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Voila in tableau à l’huile. C’est une oeuvre d’un artist français qui s’appelle Hubert Robert. Ça date de 1777, en France. Il y a une grande piscine, avec 2 femmes à centre-gauche. En haut, Il y a de la belle verdure, et ruines. L’art s’appelle “Le Bassin de Baignade”. À présent, c’est dans le New York Metropolitan Museum of Art.

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Voila un tableau à l’huile. C’est une oeuvre d’un artist anglais qui s’appelle Ron Hicks. Ça date environ 1965. Il y a une femme beau qui est dormir. Elle a l’air très calme. L’art s’appelle “slumber” - en français “sommeil”

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https://artsandculture.google.com/asset/farmhouse-in-a-wheatfield-vincent-van-gogh/bQE-6vIUHp9jGQ

La peinture de paysage il y a arbre en da droite et il y a 4 derrière Un Peu a gauche il y a 3 grande arbre. Il y a beaucoup d’arbre a derrière. Il y a maison derrière la arbre au dans.

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Farmhouse in a wheatfield - Vincent van Gogh - Google Arts & Culture

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As soon as Van Gogh arrived in the southern city of Arles from Paris, he was inspired by the vast landscape. He painted this simple farmhouse in a cornfiel…

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https://artsandculture.google.com/incognito/story/zoom-into-the-great-wave/VwKyIlGd8SIdLg

Voila un peinture. Cest oeuvre d'un artiste s appelle Katsushika Hokusai. C'est connu pour le japanese's "mona lisa" Ca date de 1831. Et il y a beaucoup de couleurs et beaucoup de l'histoire.

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Zoom Into ‘The Great Wave’ - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Voila un peinture, le peinture a trois maison. Le maisons a beaucoup de coleurs. C'est ouvre d'un artiste Dutch Vincent Van Gogh. Cette peinture de maison a orange, est blanc. Il ya un maison a droit du otre maisons avec orange porte.

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The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.

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10 Vincent van Gogh Paintings to See Around the World - Google Arts & Culture

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The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.

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Voilà un tableau à l'huile. C'est une oeuvre d'un artiste anglais qui s'appelle Wiliam Hogarth. Ça date de 1978. Au centre il y a deux hommes avec du boeuf. À gauche et à droite il y a des autres hommes. Derrière les hommes il y a un grand arch en marbre et un ciel bleu en haut.

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O the Roast Beef of Old England (‘The Gate of Calais’) - William Hogarth - Google Arts & Culture

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In the mid-eighteenth century, the ‘Patriot’ political opposition often referred to an idea of England in the Elizabethan age and earlier, when kings suppo...

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S'appelle Ryan Reynolds. Voilà un peinture au le cinéma.

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Ca, c'est une photographe, plupart en noir et blanc. C'est une oeuvre d'un astronaute qui s'appelle Niel Armstrong. Ca date de 1969. Ca s'appelle 'Buzz Aldrin on the Moon.' Au centre, il y a un astronaute. Il porte un combinaison spatiale blanc. En bas, a droit, il y a des objets bizarre en or. Le fond est gris.

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Astronaut Buzz Aldrin walks on the surface of the moon near the leg of the lunar module Eagle during the Apollo 11 mission. Mission commander Neil Armstrong took this photograph with a 70mm lunar surface camera. While astronauts Armstrong and Aldrin explored the Sea of Tranquility region of the moon, astronaut Michael Collins remained with the command and service modules in lunar orbit.

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Buzz Aldrin on the Moon - Google Arts & Culture

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Astronaut Buzz Aldrin walks on the surface of the moon near the leg of the lunar module Eagle during the Apollo 11 mission. Mission commander Neil Armstrong took this photograph with a 70mm lunar surface camera. While astronauts Armstrong and Aldrin explored the Sea of Tranquility region of the moon, astronaut Michael Collins remained with the command and service modules in lunar orbit.

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https://artsandculture.google.com/incognito/asset/tuxedo-vase-george-e-ohr/aQEK69tMVSUUHQ

C'est une sculpture en clay. C'est une oeuvre d'un artiste qui s'appelle George E. Ohr. Ca date de 1907 et l'oeuvre s'appelle 'Tuxedo Vase'. Au centre, il y a une sculpture azure et vert en haut avec une bosse a gauche de sculpture.

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Tuxedo Vase - George E. Ohr - Google Arts & Culture

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Voila une sculpteur abstrait d'un artiste qui s'appelle Sarah Lucas. Le date est un 1997. Aussi le sculpteur est dans le chaise.

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Sarah Lucas makes sculptures from an unexpected range of everyday materials, such as worn furniture, clothing, cigarettes, fruit and vegetables. This sculpture was originally exhibited as part of a larger work, consisting of eight similar 'bunny girl' figures limply arranged around a snooker table. To be 'snookered', in the language of the game, means to be prevented from scoring. This figure is made from nylon tights stuffed with cotton wadding, and is clipped to an unremarkable office chair. The limp, floppy form undermines the fantasy of the glamorous 'bunny girl'.

Details

Title: Pauline Bunny

Date: 1997-01-01

Provenance: Presented by the Patrons of New Art (Special Purchase Fund) through the Tate Gallery Foundation 1998

Physical Dimensions: 950 x 640 x 900 mm

Original Title: Pauline Bunny

Additional Viewing Notes: Originally a component part of an installation and exhibition titled Bunny Gets Snookered, this is one of eight similar mannequins arranged on and around a snooker table at Sadie Coles HQ, London, in 1997. Black and White Bunnies (Tate P78227) are three black and white photographs of one of the mannequins which were included in the exhibition. Lucas stuffed variously coloured pairs of tights with cotton wadding to make 'bunny girl' forms, whose limply dangling arms and passively lolling legs provide a representation of abject femininity, in thrall to the arena of male virtuosity as suggested by the snooker table. Each 'bunny' wears differently coloured stockings corresponding to the colours in a set of snooker balls. Pauline Bunny, in its black stockings, corresponds to the highest value snooker ball. The black stockings are the most traditionally alluring of the selection of colours, connecting this representation of a woman to the image of a seductress. Any suggestion of power this might carry is subverted by the passivity of the floppy, stuffed body, which is clipped to an office chair, providing an emblem of secretarial submissiveness. The title of the installation reinforces the reading of disempowerment: to be snookered, in the language of the game of snooker, means to be prevented from scoring. This bunny girl is trapped by her femininity, only to be knocked against her fellow bunnies in a game of masculine skill. The eight mannequins are individually titled Bunny, except Pauline Bunny, the skinniest of all the bunnies, which is named after Pauline Daley, assistant to Sadie Coles. This corresponds with Pauline Bunny's status as the most important and seductive of the bunnies, since contemporary fashion prefers the skinny female form. The artist had originally titled this work Bunny Gets Snookered #7 before retitling it in 2002. Lucas specialises in challenging gender stereotypes through a play on conventions of representation and framing, specifically through the language and media of popular culture. The title of this piece suggests a lewd violation, a masculine victory in a sexual war. But the bunny's unhelpful slump, her sagging form and literal empty head (she has comic-strip stuffed 'ears' but the part of the tights which would logically be her head hangs empty) provide a comic antithesis to her traditional namesake and turn the desiring stereotype of masculinity back on itself. If femininity has been objectified, here it is that process of objectification itself which is revealed to be both comic and ridiculous, a self-defeating reduction which turns its object into something ultimately undesirable. Doll-representations of women trace a lineage from Surrealists such as Hans Bellmer (1902-75), through the assemblage-sculptures made by Ed Kienholz (1927-94) in the 1960s, to the photographs of Cindy Sherman (born 1954). Appropriating the macho vernacular of her working-class London background has provided Lucas with the means to critique the tradition of the male gaze in its own language. Further reading: Lynn Barber, 'Drag Queen', Observer Magazine, London, 30 January 2000, pp.10-16 Sarah Lucas, exhibition catalogue, Museum Boymans-van Beuningen, Rotterdam 1996 Minky Manky, exhibition catalogue, South London Gallery, London 1995, pp.2-5 Elizabeth Manchester January 2000/September 2001/October 2002

Rights: © Sarah Lucas, courtesy Sadie Coles HQ, London

Medium: Wooden chair, vinyl seat, tights, kapok, metal wire, stockings and metal clamp

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Pauline Bunny - Sarah Lucas - Google Arts & Culture

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Sarah Lucas makes sculptures from an unexpected range of everyday materials, such as worn furniture, clothing, cigarettes, fruit and vegetables. This sculpture was originally exhibited as part of a larger work, consisting of eight similar 'bunny girl' figures limply arranged around a snooker table.

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Voila un peinture. Cest oeuvre d'un artiste qui s'appelle Francesco Francavilla. Il y a beaucoup de couleur et en bas il y a beaucoup de gens et en haut il y a feu. En le point de mire il y a le vacher.

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Voila un peinture. Cest oeuvre d'un artiste qui s'appelle Dan Farrell. Il y a un femme avec beaucoup de couleur. Elle cheveux blue et agude il y a flurs.

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Voila une photo de McGown Peak a Idaho. C'est une oeuvre d'un photographe américain qui s'appelle Ansel Adams. C'est noir et blanc. Il y a les montagnes dans le fond et ils est réfléchi au lac devant ca.

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C'est une peinture a l'huile et tres beau. C'est blanche peinture. Dan artiste eat Georgia O’keeffe. Ca date de 1887-1986. Un centre, c'est un skull. Le peinture est blanche. en bas il y a une blanche fleur.

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In 1930 Georgia O'Keeffe witnessed a drought in the Southwest that caused the starvation of many animals, whose skeletons littered the landscape. She was fascinated by these bones and shipped a number back to New York so she could paint them. She noted, "To me they are as beautiful as anything I know . . . The bones seem to cut sharply to the center of something that is keenly alive on the desert even tho' it is vast and empty and untouchable."" In "Cow's Skull with Calico Roses," O'Keeffe added a macabre note by decorating the skull with artificial flowers, the kind used to adorn graves in New Mexico. Alfred Stieglitz exhibited this painting at his gallery An American Place between 1931 and 1932.

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Cow's Skull with Calico Roses - Georgia O'Keeffe (American, 1887-1986) - Google Arts & Culture

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In 1930 Georgia O'Keeffe witnessed a drought in the Southwest that caused the starvation of many animals, whose skeletons littered the landscape. She was fascinated by these bones and shipped a number back to New York so she could paint them. She noted, "To me they are as beautiful as anything I know .

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https://artsandculture.google.com/asset/light-at-two-lights/KgE7Wc2WR9Pwxw?avm=4

C’est un aquarelle d’un phare. L’aquarelle a l’air très tranquille. C'est une oeuvre d'un artist qui s'appelle Edward Hopper. Ca date de 1927.

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Light at Two Lights - Edward Hopper - Google Arts & Culture

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Voilà un peinture acrylique. C'est une oeuvre d'un artiste qui s'appelle Robert Papp. Ca s'appelle "Figs" et il y a beaucoup de couleurs. Ca date de 2012. Il y a trois figues coupe dans le centre et ils est rouge et blanc. Il y a quatre figues derriere de figues rouge et ils est violet et vert.

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C'est une beau dessin en crayon et pastel. Cest une oeure Dan artiste qui sappelle bakin Sergey. Ce date est unknown. En le centre, une femme dancer. Elle est tres graceful. Le point de mire est le femme silhouette. Le dessin et rose, noir et blanche.

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The Back. Katerina - Bakin Sergey - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Voila une dessin a l'aqurelle. C'est une oeuvre d'un artiste Anglais qui s'appelle William Blake. Ca date de 1827.
Dans le fond du photo, il y a coucher de soleil et l'ocean. A droite dans le photo, il y a trois lion. A gauche de photo, il y a une vole femme a bleu et une otre personne de rouge.

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William Blake's illustrations to Dante Alighieri's Divine Comedy have been described as the 'glorious culmination' of his art. Written in the early fourteenth century, this epic poem recounts Dante's imaginary pilgrimage through Hell and Purgatory to Paradise. Commissioned by his last patron, John Linnell, Blake produced 102 drawings illustrating the Divine Comedy between 1824 and his death in 1827. These drawings range from preliminary sketches to highly finished watercolours. Only seven of the compositions were engraved for Linnell's proposed publication. Blake's personal theology led him not only to illustrate but to comment upon, and even criticize, Dante's Catholic interpretation of salvation, stating that 'Dante saw Devils where I see none - I see only good'. The richly coloured Dante running from the Three Beasts depicts the opening incident in the story. Dante, fleeing the dark woods, inhabited by ferocious animals that symbolize worldly sins, encounters the Roman poet Virgil, who becomes his guide through the many terrifying circles of Hell and Purgatory.

Edited from text by Alisa Bunbury from Prints and Drawings in the International Collection of the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2003, p. 79-81

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Dante running from the three beasts - William Blake - Google Arts & Culture

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William Blake's illustrations to Dante Alighieri's Divine Comedy have been described as the 'glorious culmination' of his art. Written in the early fourteenth century, this epic poem recounts Dante's imaginary pilgrimage through Hell and Purgatory to Paradise. Commissioned by his last patron, John Linnell, Blake produced 102 drawings illustrating the Divine Comedy between 1824 and his death in 1827.

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The South Ledges, Appledore - Childe Hassam - Google Arts & Culture

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Ca c'est une dessin en l'encre. C'est un oeuvre d'un artiste japonais qui s'appelle Katsushika Hokusai. Ca date de 1830

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冨嶽三十六景　山下白雨|Storm below Mount Fuji (Sanka no haku u), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) - Katsushika Hokusai - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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C’est une chef d’oeuvre d’un sculpteur en or. D’un sculpteur scythien. Qui s’appelle “The Fish of Vettersfelde”. Ça date de 500 BCE.

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The richest gold finds from antiquity originate from the burial mounds of Scythian princes in the northern Black Sea region. The Collection of Classical Antiquities here in Berlin boasts the most important collection of Scythian gold after St. Petersburg and Kiev. On show in the Altes Museum, between works crafted by ancient goldsmiths, the Greek influence in these finds becomes clear, but so too does the singularity of Scythian culture. The European Scythians were nomads who rode on horseback, and who in the 9th century BCE started spreading out from the Eurasian steppes towards the west via southern Siberia, reaching as far as Mesopotamia and Egypt via the Caucasus by the 3rd century BCE. The Scythians developed thriving contacts with their neighbours to the west, the Thracians and Greeks. Herodotus of Halicarnassus travelled the land of the Scythians around 450 BCE and, in the 4th book of The Histories, reports with amazement and horror of their exotic way of life, the military strategy of 'scorched earth', the ritualistic killing of people and horses that took place, for instance, during obsequies for a deceased king, as well as their lavish funerary objects. Herodotus presumed that the gold he saw used in abundance originated from the rich deposits in eastern Kazakhstan (still rich in gold deposits today) and the Altai Mountains. However, it is also plausible that the Scythians imported panned gold from Colchis, now in Georgia. The Greeks satisfied most of their demand for grain through the Scythians who admired the virtuosity of Ionian goldsmiths and traded the grain for their gold works. These Ionian works in turn influenced the indigenous craftsmanship. 'The Fish of Vettersfelde', decoration from a shield, is an outstanding example of such cross-pollination, executed in what is termed the Scythian animal style. The fish was found on 5 October 1882 by a farmer on the estate of Prince Heinrich zu Schönaich-Carolath, south-east of Guben in Lower Lusatia (now Poland). Also part of the sensational gold treasure were: a large quatrefoil decorative gold plate, a short sword or acinaces with scabbard (which also bore elaborate decorations of animals), a woven chain (71 cm in length that belonged to the sword), an earring with pendant, a 'whetstone' (perhaps used as a talisman), covered above by sheet gold, a solid bracelet and a large sealed ring, 21 cm in diameter, the same weight in gold as the fish, as well as several other items. The discovery of such a large gold treasure was not the main cause for the sensation, rather the fact that it was found more than 1500 km north-west of the area that the European Scythians were known to have settled in, along the Dnieper River and the northern coast of the Black Sea where similar gold objects had first been retrieved from the ground in the early 18th century. In those finds, the rich grave goods were hidden relatively far below ground in huge barrows (or 'kurgan'), burial mounds for rulers. The gold of Vettersfelde, by contrast, had come to the surface during ploughing. Further excavations in the summer of 1883 produced no indications of a burial there. Recent German-Polish digs suggest that the place was once a sacrificial site. It remains contentious whether the Scythians actually made a one-off, short incursion so far into the settlements of 'Lusatian' culture, around 500 BCE. The fish is raised from strong gold sheet, its decorative motifs on the front chased and punched. The pectoral fin divides the body into two relief zones: in the upper area a panther attacks a boar and a lion a stag, above that is the (damaged) depiction of a leaping hare. In the lower zone a bearded Triton wields a fish in his hand while leading a school of fish. In the centre of the tail fin, which ends in rams' heads, an eagle spreads its wings. The large eye of the fish originally gleamed with a glass insert. On the underside four staples are still in place (three others have been ripped out), proving that the object was once fastened to another surface - probably a round shield with an iron mount. We know that such a shield once held the golden stag emblem found at Kostromskaya Stanica in Kuban.
The nonliterate culture of the Scythian nomadic tribes means we can only surmise on the totemistic significance of the symbols on the plate: the rulers of the heavens (eagle), the sea (Triton) and the earth (lion, panther) might have conveyed their powers to a royal warrior leader. The fact there are few signs of use on all items in the find suggest they had not been carried for long. In places where objects are damaged, the crudeness of the strokes suggest the gold sheet was hurriedly torn off from a shield (fish) and a breastplate (quatrefoil), bundled together with the remaining articles and stolen.

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The Fish of Vettersfelde - Unknown - Google Arts & Culture

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The richest gold finds from antiquity originate from the burial mounds of Scythian princes in the northern Black Sea region. The Collection of Classical Antiquities here in Berlin boasts the most important collection of Scythian gold after St. Petersburg and Kiev.

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C'est une gravure. C'est en noir et blanc. C’est une oeuvre d’un artiste allemand qui s’appelle Albrecht Altdorfer. Ca date de 1520. En bas, il y a un lion, qui s'appelle le lion de Némée. Sur le lion, il y a un homme fort, il s'appelle Hercules.

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Hercules Overcoming the Nemean Lion - Albrecht Altdorfer - Google Arts & Culture

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Voila une photographe de noir et blanc. C’est une oeuvre d'un artiste Americain qui s'appelle Cecil Stoughton. Ca date de 1963.
Dans le photographe, il y a 12 homme. John F. Kennedy est dans le centre. A gauche et a droite de JFK, il y a beaucoup de homme. Martin Luther King Jr. est a gauche de centre. Lyndon B. Johnson est a droite de centre.

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Photograph of the President's meeting with the leaders of the March on Washington. Left to Right Willard Wirtz, Martin Luther King, Jr., Eugene Carson Blake, John F. Kennedy, Lyndon Baines Johnson, Walter Reuther Others not in order A. Philip Randolph, John Lewis, Whitney Young, Mathew Ahmann, Joachin Prinz, Roy Wilkins, Floyd McKissick.

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Meeting with President Kennedy after the March on Washington - Cecil Stoughton photo from the JFK Library - Google Arts & Culture

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Photograph of the President's meeting with the leaders of the March on Washington. Left to Right Willard Wirtz, Martin Luther King, Jr., Eugene Carson Blake, John F. Kennedy, Lyndon Baines Johnson, Walter Reuther Others not in order A. Philip Randolph, John Lewis, Whitney Young, Mathew Ahmann, Joachin Prinz, Roy Wilkins, Floyd McKissick.

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The Washington Family - Edward Savage - Google Arts & Culturel

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Ca c'est une gravure en blanc et noir. C'est une oeuvre de Edward Savage. Ca date de 1798. A la gauche il y a George Washington et une petite garçon. Aussi dans da droite il ya un femme et une fille. Au centre il y a une carte, sur une table.

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Before the 1800s, Western art depicted blacks in very limited ways. Most commonly, they appeared either as personifications of Africa (see Africa, Part of the Four Corners of the Globe) or, seen here, as eager servants in grand portraits of wealthy individuals or families.

As in Fishing Party, the presence of a black servant or slave on the edge of the painting reflects his or her role as both an essential part of the family and a prop to show that family's elite status.

Images of blacks before the 19th century were often of fictional people or generalized stereotypes rather than of real individuals. In this case, however, the black man pictured in the far right of the frame has been identified as William Lee, George Washington's favored slave who often accompanied him on hunting trips and military campaigns. This picture of slavery, meant to reinforce Washington's image as a gentle father, distracts the viewer from the harsh realities of slavery.

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The Washington Family - Edward Savage - Google Arts & Culture

# data[].attributes.attachment_link.description
Before the 1800s, Western art depicted blacks in very limited ways. Most commonly, they appeared either as personifications of Africa (see Africa, Part of the Four Corners of the Globe) or, seen here, as eager servants in grand portraits of wealthy individuals or families.

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Ca c'est une photographe, c'est en noir et blanc. C'est une photographe triste. C'est une oeuvre d'un photographe qui s'appelle Graciela Iturbide.  Ca date de 1998. Il y a un arbre en haut de photographe. A gauche de l'arbre une oiseau voler. Il y a une manteau sous l'arbre.

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Fundación MAPFRE acquired its first Iturbide works in 2008 (16 prints) and made a second purchase of 169 photographs of similar characteristics in 2011, which means that this artist's career is quite well represented in its collection.

Fundación MAPFRE organised a major retrospective in 2009, and two years later, in 2011, Fundación MAPFRE arranged for her work to be shown at one of the most important events on the international photography calendar, the Rencontres d' Arles, where she had already won an award in 1991.

Paula Susaeta

Details

Title: Khajuraho, India

Date Created: 1998

Physical Dimensions: w35.5 x h35.4 cm (Without frame, without passepartout)

Photographer: Graciela Iturbide

It was taken there: India

Gelatin silver print: Artist print

Artist Biography: Graciela Iturbide (1942) Graciela Iturbide wanted to be a writer and later a filmmaker, but when she met Manuel Álvarez Bravo and saw his photographs, she found them so moving that she decided to become a photographer. For her, photography is a way of exploring, researching and getting to know other cultures, starting with her own. In her hands the camera becomes a tool of knowledge. Cartier-Bresson, Koudelka and Hiroshi Hamaya are among her professional role models. In 1969 Iturbide enrolled in the Centre for Film Studies at the National Autonomous University of Mexico, where she became an assistant to one of her teachers, Manuel Álvarez Bravo, who would also become her mentor. In 1970 the demise of her daughter Claudia plunged her into several dark years of grief and fixation on death, from which the artist claims that death actually rescued her: "It told me, 'End it now, beware of it' and I did." She later travelled to Panama to photograph General Omar Torrijos, and immediately afterwards, in 1975, her first exhibition, Tres fotógrafas mexicanas, opened at Galería José Clemente Orozco in Mexico City. In 1979 she visited the Sonora Desert and took one of her best-known photographs, Mujer ángel [Angel Woman]. This trip would give rise to the project Los que viven en la arena [Those Who Live in the Sand] (1981). She also went to Juchitán at the invitation of artist Francisco Toledo to work on an exhibition about the Zapotec culture. Both her immersion in Zapotec culture and her encounter with Toledo-who from that moment on would remain a close friend and colleague with a tremendous intellectual influence on both her life and work-were pivotal moments in her career. In response to questions about her interest in symbols and rituals, Iturbide has commented, "Even if we renounce our upbringing, it's always part of our baggage; it accompanies us wherever we go." And no one knows this better than her. The photographer, now a practising agnostic, was brought up in a Catholic middle-class Mexican family, where symbols and rites were an intrinsic part of the language: as a young girl, Graciela would dress up as a Madonna or a little angel, depending on the occasion. The photographer subsumed the writer and the filmmaker: words and motion are trapped in the static image of the world that Iturbide offers us. Their surrealism, poetics and a certain carnality make her photographs immediately recognisable. In 1980 her work was exhibited in Mexico City and Juchitán, and in 1982 the Centre Georges Pompidou (Paris) organised her first trans-Atlantic solo show (she had been exhibiting in the United States since 1976). After that time Iturbide held exhibitions around the world, with two major shows taking place in 1996: Graciela Iturbide, la forma y la memoria at the Museo de Arte Contemporáneo de Monterrey and Graciela Iturbide: Images of the Spirit at the Philadelphia Museum of Art and other venues. Symbols, rites, death, communities and the complicity required to photograph them, as in Juchitán de las mujeres [Juchitán of the Women] (1994) and Graciela Iturbide: Juchitán (2008); festivals, celebrations and the nonchalance of those who pose unabashedly for the camera, as in Chalma; the trip to photograph the goat slaughter, captured in En el nombre del padre [In the Name of the Father] (1993); the silence after photographing gardens, such as the botanical gardens of Oaxaca seen in Narurata (2004) with their plants in the process of healing, with veils, injected solutions and strings to help them grow straight; the Seri Indians of Sonora; the festivities of Chalma and Juchitán; and the birds that are her inseparable companions, to the point that they became part of an emblematic self-portrait in which the artist's eyes were covered by birds, one living and one dead. Each image inspires us to remember the essential: life, death and pleasure. What makes humans human and the world, the world. The journey is always present as a tool for learning. In the 1990s Iturbide travelled to Benares, India. She discovered solitude in the United States in the year 2000, photographing landscapes for the first time in Tampa, Florida. Iturbide found her interest in the idea of the landscape and the horizon growing strong again. She returned to India. In 2006, back in Mexico, she photographed the reopening of Frida Kahlo's bathroom, which had been closed up by Diego Rivera in 1954. Iturbide is not a Frida-maniac, as she herself admits, but Frida is Saint Frida Kahlo in Mexico and one must approach the legend with respect. The evocative power of this work allows us to imagine the days and nights of an artist marked by pain and the oppression of corsets, crutches, politics and her own illness. Japan, Korea, Italy... as the list of countries grew, so did her collection of awards and distinctions: the W. Eugene Smith Memorial Fund Grant, first prize at Mois de la Photo in Paris, and the International Grand Prize in Hokkaido, Japan. In 2008 she won the Hasselblad Award, currently the highest distinction a photographer can receive. "I am a solitary person, which is why I chose photography over film. When you take pictures you're alone, and you also have those nights of reflection." Paula Susaeta

Rights: © Graciela Iturbide, ©COLECCIONES FUNDACIÓN MAPFRE / Fernando Maquieira

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