Leo Matiz, el reportazgo en la posrevolución

Sinopsis(en Inglés)

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Leo Matiz (Colombia 1917-1998) one of the most important photographers in 20th century Latin America, had his origin between pencils and brushes, in his period as a draftsman and caricaturist of diverse serial publications. The book shows unpublished data of this master of the camera who contributed to forge and strengthen the journalistic genre of photojournalism in Mexico, from 1941 to 1947, with images of misery and violence in various communities, of picturesque characters and of the world of show business, art and Mexican culture after the Revolution. Through research essays and articles by critics, contemporary to Leo, this book shows that the brave and good-looking photojournalist had its genesis through drawing and learning an aesthetic through his approach to muralism and the directors and photographers of the Golden Age of Mexican cinema. Includes texts by: Miguel Ángel Aguilar Ojeda, Miguel Ángel Flórez Góngora, Julio César Merino Tellechea, Rebeca Monroy Nasr y, Agustín Sánchez González. Leo Matiz (Colombia 1917-1998) one of the most important photographers in 20th century Latin America, had his origin between pencils and brushes, in his period as a draftsman and caricaturist of diverse serial publications. The book shows unpublished data of this master of the camera who contributed to forge and strengthen the journalistic genre of photojournalism in Mexico, from 1941 to 1947, with images of misery and violence in various communities, of picturesque characters and of the world of show business, art and Mexican culture after the Revolution. Through research essays and articles by critics, contemporary to Leo, this book shows that the brave and good-looking photojournalist had its genesis through drawing and learning an aesthetic through his approach to muralism and the directors and photographers of the Golden Age of Mexican cinema. Includes texts by: Miguel Ángel Aguilar Ojeda, Miguel Ángel Flórez Góngora, Julio César Merino Tellechea, Rebeca Monroy Nasr y, Agustín Sánchez González.