Anton Bruehl's project Photographs of Mexico captures Mexican life in the early 1930s with a focus on empathy and technical mastery. Produced during a journey in 1932, this body of work was later compiled into an elegant folio of 25 collotype prints, published in 1933. This undertaking marked an introspective exploration for Bruehl, whose connection to Mexico was shadowed by the tragic death of his mentor, Clarence H. White, in Mexico City in 1925.
Set against the backdrop of the cultural renaissance and heightened interest in Mexico by American artists of the era, Bruehl’s work distinguished itself by eschewing the exoticism and overt romanticism that often characterized depictions of Mexico. Instead, his images are marked by a quiet dignity, capturing the everyday lives of people—farmers, artisans, and children—in a manner that emphasized their individuality rather than reducing them to archetypes. Bruehl’s focus was on relationships and timeless moments, reflecting a universal humanity.
With a focus on stark compositions and the interplay of deep blacks and bright whites, Bruehl’s artistic vision evokes the harsh, sunlit environment of Mexico. His close-up portraits, such as the iconic Dolores, reveal a remarkable sense of intimacy and immediacy. These images are not merely depictions but portrayals inviting engagement with the lives and emotions of his subjects. Utilizing glass plate negatives and meticulous control of natural light, Bruehl achieved a visual clarity and texture that set his work apart from contemporaries.
Bruehl's technique skillfully blended Pictorialism and modernist sensibilities. This fusion is evident in the emotional depth and artistic composition of his photographs. He often shot from below, imparting a monumental quality to his subjects, a technique particularly noticeable in The Servant, Cuautla. His use of a 4x5 Deardorff view camera and a Speed Graphic camera speaks to his commitment to precision and detail. Bruehl’s methodology also reflected his affinity for craftsmanship—a trait that mirrored his admiration for the artisans he photographed.
Upon release, Photographs of Mexico drew peer praise—Ansel Adams and José Clemente Orozco among them—and was selected by the AIGA as one of the Fifty Books of the Year (1933). It debuted with an exhibition at Delphic Studios (New York, 1933) and later appeared in MoMA’s Photography 1839–1937 and Mexico: 8 Photographers (1943), with further showings at the Ansel Adams Gallery and, decades later, in the National Gallery of Australia’s retrospective In the Spotlight: Anton Bruehl Photographs 1920s–1950s (2010).
