The Brazilian Photographs of Genevieve Naylor, 1940-1942
Published by: Duke University Press Books
144 pages, 112 b&w photographs
- ISBN: 9780822321897
- Published: March 1998
Working under the constraints of the Vargas dictatorship, the instructions of her employers, and a chronic shortage of film and photographic equipment, Naylor took advantage of the freedom granted her as an employee of the U.S. government. Traveling beyond the fashionable neighborhoods of Rio de Janeiro, she conveys in her work the excitement of an outside observer for whom all is fresh and new—along with a sensibility schooled in depression-era documentary photography of Dorothea Lange and Walker Evans, as well as the work of Cartier-Bresson and filmmaker Serge Eisenstein. Her subjects include the very rich and the very poor, black Carnival dancers, fishermen, rural peasants from the interior, workers crammed into trolleys—ordinary Brazilians in their own setting—rather than simply Brazilian symbols of progress as required by the dictatorship or a population viewed as exotic Latins for the consumption of North American travelers.
With Levine’s text providing details of Naylor’s life, perspectives on her photographs as social documents, and background on Brazil’s wartime relationship with the United States, this volume, illustrated with more than one hundred of Naylor’s Brazilian photographs will interest scholars of Brazilian culture and history, photojournalists and students of photography, and all readers seeking a broader perspective on Latin American culture during World War II.
Genevieve Naylor began her career as a photojournalist with Time, Fortune, and the Associated Press before being sent to Brazil. In 1943, upon her return, she became only the second woman to be the subject of a one-woman show at New York’s Museum of Modern Art. She served as Eleanor Roosevelt’s personal photographer and, in the 1950s and 1960s became well known for her work in Harper’s Bazaar, primarily as a fashion photographer and portraitist. She died in 1989.
“Genevieve Naylor was one of many Americans, including Orson Wells, Walt Disney, and Errol Flynn dispatched to Brazil to help strengthen the war-time alliance. Her photographs, perhaps the largest surviving body of work portraying the country during the war years, concentrated on ordinary people and captured their everyday struggles, optimism, and inner spirit. Robert M. Levine’s sensitive and intelligent introduction and wonderful sampling of Naylor’s work are sure to delight photography enthusiasts and historians.”—Colin M. MacLachlan, Tulane University
“Miss Naylor captures the feeling, flavor, joy, pathos of all the blending cultures . . . of this fascinating nation.”—San Francisco Examiner
“The product of an immensely sophisticated artist”—San Francisco Chronicle
From reviews of Faces and Places in Brazil, Genevieve Naylor’s 1943 exhibit at the Museum of Modern Art:
“A superb collection of Brazilian photography. . . . Faces and Places in Brazil . . . is a must see.”—New York Times