#consuelo kanaga

[joeinct]

After Years of Hard Work (Tennessee), Photo by Consuelo Kanaga 1948

[federer7]

The Bowery. New York. 1935

Photo: Consuelo Kanaga

[newyorkthegoldenage]

A pensive little girl at Easter, 1937. Perhaps she is watching the parade.

Photo: Consuelo Kanaga via the Brooklyn Museum

[yoestuveaquiunavezfrases21]

1481- El orgullo es el primero de los tiranos, pero también el primero de los consuelos."

(Charles Ducios)

[intomore]

Consuelo Kanaga, She is a Tree of Life to Them, 1950,

Gelatin silver print,

Image: 13⅜ by 9⅝ in. (33.8 by 24.4 cm.)

Courtesy: Sotheby's

[lascitasdelashoras]

Consuelo Kanaga - Window pane with view of city yard 1930

[hauntedbystorytelling]

View on WordPress

Consuelo Kanaga :: Camellia in Water, 1927-1928. Gelatin silver print. Masterworks of Modernist Photography from Three Bay Area Collections, San Francisco Museum of Modern Art, 1995-1996. | Phillips auctions

[dughole]

margaret wise brown by consuelo kanaga, 1940-1950, cellulose acetate negative, from the archives of the brooklyn museum (x)

[acardinalisred]

consuelo kanaga

annie mae merriweather

[heaveninawildflower]

‘Glasses and Reflections (1948) by Consuelo Kanaga (American, 1894-1978).

Gelatin silver photograph.

Brooklyn Museum.

copyright transferred to Brooklyn Museum by the Estate of Wallace Putnam          

[mariaangels]

Consuelo Kanaga May, 1920s

[newyorkthegoldenage]

Despair, 1920s.

Photo: Consuelo Kanaga via the Brooklyn Museum

[adreciclarte5]

by Consuelo Kanaga, 1963

[whatevergreen]

Untitled (Tenements, New York) c. 1937. Consuelo Kanaga. The Jewish Museum, New York

[lascitasdelashoras]

Consuelo Kanaga

[hauntedbystorytelling]

Consuelo Kanaga (1894-1978) :: Annie Mae Merriweather (Annie Mae Meriwether), 1935. Gelatin silver print. 'The New Woman behind the Camera' exhibition at The Met view on wordPress

Consuelo Kanaga (1894-1978) :: Annie Mae Merriweather, 1935 | src MoMA

Kanaga created this portrait of Annie Mae Meriwether for New Masses magazine, an Marxist periodical published in the United States from 1926 to 1948. The picture was commissioned to accompany an account of Meriwether’s escape from the lynch mob that had murdered her husband as retribution for his involvement with an Alabama sharecroppers’ union.