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Photographs taken by Luis Buñuel

This collection of photographs shows the scrupulous work, prior to the shooting, made by Luis Buñuel. These photographs, taken to find locations to shoot exteriors Nazarín complement the detailed work carried out by Buñuel for writing the script to adapt the novel by Pérez Galdós. These photos show the precise method with which Buñuel filmed, method that allowed him to film quickly (always without exceeding the scheduled time), contributing to the low cost of Mexican productions, which was the fundamental requirement to perform a personal work, an auteur cinema who saved the constraints imposed by the film industry at the time, auteur cinema who saved the constraints imposed by the film industry at the time, so he could work with relative freedom to film movies that, as Nazarín, have become classics.



  

The photographs of small towns portrayed by Buñuel, provide a perception of Mexico away from any aestheticist. They are a distant look framing a landscape, which highlight ruins, churches, towns with humble adobe houses and magnificent trees. Paco Rabal went through these places in Nazarin, located in the State of Morelos: Atlatlahucan, Cocoyoc, Jonacatepec, Oaxtepec, Tetelcingo, Tlayacapan and Yecapixtla. A certain fascination is perceived by the convent of Tepoztlan, widely photographed by the camera of Buñuel, a convent built in the sixteenth century, and also the remembrance of the distant monastery called The Desert of Calanda in his hometown.

Javier Espada





Manuel Alvarez Bravo, Still Photo

"He has shown us everything that is poetic in Mexico. Where Manuel Álvarez Bravo has stopped to photograph a light, a sign, a silence, it is not only where Mexico's heart beats, but also where the artist has been able to feel, with a unique vision, the totally objective value of his emotion."

André Breton



  

"For many years, when one mentioned Mexican photography, only one name came to mind _Manuel Álvarez Bravo. Until the emergence of a younger generation, the stature of his camera work overshadowed any other work being produced in this branch of the arts in Mexico. He is one of the giants of twentieth century photography and represents not only an entire country, but a whole style and school of image-making. In Álvarez Bravo´s inimitable photographs every image is a closed world governed by its own logic, where the inusual becomes commonplace." Nissan Perez

Nissan Perez





Photographs taken by Leonardo Buñuel with a stereoscopic camera

Luis Buñuel tells in the book My last breath: "I still have several photographs taken in 1904 and 1905 by a family friend. There is my father, sometimes in a boater, sometimes a Cuban hat, looking well fed and sporting a full white mustache. And my mother at twenty-four, being greeted by the village notables as she emerges, tanned and smiling, from Mass. There are my mother and father, posing with a parasol; in another, entitled "Flight into Egypt," my mother sits astride a donkey. And here I at the venerable age of six, in a cornfield with some other children. There are pictures of washerwomen and sheep shearers; of my baby sister Conchita clutching my father's legs as he talks with Don Macario; my grandfather feeding his dog; a gorgeous bird in a nest."

These stereoscopic photographs are a collection of more than 40 delicate glass plates which have remained in the family, until be studied by Javier Espada and published in the book 'Stereoscopic Photographs of Leonardo Buñuel' by the Calanda Buñuel Center. These photographs provide an interesting knowledge about the imaginary of the Luis Buñuel childhood, a crucial part in the formation of the personality of adult people.



  

Leonardo Buñuel inherits the rural tradition of the countrymen from Calanda. Here the taste for stark reality and irrationality from mystery sources are imbricated. The ribald humor and underworld. Magical thinking and popular Catholicism.

The faraway look, the estrangement from reality seen in these pictures from Leonardo Buñuel will be transmitted, consciously or unconsciously, to two of his sons: Luis, whose surreal mark in the cinema is well known, and Alfonso, future pupil of Max Ernst and 'collage' precursor in prewar Spain.

Two decades afterwards, both projected the same estrangement making germinate it in a new plastic dimension. The outbreak of an aesthetic revulsion that will determine the path of the century.

Alfonso De Lucas Buñuel