Contrasting visions of two photographers on the architectural heritage of Mexico
One part of the architectural heritage of Mexico, was recorded at the beginning of the twentieth century by the lens of two photographers who, perhaps unintentionally, made a portrait of a defining moment in history: the end of a long and painful stage and the desire to build a country other than that it had been for three centuries.
These signs can be compared at the exhibition Guillermo Kahlo and Henry Greenwood Peabody: two visions of monumental architecture, which opens today at 20 hours in the Old College of San Ildefonso (Justo Sierra 16, Centro Histórico), as part of celebrations 2010 for the centennial of the Revolution and the bicentenary of Independence.
The exhibition brings together 119 photographs owned Cultural Development Group Salinas-taken by the German photographer, a naturalized Mexican, Guillermo Kahlo, and the U.S. Henry Greenwood.
Both took a tour of some of the most important churches, buildings and public works that were built during colonial times and others, who lost interest to the government of Porfirio Díaz, while meant to be the last to leave behind to seek new references.
Reaction against the interest of U.S.
After the annexation of half of Mexico to the United States in 1846-1847 in that country was a great desire to learn about the Hispanic culture. To this end, the journalist Henry Sylvester Greenwood and Baxter were commissioned to travel to Oaxaca and Zacatecas make an "inventory" of its architecture.
The result was the publication of the book in 1901 Spanish-colonial architecture in Mexico and nine portfolios of photos of Greenwood, commented by Baxter.
The U.S. was one of the terms "based on folk and picturesque, sought to show that the abandonment of buildings and their surroundings. Guillermo Kahlo, however, documented this in a more modern section of the customs, "explained La Jornada photographer Pablo Ortiz Monasterio, curator, during a tour of the rooms.
In fact, if the Mexican government began to assess the heritage Novohispanic was in reaction to the interest of the United States. At that time there was a strong and vital necessity of disengagement from the colonial past. The new standards were France, England, cosmopolitanism, and Diaz wanted to show the world the face of a modern nation, "adds the curator.
But as the regime porfirista realizes the work of Greenwood Peabody, Jose Yves Limantour, President Diaz's right arm, suggests doing similar work, which was responsible for Guillermo Kahlo, and whose results were not published until 1924.
The approach of Ortiz Monasterio museum includes a section where you can compare the two artists made shots to the same place (as the Aqueduct and the Cathedral of Queretaro in Mexico City) and block the work of each, separated by photos printed in large panels.
Guillermo Kahlo and Henry Greenwood Peabody: two eyes to the monumental architecture conclude on January 27, 2008 in the compound of street Justo Sierra 16, Historic Center. The exhibition can be visited from Tuesday to Sunday from 10 am to 17:30 pm.
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