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This image falls under the category of a studio portrait and is titled “[Studio Portrait: Seated Woman and Standing Boy Street Vendors with Vegetable Baskets, Brazil]”. It was taken by the photographer Christiano Junior in 1864. It depicts a staged interaction of a street vendor and a customer on the streets of Brazil. In the scene an afro-Brazilian woman (assumed to be the street vendor) sits at her stand, while her customer; a young boy of African descent appears to be in the process of either purchasing or bartering with her. The woman is depicted wearing a head scarf, a loose buttoned blouse, and a long gingham skirt. Her wrists are adorned with bracelets and the borders of her blouse match the gingham of her skirt. Whereas the boy is depicted wearing a sort of light-colored tunic that expose bare parts of his shoulders. The subjects are situated next to a stand that consists of stacked wicker baskets containing an abundance of produce. The scene was shot to duplicate a scene one might commonly see at a Brazilian market in the 19th century. This photograph provides a unique angle to my exhibition’s theme as it represents the origins of carte de visite’s-or visiting cards that were popular in the mid to late 19th century. These cards would often depict portrayed stereotypes Europeans had with regards to Brazilian culture and style of dress. 

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(Primary Source #1) Christiano Junior. [Studio Portrait: Seated Woman and Standing Boy Street Vendors with Vegetable Baskets, Brazil]. 1864. Studio Portrait.

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(Primary Source #1) Christiano Junior. [Studio Portrait: Seated Woman and Standing Boy Street Vendors with Vegetable Baskets, Brazil]. 1864. Studio Portrait.

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This image is titled “The Curved Bridge of the St. Anthony River Aqueduct (Aqueducto do Rio Sto. Antonio – Ponte Curva).” It was taken by Marc Ferrez sometime between 1883-1889 using the gelatin silver print technique. It depicts a high-contrast image of the St. River Aqueduct. The St. Anthony River Aqueduct itself appears to be quite round in appearance, this is most likely do better direct the flow of water to its next destination. In terms of infrastructure, the aqueduct appears to be constructed out of a mixture of stones, brickwork, and overlaid with concrete. It connects from one dark tunnel to the other with a gentle curve in its pathway. The perspective in the photo indicates that it was taken at a slightly higher elevation than the aqueduct itself. This perspective gives a sense of grandness; almost as if the photographer had to take a couple steps back in order to get the full spectacle in frame. This is elevated by the presence of a single man highlighting the power and strength of man-mad constructions. This photograph provides a unique angle to my exhibition’s theme as it showcases a sense of awe at the contrast between the man-made aqueduct and that of its natural surroundings-almost as if to make a point of Brazil’s economy. 

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(Primary Source #2) Marc Ferrez. “The Curved Bridge of the St. Anthony River Aqueduct (Aqueducto do Rio Sto. Antonio – Ponte Curva).”

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(Primary Source #2) Marc Ferrez. “The Curved Bridge of the St. Anthony River Aqueduct (Aqueducto do Rio Sto. Antonio – Ponte Curva).”

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This photograph is titled “Views of Petrópolis,” and was taken by the photographer Hees Pedro sometime between 1841-1880. It depicts a small rural town nestled between two mountainous hillsides. The angle at which this image was taken indicates that it was done so from a further vantage point and an ever so slight elevation. It gives off the perspective that the viewers are the ones looking down at this quaint little town. This collection of photographs is titled "Types of Blacks." These were taken by the photographer Christiano Junior in 1865. It depicts six different profiles of African men, assumed to be enslaved. Their expressions are grim and a majority of them are shirtless. These images are important as they document ongoing slavery during the 19th century in Brazil. 

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Hees, Pedro. “Views of Petrópolis.” 1841-1880. Photograph. 

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Hees, Pedro. “Views of Petrópolis.” 1841-1880. Photograph. 

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This photograph is titled “A Café,” and was taken by the photographer Genevieve Naylor during the early 1940s. The main focus of this piece is that of a building, most likely the “café” mentioned in the title. Dilapidated in appearance, this business looks to be on the brink of closing. The walls of the building are badly cracked, with the paint chipping away to expose the bare foundations beneath. In each doorway resides multiple figures, the most noticeable being the center. The center doorframe hosts three figures, one being that of a young woman with her arm across her chest and the other resting on her hip. She gazes at the viewer unsure of what to make of this situation. Beside her stands a man in a patterned shirt and light-colored jeans, he puts all his weight into leaning against the doorframe with one arm casually resting between his legs and the other behind his back. A third figure stands behind the woman and the man, though he is mostly obscured by the shadows. It's a startling contrast, as the people are well-dressed, but their surrounding environment is left in shambles. This photograph provides a unique angle as it highlights the issues and poverty within its poorer districts-even in foreign countries like that of Brazil.

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(Primary Source #3) Genevieve Naylor. “A Café.” Early 1940s.

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(Primary Source #3) Genevieve Naylor. “A Café.” Early 1940s.

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This article is titled “The Decay of Professional Photography” by Scientific American and was published on September 24, 1892. It discusses the downfall of the art of photography during the late 19th century. It's an interesting take as it was published only a few decades after the height of the medium. It's important as it signified the over saturation and popularity of photography. 

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Br. Jour. “The Decay of Professional Photography.” Scientific American, Vol. 67, No. 13, September 24, 1892.

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Br. Jour. “The Decay of Professional Photography.” Scientific American, Vol. 67, No. 13, September 24, 1892.

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This photograph is titled “Rio de Janeiro,” and was taken by the photographer Martin Munkácsi in 1932 using the gelatin silver print technique. It depicts a busy city street view, in which people on the left side of the frame are seen hurrying to their next destination, whereas the right side shows people seated comfortably on mismatched chairs at small tables, sipping coffee or conversing with one another in small groups of three to four. This image is arguably one of the more “modern” pieces within this exhibit, this is a crucial element as it makes an attempt to show the modernity and fast-paced nature of Brazil’s capital. 

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Martin Munkácsi. “Rio de Janeiro.” 1932 Photograph.

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Martin Munkácsi. “Rio de Janeiro.” 1932 Photograph.

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This photograph is titled “Slaves at a Cofee Yard in a Farm,” and was taken by the photographer Marc Ferrez in 1882. It depicts an idealistic image of African slaves working the land at a coffee plantation. This image plays an important role in Brazil's history as it's used as social propaganda to portray the act of slavery as necessary and pleasant. The clothing worn by the slaves are noticeably clean and their roles and actions appear coordinated and mundane. 

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Marc Ferrez. "Slaves at a Coffee Yard in a Farm", 1882, São Paulo

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Marc Ferrez. "Slaves at a Coffee Yard in a Farm", 1882, São Paulo

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This collection of photographs is titled "Types of Blacks." These were taken by the photographer Christiano Junior in 1865. It depicts six different profiles of African men, assumed to be enslaved. Their expressions are grim and a majority of them are shirtless. These images are important as they document ongoing slavery during the 19th century in Brazil. 

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Christiano Junior, "Types of Blacks," 1865, Photographs

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Christiano Junior, "Types of Blacks," 1865, Photographs