in the loft of the jewelry La Perla, and community support network of different ethnic groups, Jews, Lebanese, Chinese , German, etc.
The work was done in a studio in every sense of the word by a specialist at the height of the ballet company of Anna Pavlova, the ballerina of the moment more important globally, and Brehme and Osuna fall into that logic. The choreography was Eva Pérez, costume design by Adolfo Best Maugard, and music of Manuel Castro.
Who did it?
So far no response and probably not there, but we can speculate, in 1919 in Mexico City the most recognized and portrait studio photographer was Heliodoro J. Gutierrez who had just been installed in the building previously occupied by the Brothers Valleto and kept his two studies of New Mexico (Article 123), but there were also Emilio Lange, Napoleon, Photo Mack, including Garduño, Melhado or Lupercio, etc.
In the same time of Pavlova's visit to Mexico, HJ Gutiérrez portrayed as Chinese Poblanas her three nieces, one Esperanza Vélez de la Torre of his love of fencing would be fascinated by the Russian ballerina, and although his age is not allowed to become a professional dancer the applied his talents for many years as a teacher in Mexico City and Matamoros, coming to perfect their technique under the direction of Nellie Capobello, friend and teacher.
On September 26, 1921, was the great Mexican night in the Forest Chapultepec with traditional dances from around the country. In his organization participated Adolfo Best Maugard with the designs, Manuel Castro and Manuel M. Padilla Ponce with music. As Director of the Ballet of the Metropolitan Opera House in New York, Adolph Bolm. Manuel M. Ponce was a close friend of composer Aurelio Villanueva Escuti who shared house in the hills of San Diego No. 19 for several years, Aurelio was the nephew of the now renowned composer Philip Villanueva and his time boyfriend Aurora Vélez de la Torre with whom he later married .
The third niece Consuelo Vélez de la Torre was used in the shoe store and businessman Alfredo B. esportman Cuéllar (Shoe store was sacked by Villa with a promise to pay, which he never did), but mostly close friend, Cuellar was a founding member of the National Association of Charros 1921, the Company owns Film Manufacturing Mexicana SA, which among others are dedicated to producing newsreels from December 1919 under the name of a weekly magazine Cine Mexico, produced the film The scandal in 1920 where it works, author of the book in verse "Charrería" published in 1928, stars with Miguel Contreras in El Caporal ", etc., tireless fighter to sustain the tradition of horsemanship and Poblanas Chinese.
tasty inclusion in the portfolio of the Pavlova of Mexican tradition, was an initiative that emerged in Mexico with the intention of dignifying and promote a part of what is clearly identified as a Mexican, it took a string of characters, from Venustiano Carranza inviting and ensuring the personal safety of the Pavlova, and members linked to their government and at the same time links of one form or another with HJ Gutiérrez, coincidences ever.
We should not think of a simple plagiarism by Brehme or been exposed to a lawsuit and a scandal he also might have obtained a concession unless the inclusion of the material had not been made around 1924 but after 1930, this option will try to speak when the fire Brehme study in 1930. None of the postcards that I know of the dance company of Anna Pavlova produced by Hugo Brehme can be dated before 1930.
found another group of images with a heavy burden of suspicion, it is the Tehuanas, having two groups, Tehuanas portrayed in their natural environment in the countryside and their homes for example "5947" and portrayed in a study Tehuanas or at least curtains and other items set "4412, 4413, 4414 and 4424. " Here, the CB may be involved or F. Waite Lion & C ...
The use of a curtain, rugs and some scenery utensils are not always absolute indicators of the existence of a photo studio, but knowing what material are a photographer hueya ( in this case there is a balustrade, a network, and a mini dock), some photographers traveling with few resources or investing in a curtain and worked with him outside, or pieces of colored modest, of which there are abundant examples, although feature is used as a way repeatedly until they were and investment to get the juices flowing, hand-painted backdrops were not cheap. As Brehme detected using multiple backdrops, each for a different occasion ...
Looking for reference in the book "Picturesque Mexico" one of the photographs from the series of Tehuanas with curtain next to a China Poblana, again a Brehme different style and also the use of another curtain. The image is well known that the model's face is familiar, this is a case of Columba Quintana ... the beautiful triplet that portray his early and mature CB Waite was edited by a series of postcards CIF wearing different clothes including China Poblana.
Two of the most important collections of Hugo Brehme is the National Photo Library Pachuca and Casasola Photography, both in origin are the rest of the file by Hugo Brehme and split vicissitudes of fate. Casasola's heirs by the file; Lucila Adrian Casasola Casasola and have operated under the criterion: if the file is Brehme, so does the wealth of their ownership of Augustine V. Casasola. Last year they released an "Agenda Memorial First Centennial of the Mexican Revolution 1910-2010", with 300 photographs taken by Augustine V, Casasola and Hugo Brehme.
To illustrate the seventh week, use the following image: "Mexican Boyfriends Photo: Hugo Brehme c.1910, it is curious that Latapi and Bert, Sonora News Compay, JCS, J. Granat, etc., Publish it, all on a date prior to the arrival of Brehme to Mexico in 1906. In case of an isolated case could be classified as a bug in the Casasola, but taken into account the premises: "Yes it is in the file is Brehme Brehme, and Brehme and repeatedly used outside their own material, then another case to the list.
Bringing matters more than ever the words of José Antonio Rodríguez:
"In cases like that of Hugo Brehme is when it becomes obvious: the camera is a complex apparatus whose image producing mechanism can be understood more from the history of mentalities. Which means, of course, the story of its makers and their motivations, that is, the ideological act behind the register. "
Nothing else to add to the repeated and overwhelming evidence that you can not have a Fe Hugo Brehme blind, and you need to understand the complex mechanism of ideological motivations and actions of the German, before asserting their superior creativity, except for advertising. And we need to carefully analyze their work, clarify the areas of suspicion and not trusting the signature or IDs cards and photographs of Hugo Brehme as evidence of authorship of the image, which themselves are good evidence of the production of material, much less of the material that is linked circumstantially in collections and albums.
In the essay "comes to Mexico, Hugo Brehme, plates the hypothesis about the reasons for the arrival of Hugo Brehme to Mexico in 1906 and 1908, the line was still to develop the relationship with the geologist Paul Waitz, from a postcard where Brehme gives credit of authorship image, although for some years had profited as their own, the ambivalence of the relationship and the desirability of Brehme in the use of copyright merely complicate the real understanding of the situation in 1937 after accepting an authorship Waitz for claims as its own again.
L'Illustration, 27 March 1937. Geometrically
to establish a direction of movement we need at least three points between alternations, beginning a middle and end. In the modus operandi of Hugo Brehme will do the same to establish a pattern of conduct.
The postal "758-Brehme Waitz is a temporary marker, we know that the image was created in October 1920 and released for the first time between 1921 and 1922, moreover tells us how in the catalog of Brehme until that date only had included 758 pictures, this is of the few images where maintaining the chronological parameters with the inclusion in the catalog. Another temporary marker is the change of direction in the establishment of the photographer's Cinco de Mayo 27 Francisco I. Madero 1 sometime in 1928, together with other indicators that will detail in a forthcoming essay, I like the last record within the period, "7127" (at the time of research), in just six or seven years, the catalog is increased ten Sometimes referred coincidentally being the image relative to the eruption of Popocatepetl in 1920.
Postal Hugo Brehme 7127 catalog.
This is not surprising as the catalog is comprised of a chronological or thematic, but universal in consecutive order where the images are placed under business needs of Brehme. The postal "7127" has the distinction of being an aerial view of Popocatepetl and the "7104, 7106 and 7107."
December 20, 1920 with the No. 75 biplane designed by engineer and Angel Lascuráin Osio and built in Mexico, drivers Fernando G. Proal and Agustin Enriquez made a flight from Mexico City to Veracruz in just 2 hours 20 minutes, then met with the circuit-Veracruz-Tampico Mexico-San Luis Potosi, Mexico, even in the year 1920 is given flyby Popocatepetl and Iztaccihuatl to make the first aerial photographs of volcanoes, so it was necessary overcome the 5500 meters high, while the world record altitude flight tax that year was over almost ten thousand feet, the plane designed by Lascuráin intended as a commercial and non-experimental model so it is quite a feat. Among the exploits of Lieutenant Proal we can relate the following: Carlos Comball next to Lieutenant in September 1920 the first film from an airplane flying over the Hippodrome de la Condesa, aerial photographs of Mexico City ordered from American Photo Supply Co. by the War and Navy and the Ministry of Communications and Public Works, published in journals such as: "Review of Journals", "The Universal Illustrated "and" Jueves de Excelsior ", the first wireless transmission from an airplane on September 30, 1921, obtaining a radio frequency to exploit commercially EX1F, etc.
Hugo Brehme is not alone in using the photographs of Proal.
The four photographs in the catalog of Brehme "7104, 7106, 7107 and 7127" are photographs of a pilot aerial photographer Fernando G. Proal. We mentioned a catalog created by Hugo Brehme and Wilhelm Weber partner that we have been able to draw interesting conclusions, it does not physically exist and its reconstruction is a work begun by Susan Toomey Frost, now the reconstruction has a significant group of images, while some areas are well represented in other holes are plentiful, so we can not say that they are all images of the specific topic .
The catalog is another group of cards the number "1510, 1512, 1518, 1520, 1521, 1524 and 1526" for Chinese Poblanas. Susan Toomey Frost collector and specialist in Hugo Brehme postcards purchased for his collection, now in Wittliff Collections at Texas State University in San Marcos, a post equal to the "1520" but with the signature Casa Osuna. The postal number "1521" was used by the magazine cover Alchemy as its edition No. 16 "Hugo Brehme. The Mexican prototype, "as Hugo Brehme paradigmatic beauty, in the texts involved: Dennis Brehme, Aurelio de los Reyes, Jesse Lerner, Mayra Mendoza Avilés and José Antonio Rodríguez. The number "1510" was published Debroise Olivier in his book "Mexican Suite: a history of photography in Mexico", of course credited to Hugo Brehme.
The discovery of Susan Toomey Frost was not a mere curiosity, now give space to a different story on October 13, 1919 Osuna registered with Artistic Property and Literature in Mexico City Photo Number 147, 269, 274 to 279, 281 to 286, 291 to 294 and 296, corresponding to the motion picture "Tosca", eighteen photographs from the film "Frou Frou" twenty-six photos artists of the dance company "Anna Pavlova": Sixty-five photographs from the film "The Seven Deadly Sins", all as Casa Osuna, Dealer of Camus and Co. Germain.
Of the 26 photograph of the dance company "Anna Pavlova" in the AGN remaining 15, nine of them Chinese Puebla. The Post identified by the name Susan Toomey Osuna is a photograph of the Russian ballerina W. Verina, the one used in Alchemy is a photograph of the dancer Helene Saxova both the company of Anna Pavlova, and all images Brehme attributed to correspond to the record made by Osuna.
1521 catalog mailing Left Hugo Brehme. Right postal Osuna House No 11, AGN.
The issue is not settled there, postcards made from film tapes are part of a global advertising program, the same images to produce postcards dealers in Spain under the exclusivity J. Gurguí (Barcelona), or in Italy Vettori G. (Bologna). As the entire record was made under the same formula: "Casa Osuna, Dealer of Camus Germain and Company." We must assume that all the material was a concession to Osuna, including dance company "Anna Pavlova" including There are postcards of Muriel Stuart and Hilda Butzow who are not dressed as Chinese Poblanas and belong to a previous study Pavlova's arrival to Mexico, in the Chinese Poblanas rafter itself is portrayed in Mexico but not for Osuna.
Post Home Osuna, AGN. No. 9 left, right n º 8, Helene Saxova.
The author of such fine and delicate work is neither Sabino Osuna and Hugo Brehme, it would have been Osuna made a separate record your name will not believe you, both photographers portray itself and Chinese Charros Poblanas but their styles do not match the Images of the dance company, in part because of the same models, Brehme never recorded and the catalog numbers include at least after 1924. The postal "1315" is the first of ten where the font of Don Quixote in the woods of Chapultepec, which was a gift to Mexico City by Vito Alessio Robles Ambassador of Mexico in Spain in 1924.
Post Home Osuna. Left W. Verina, same as Hugo Brehme 1520 catalog. Muriel Stuart and Hilda right Butzow.
Neither had a photo studio, here we have to make the point, the first two premises of Hugo Brehme not become strictly a photo studio, according to the standards of the time, are a small local misplaced and German advertising only makes mention of his specialist in developing and printing for amateurs ... with the acquisition of the study of Emily Lange in 1928 changed things in 1919 year of the visit of Anna Pavlova Brehme was fourth No. 6 in the third floor of the building Mosler, Bowen & Cook, who occupied the building block Vergara (now Bolivar) between 2nd in San Francisco (now Avenida Madero) and Cinco de Mayo. The building housed a whole branch of the hardware store, which reminds us of Guillermo Kahlo using a space in the loft of the jewelry La Perla, and community support network of different ethnic groups, Jews, Lebanese, Chinese , German, etc.
The work was done in a studio in every sense of the word by a specialist at the height of the ballet company of Anna Pavlova, the ballerina of the moment more important globally, and Brehme and Osuna fall into that logic. The choreography was Eva Pérez, costume design by Adolfo Best Maugard, and music of Manuel Castro.
Who did it?
So far no response and probably not there, but we can speculate, in 1919 in Mexico City the most recognized and portrait studio photographer was Heliodoro J. Gutierrez who had just been installed in the building previously occupied by the Brothers Valleto and kept his two studies of New Mexico (Article 123), but there were also Emilio Lange, Napoleon, Photo Mack, including Garduño, Melhado or Lupercio, etc.
Left 1512 catalog mailing Hugo Brehme. Right Osuna House No 20, AGN. H. Saxova and Kunowite.
In the same time of Pavlova's visit to Mexico, HJ Gutiérrez portrayed as Chinese Poblanas her three nieces, one Esperanza Vélez de la Torre of his love of fencing would be fascinated by the Russian ballerina, and although his age is not allowed to become a professional dancer the applied his talents for many years as a teacher in Mexico City and Matamoros, coming to perfect their technique under the direction of Nellie Capobello, friend and teacher.
On September 26, 1921, was the great Mexican night in the Forest Chapultepec with traditional dances from around the country. In his organization participated Adolfo Best Maugard with the designs, Manuel Castro and Manuel M. Padilla Ponce with music. As Director of the Ballet of the Metropolitan Opera House in New York, Adolph Bolm. Manuel M. Ponce was a close friend of composer Aurelio Villanueva Escuti who shared house in the hills of San Diego No. 19 for several years, Aurelio was the nephew of the now renowned composer Philip Villanueva and his time boyfriend Aurora Vélez de la Torre with whom he later married .
The third niece Consuelo Vélez de la Torre was used in the shoe store and businessman Alfredo B. esportman Cuéllar (Shoe store was sacked by Villa with a promise to pay, which he never did), but mostly close friend, Cuellar was a founding member of the National Association of Charros 1921, the Company owns Film Manufacturing Mexicana SA, which among others are dedicated to producing newsreels from December 1919 under the name of a weekly magazine Cine Mexico, produced the film The scandal in 1920 where it works, author of the book in verse "Charrería" published in 1928, stars with Miguel Contreras in El Caporal ", etc., tireless fighter to sustain the tradition of horsemanship and Poblanas Chinese.
HJ Casa Gutierrez Osuna vs ...
tasty inclusion in the portfolio of the Pavlova of Mexican tradition, was an initiative that emerged in Mexico with the intention of dignifying and promote a part of what is clearly identified as a Mexican, it took a string of characters, from Venustiano Carranza inviting and ensuring the personal safety of the Pavlova, and members linked to their government and at the same time links of one form or another with HJ Gutiérrez, coincidences ever.
We should not think of a simple plagiarism by Brehme or been exposed to a lawsuit and a scandal he also might have obtained a concession unless the inclusion of the material had not been made around 1924 but after 1930, this option will try to speak when the fire Brehme study in 1930. None of the postcards that I know of the dance company of Anna Pavlova produced by Hugo Brehme can be dated before 1930.
found another group of images with a heavy burden of suspicion, it is the Tehuanas, having two groups, Tehuanas portrayed in their natural environment in the countryside and their homes for example "5947" and portrayed in a study Tehuanas or at least curtains and other items set "4412, 4413, 4414 and 4424. " Here, the CB may be involved or F. Waite Lion & C ...
The use of a curtain, rugs and some scenery utensils are not always absolute indicators of the existence of a photo studio, but knowing what material are a photographer hueya ( in this case there is a balustrade, a network, and a mini dock), some photographers traveling with few resources or investing in a curtain and worked with him outside, or pieces of colored modest, of which there are abundant examples, although feature is used as a way repeatedly until they were and investment to get the juices flowing, hand-painted backdrops were not cheap. As Brehme detected using multiple backdrops, each for a different occasion ...
Looking for reference in the book "Picturesque Mexico" one of the photographs from the series of Tehuanas with curtain next to a China Poblana, again a Brehme different style and also the use of another curtain. The image is well known that the model's face is familiar, this is a case of Columba Quintana ... the beautiful triplet that portray his early and mature CB Waite was edited by a series of postcards CIF wearing different clothes including China Poblana.
Quintana Columba's photograph correspond to an intermediate age between Waite and portraits of the CIF. I have not found other photographs of the triplet creditable allegedly Brehme.
few years ago on the website of "allcollection" Spain, was released a postcard, no mark of the author with the same backdrop and a Tehuana, was given a date of 1900 ca and I have not located a Brehme equivalent.
Two of the most important collections of Hugo Brehme is the National Photo Library Pachuca and Casasola Photography, both in origin are the rest of the file by Hugo Brehme and split vicissitudes of fate. Casasola's heirs by the file; Lucila Adrian Casasola Casasola and have operated under the criterion: if the file is Brehme, so does the wealth of their ownership of Augustine V. Casasola. Last year they released an "Agenda Memorial First Centennial of the Mexican Revolution 1910-2010", with 300 photographs taken by Augustine V, Casasola and Hugo Brehme.
To illustrate the seventh week, use the following image: "Mexican Boyfriends Photo: Hugo Brehme c.1910, it is curious that Latapi and Bert, Sonora News Compay, JCS, J. Granat, etc., Publish it, all on a date prior to the arrival of Brehme to Mexico in 1906. In case of an isolated case could be classified as a bug in the Casasola, but taken into account the premises: "Yes it is in the file is Brehme Brehme, and Brehme and repeatedly used outside their own material, then another case to the list.
Post: Sonora News Company, Latapi & Bert, JCS
Bringing matters more than ever the words of José Antonio Rodríguez:
"In cases like that of Hugo Brehme is when it becomes obvious: the camera is a complex apparatus whose image producing mechanism can be understood more from the history of mentalities. Which means, of course, the story of its makers and their motivations, that is, the ideological act behind the register. "
Nothing else to add to the repeated and overwhelming evidence that you can not have a Fe Hugo Brehme blind, and you need to understand the complex mechanism of ideological motivations and actions of the German, before asserting their superior creativity, except for advertising. And we need to carefully analyze their work, clarify the areas of suspicion and not trusting the signature or IDs cards and photographs of Hugo Brehme as evidence of authorship of the image, which themselves are good evidence of the production of material, much less of the material that is linked circumstantially in collections and albums.
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