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Agustín Victor Casasola

Agustín Víctor Casasola, (geb. 28. Juli 1874 in Mexiko-Stadt,[1] gest. 30. März 1938[2] ebenda[3]), war ein mexikanischer Fotograf und Inhaber einer der weltweit ersten Bildagenturen. Er war Mitbegründer der mexikanischen Vereinigung der Presse-Fotografen (Asociacíon de Fotógrafos de Prensa).

Lebensweg

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Agustín Víctor Casasola wurde am 28. Juli 1874 in Mexico-Stadt geboren. Der Fotograf Miguel Casasola (1876-1951) war sein jüngerer Bruder.[4] 1880, als Agustín sechs Jahre alt war, starb sein Vater. Agustín arbeitete bereits als Jugendlicher in einer Druckerei und Buchbinderei.[5] Agustín Casasola absolvierte eine Lehre als Schriftsetzer (Typograph).[6]. In der zweiten Hälfte der 1890er Jahre, im Alter von etwa 20 Jahren, wechselte er in den Journalismus und wurde Reporter für die Zeitung El Imparcial.[6] Ab 1903 arbeitet Casasola als Fotoreporter.[7] Im darauffolgenden Jahr, 1904, wechselte Casasola von der El Imparcial zur Zeitung El Tiempo.[6] Er arbeitet auch für die Zeitungen El Globo und El Universal.[5]

1905 eröffneten Agustín und sein Bruder Miguel ihre eigene Fotoagentur namens Casasola Fotográficos, eine der weltweit ersten Bildagenturen.[6] Im Jahr 1907 gelangen Agustín Casasola aufsehenerregende Aufnahmen: General Manuel Lisandro Barillas Bercián, der frühere Präsident Guatemalas, war am 15. März 1907 in seinem Exil in Mexiko-Stadt einem Attentat zum Opfer gefallen. Die beiden Attentäter, Florencio Reyes Morales und Bernardo Mora, wurden am 8. September 1907 im Hof des Belén-Gefängnisses in Mexico-Stadt hingerichtet. Bildberichterstattung von der Hinrichtung hatten die mexikanischen Behörden untersagt; Casasola war jedoch auf einen Telefonmast geklettert und konnte von dort aus über die Gefängnismauer hinweg die Erschießung fotografieren.[6]

Am 20. November 1910 brach die Revolution aus, die in einen mehrjährigen Bürgerkrieg einmündete. Angesichts dieser dramatischen Situation entwickelte Casasola sich rasch zu einem Pionier der Reportage- und Dokumentarfotografie unter Kriegsbedingungen.[3] Nach Roger Fenton und einigen wenigen anderen Fotografen, die bereits im Krimkrieg (1853–1856) fotografiert hatten, war Casasola unter den frühen Kriegsberichterstattern. Er dokumentierte mit nüchternem und unvoreingenommenem Blick das Geschehen auf beiden Seiten der Kampflinien. Dabei scheut er sich nicht, seine sperrige Kamera in Sichtweite der Front aufzustellen, um die Kämpfe zu fotografieren. Er war wahrscheinlich der einzige Fotograf, der jemals Bilder gemacht hat, auf denen die beiden gegnerischen Seiten zugleich zu sehen sind, und er war ein Meister darin, den entscheidenden Moment festzuhalten. Er machte beeindruckende Fotos von Truppen, die Eisenbahnzüge angriffen, von grobschlächtigen Soldaten, die die Oberschicht aus den besseren Gegenden der von ihnen eroberten Hauptstadt verdrängten, 'Soldaderas', die ihre kämpfenden Männern mit Beistand und Nachschub versorgten und auch selbst an ihrer Seite kämpften, standrechtlichen Hinrichtungen, verstreut herumliegenden Leichen, Gruppen bewaffneter Kindern und den verhärteten Mienen von Menschen, die viel Leid und Unrecht gesehen hatten. Seine Arbeit wirkt ähnlich kühl und distanziert wie die Dokumentarfotografie von heute - in den 1910er Jahren war eine solche Unerschrockenheit selten.[5]

Mitten in der Revolution, im Jahr 1911, gründete Casasola, zusammen mit anderen Pressefotografen, in Mexico-Stadt die Asociacíon de Fotógrafos de Prensa (Vereinigung der Pressefotografen), und 1912 zusammen mit seinem Bruder Miguel die Agencia Mexicana de Información Gráfica (Agentur für graphische Information), eine der weltweit ersten Bildagenturen. Den Bildbestand dieser Agentur erstellten nicht nur Agustín und Miguel Casasola selbst, sondern insgesamt um die 480 verschiedene Fotografen, deren Bilder jedoch nicht unter ihrem eigenen Namen, sondern dem der Agentur veröffentlicht wurden, so dass bei vielen Fotos die Urheberschaft nicht sicher geklärt werden kann.[6] Zur Fotoagentur haben auch Agustíns sechs Kinder beigetragen: seine vier Söhne Gustavo (1900-1982), Agustín junior (1901-1980), Ismael (1902-1964) und Mario (1923-1988) als Fotografen sowie seine beiden Töchter Dolores (1907-2001) und Piedad (1909-1953) im Labor, im Archiv und bei der Kundenbetreuung. Unter den Fotografen, die Bildmaterial für die Bildagentur Casasola geliefert haben, waren Jesús H. Abitia, Hugo Brehme,[8] Antonio Garduño, Heliodoro J. Gutiérrez, die Gebrüder Mayo, Eduardo Melhado, Genaro Olivares (Ehemann von Agustíns Tochter Dolores Casasola, also Agustíns Schwiegersohn), Sabino Osuna, Manuel Ramos, Amado Salmerón, Samuel Tinoco und Ezequiel Tostado sowie die Firmen cif und México Fotográfico.[4]

Im Jahr 1921 veröffentlichte Casasola erstmals das Album Histórico Gráfico mit Fotografien aus den Revolutionsjahren 1910 bis 1920, das in den Jahren danach in etlichen Auflagen erschien.[9] Es war als erster Teil eines mehrbändigen Werkes konzipiert, wurde aber erst Jahre nach Agustín Casasolas Tod von seinen Söhnen Gustavo und Ismael - beide ebenfalls Fotografen - fertiggestellt – sie veröffentlichten im Jahr 1960 eine Fortsetzung zum ersten Band von 1921, das Album Historia Grafica de la Revolucion Mexicana.[5] Ab etwa 1925 fertigte Casasola seine Aufnahmen, vor allem in Mexiko-Stadt, mit einer 35 mm-Kleinbildkamera an.[6]

Anfang 1938 gründete Casasola die Zeitschrift Hoy (Heute).[10] Er starb kurz darauf, im März 1938, im Alter von 63 Jahren.

Sein Sohn Agustín Casasola Zapata gründete aus den Fotobeständen der Bildagentur das Casasola-Archiv. Von ihm erwarb die mexikanische Regierung im Jahr 1976 das aus insgesamt 484.004 Aufnahmen (411.913 Negativen und 72.091 Positiven) bestehende Casasola-Archiv. Es wird heute im Centro cultural Hidalgo (I.N.A.H.) in einem Nebengebäude des ehemaligen Klosters San Francisco in Pachuca de Soto, der Hauptstadt des mexikanischen Bundesstaates Hidalgo, aufbewahrt.[4]

Zettelkasten

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  • Agustin Victor Casasola was born in Mexico City on July 28, 1874[11]
  • His father died when he was six years old, and the family’s financial situation didn’t permit him to pursue higher education.[12]
  • he worked in a printing and book-binding office when he was still a child.[13]
  • He apprenticed himself at a young age to a typographer.[14]
  • By the time he was twenty years old [1894] he had moved from setting type to writing stories and became a reporter for El Imparcial, one of the official newspapers of the Porfirio Díaz regime.[15]
  • At the age of twenty he became a journalist and worked for the leading Mexico City newspapers El Globo, El Universal and El Tiempo.[16]
  • By the end of the century [1900] he had moved into photojournalism.[17] D’abord rédacteur dans les journaux, […] il devient photographe en 1903.[18]
  • In 1904 Casasola left El Imparcial to work for El Tiempo, which was owned by Rafael Reyes Spindola[19]
  • In 1905 Agustín Víctor Casasola started his own photo agency with his younger brother Miguel, called Casasola Fotográficos.[20]
  • In 1907 he did the unthinkable. General Lisandro Barillas, the former president of Guatemala, was shot. The assassins were to be executed in front of a firing squad in Belen Prison. The coverage of the execution was prohibited. Casasola climbed a telephone pole and made a platform for himself that allowed him to shoot over the prison wall. This incredible feat won him a special award.[21]
  • outbreak of the Mexican revolution in 1910. He still focused on men of power as he did in the time of Porfirio Díaz, though now the power belonged to men like Pancho Villa and Emiliano Zapata. But he was changing. He was now also focused on the human price of war. He photographed armies attacking railroad trains, rough hewed soldiers replacing the upper class in what was once forbidden territory in the better parts of the conquered capital, soldaderas giving comfort and food and fighting along side their men, and the wasted bodies of the dead strewn haphazardly along the countryside. He photographed groups of armed children, the cold faces of executioners, the last moments of those being executed, and the hardened indifference of the living who had seen too much. He photographed with a clear impartial eye the men doing battle on both sides of the fight.[22]
  • His big moment arrived with the outbreak of the Revolution: exposed to the dramatic situation, he quickly became a pioneer of reportage and documentary photography.[23]
  • Casasola als Kriegsfotograf: After Roger Fenton, he was one of the first great war reporters in history. The Revolution that began in 1910 consisted of a ten year conflict led by Carranza, Pancho Villa and Zapata. Casasola made documents of this guerilla war. He must have had nerves of steel, for he did not shrink from setting up his huge camera near the front in order to photograph the fighting. He was probably the only photographer ever to have taken pictures in which the opposing sides are both visible, and he was a pastmaster at capturing the decisive moment. He took deeply moving photos of martial law executions, and he observed the victims seconds before their death. He was as cool and distant in his work as the documentary photography of today — and in 1910 such dauntlessness was rare. It may be that he inherited it as a characteristic of the Latin countries. He also photographed the assassination of Emperor Maximilian in 1867, and it was from this photo, which has since been lost, that Manet painted his picture.[24]
  • In 1911, along with other photographers in Mexico City, Casasola formed the Asociacíon de Fotógrafos de Prensa (Mexican Association of Press Photographers), and the next year, he founded Agencia de Informacíon Gráfica (Graphic Information Agency), which was one of the first photo agencies in the world. It included his brother, a great photographer in his own right though many of his pictures were never signed, and all members of his family from children to grandchildren. It eventually became large enough to embrace other photojournalists, 483 of them to be exact! Here a line blurs. In many cases, it’s hard to distinguish how many of Cassola’s photos were shot with him behind the lens and how many were done by others, including his brother whose own name never appeared on his work.[25]
  • die Agencia Mexicana de Información Gráfica, eine der ersten Bildagenturen der Welt.
  • In 1911, Agustin Casasola founded a photography agency which supplied both Mexican and foreign newspapers.[26]
  • En 1921, il publie l'Album Histórico Gráfico, qui couvre les années 1910–1920 (et sera très souvent réédité).[27]
  • Casasola was probably aware of his significance as a witness of one of the most decisive moments of Mexican history, and in 1921 he published an album of photographs and texts on the last years of Porfiro Díaz' dictatorship up to the Madero administration in 1913. This book, the Album Histórico-Gráfico was intended to be the first part of a multi-volume. It was eventually finished by his sons Gustavo and Ismael — both of them photographers — who painstakingly added to their father’s archives and published the sequel to the first volume, Historia Grafica de la Revolucion Mexicana, in 1960, thereby completing what their father had begun.[28]
  • Between 1920 and 1930 with the years of the revolution behind him, Casasola again looked to his city, this time with the help of the 35 mm camera that saw its debut in 1925.[29]
  • Casasola felt a great need to preserve this part of Mexico’s past. The photographic archives he assembled with his brother comprise nearly 500,000 images and are considered the finest collection available on Mexican history documenting the first part of the twentieth century. The archives are housed in the Convent of San Francisco in the city of Pachuca in Hidalgo.[30]
  • Su archivo se enriqueció con el trabajo de su hermano Miguel (1876-1951); de sus seis hijos: Gustavo (1900-1982), Agustín (1901-1980), Ismael (1902-1964) y Mario (1923-1988) como fotógrafos, y Dolores (1907-2001) y Piedad (1909-1953) en el laboratorio, en el archivo y atendiendo a la clientela; y con el de sus nietos, en especial Ismael (1923-1970) y Juan (1937-1984) Casasola Tezcuano, y Mario (1929) y Agustín (1930-1995) Casasola López. También fue fundamental la contratación de fotógrafos externos y la adquisición o reproducción de imágenes de otros, a quienes con frecuencia no se otorgaba el crédito, práctica usual en ese entonces, a excepción de las fotos para las que se tramitaba registro de propiedad. Ello ha dificultado la identificación autoral, aunque es un hecho que el Fondo contiene obra de casi 500 autores, entre ellos Jesús H. Abitia, Hugo Brehme, Antonio Garduño, Heliodoro J. Gutiérrez, los hermanos Mayo, Eduardo Melhado, Genaro Olivares (esposo de Dolores Casasola), Sabino Osuna, Manuel Ramos, Amado Salmerón, Samuel Tinoco y Ezequiel Tostado; así como de las firmas cif y México Fotográfico, y de fotógrafos del siglo XIX.[31] – Sein Archiv wurde durch die Arbeiten seines Bruders Miguel (1876-1951) und seiner sechs Söhne bereichert: Gustavo (1900-1982), Agustín (1901-1980), Ismael (1902-1964) und Mario (1923-1988) als Fotografen sowie Dolores (1907-2001) und Piedad (1909-1953) im Labor, im Archiv und bei der Kundenbetreuung; und durch die Arbeit seiner Enkel, insbesondere Ismael (1923-1970) und Juan (1937-1984) Casasola Tezcuano sowie Mario (1929) und Agustín (1930-1995) Casasola López. Von grundlegender Bedeutung war auch die Beauftragung externer Fotografen und der Erwerb oder die Reproduktion von Bildern anderer, die oft nicht als Urheber genannt wurden, eine damals übliche Praxis, mit Ausnahme von Fotos, für die ein Bildrechtenachweis verlangt wurde. Dies hat die Identifizierung der Autoren erschwert, obwohl der Fonds Werke von fast 500 Autoren enthält, darunter Jesús H. Abitia, Hugo Brehme, Antonio Garduño, Heliodoro J. Gutiérrez, die Gebrüder Mayo, Eduardo Melhado, Genaro Olivares (Ehemann von Dolores Casasola), Sabino Osuna, Manuel Ramos, Amado Salmerón, Samuel Tinoco und Ezequiel Tostado, sowie von den Firmen cif und México Fotográfico und Fotografen aus dem 19. Jahrhundert.
  • il fonde une revue, Hoy (« Aujourd'hui »), mais meurt la même année. [1938][32]
  • Gründer des Casasola-Archivs war Agustín Casasola Zapata, ein Sohn von Agustín Víctor Casasola[33]
  • Son oeuvre est conservée au Centro cultural Hidalgo (I.N.A.H.) à Pachuca, au Mexique.[34]
  • Die mexikanische Regierung erwarb das Casasola-Archiv im Jahr 1976, als der damalige Präsident der Republik, Luis Echeverría, das Nationale Institut für Anthropologie und Geschichte (INAH) mit der Verwahrung, Erforschung und Verbreitung dieses Fotobestandes beauftragte. Der Kauf der 484.004 Stücke (411.913 Negative und 72.091 Positive) erfolgte am 23. März 1976 durch einen vom Generaldirektor des Instituts, Guillermo Bonfil Batalla, und Agustín Casasola Zapata, dem Sohn von Agustín Víctor Casasola, dem Gründer des Archivs, unterzeichneten Vertrag. Der Gouverneur des Bundesstaates Hidalgo, Jorge Rojo Lugo, stiftete das Nebengebäude des ehemaligen Klosters San Francisco in Pachuca als Sitz des Archivs, wo es sich bis heute befindet.[35]

Rohstoffe, Quellen

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Monasterio (Hrsg.), „Mexico. The Revolution and Beyond“

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S. 13, Abschn. II.:

„… Agustín Víctor Casasola was born in Mexico City on July 28, 1874. His father died when he was six. Miguel Casasola was his younger brother and would also carry cameras into the streets and fields of Mexico. According to Agustíns son, Gustavo, his father began his career after serving an apprenticeship as a typographer … He became a reporter … The year was 1994…“

Pete Hamill, The Casasola Archive, S. 13–21, S. 13, Abschn. II., in: Pablo Ortiz Monasterio (Hrsg.), „Mexico. The Revolution and Beyond. Photographs by Agustín Víctor Casasola 1900–1940“, Aperture Foundation, publiziert in Kooperation mit Conaculta-INAH, New York 2003

Pablo Ortiz Monasterio (Hrsg.), „Mexico. The Revolution and Beyond. Photographs by Agustín Víctor Casasola 1900–1940“. Essay by Pete Hamill, Afterwords by Sergio Raúl Arroyo und Rosa Casanova, Aperture Foundation, publiziert in Kooperation mit Conaculta-INAH, New York 2003, ISBN 1-931788-22-7

Hannavy, „Encyclopedia of 19th Century Photography“

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Photography as a means for documenting historical moments and disseminating news had existed in Mexico since daguerreotypes were taken of American troops and wounded soldiers in Saltillo during the Mexican-American War (1846–1848). Aubert’s images from the French Intervention were of a certain documentary nature, and were used in Europe to report the news from afar. However, it was the Porfiriato that made extensive use of photography to record its accomplishments. A cadre of photographers such as Agustín Victor Casasola and Guillermo Kahlo were always on hand to document ceremonial occasions such as the dedication of buildings and public works.

Larousse, „Dictionnaire mondial de la photographie“

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p. 115

CASASOLA Agustín-Víctor

CASASOLA Agustín-Víctor photographe mexicain (1874 - 1938) D’abord rédacteur dans les journaux, curieux et passionné d'histoire, il devient photographe en 1903. En 1910, année du centenaire de l'indépendance, mais aussi de l'avènement de la révolution, il photographie aussi bien les festivités officielles que les chefs révolutionaires. En 1911, il fonde la premiere Societé de photographes de presse mexicaine, puis, en 1914, son Agence d'information, qui regroupe plusieurs reporters. Il produit avec ses collaborateurs un très grand nombre d'images, travaillant à la fois pour l'état et pour sa propre agence. Cherchant à constituer des archives « objectives » de l'histoire des son pays, il photographie événements et groupes humaines de manière assez neutre, souvent obliquement. En 1921, il publie l'Album Histórico Gráfico, qui couvre les années 1910–1920 (et sera très souvent réédité). Par la suite, il fait de nombreuses photographies officielles dans les tribuneaux, les prisons et les salles de spectacle, traduisant, sans artifice ni complaisance, la misère d'une grande partie de la population. Toujours fidèle au photojournalisme, il fonde une revue, Hoy (« Aujourd'hui »), mais meurt la même année. Son oeuvre est conservée au Centro cultural Hidalgo (I.N.A.H.) à Pachuca, au Mexique.

Ch.B., p. 115 Larousse Dictionnaire mondial de la photographie / Larousse, 2001, 634 Seiten, S. 115, https://gallica.bnf.fr/ark:/12148/bpt6k1200506v/f115.image.r=Casasola Ch.B.

Dictionnaire mondial de la photographie / Larousse, 2001, 634 Seiten, S. 115, https://gallica.bnf.fr/ark:/12148/bpt6k1200506v

CASASOLA Agustín-Víctor mexikanischer Fotograf (1874 - 1938). Zunächst Zeitungsredakteur, neugierig und geschichtsinteressiert, wurde er 1903 zum Fotografen. Im Jahr 1910, dem Jahr des hundertjährigen Jubiläums der Unabhängigkeit, aber auch des Beginns der Revolution, fotografierte er sowohl die offiziellen Feierlichkeiten als auch die Revolutionsführer. 1911 gründete er die erste mexikanische Gesellschaft für Pressefotografen und 1914 seine Nachrichtenagentur, in der mehrere Reporter zusammenarbeiteten. Er und seine Mitarbeiter produzierten eine große Anzahl von Bildern und arbeiteten sowohl für den Staat als auch für seine eigene Agentur. Er versuchte, ein „objektives“ Archiv der Geschichte seines Landes aufzubauen, und fotografierte Ereignisse und Menschengruppen auf eine eher neutrale, oft schräge [obliquement] Art und Weise. Im Jahr 1921 veröffentlichte er das Album Histórico Gráfico, das die Jahre 1910-1920 abdeckt (und sehr oft neu aufgelegt wurde). In der Folgezeit machte er zahlreiche offizielle Fotografien in Gerichtssälen, Gefängnissen und Veranstaltungssälen, die das Elend eines großen Teils der Bevölkerung ungekünstelt und ohne Selbstgefälligkeit [oder: Nachsicht] wiedergeben. Er blieb dem Fotojournalismus treu und gründete eine Zeitschrift, Hoy („Heute“), starb aber noch im selben Jahr [1938]. Sein Werk wird im Centro cultural Hidalgo (I.N.A.H.) in Pachuca, Mexiko, aufbewahrt.

National Museum of Mexican Art, „Agustín Víctor Casasola“

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Agustín Víctor Casasola 1874–1938

Agustín Víctor Casasola was a typographer [Schriftsetzer] turned reporter then became one of Mexico’s most significant photographers of the early 20th century. Casasola was one of the founders of the Mexican Association of Press Photographers. His photographs of the Mexican Revolution are some of the most notable documentation of Mexican history, often compared to Mathew Brady and his U.S. Civil War photos. A large selection of his photographs were donated to NMMA in 1991.

National Museum of Mexican Art, „Agustín Víctor Casasola“, https://nationalmuseumofmexicanart.org/artists/agustin-victor-casasola

Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“

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Agustín Victor Casasola was not a painter or a poet or one of the many intellectuals or revolutionaries during the early decades of the twentieth century who consciously strove to forge a Mexican identity. Yet, as witness and recorder of those tumultuous years, his influence was as great and may prove to be more lasting.

There is no medium that has greater immediacy than the photograph. And as such, it has great power. Whether Casasola knew this intuitively or intellectually doesn’t matter. What does matter is that he left a legacy to the people of his country that has etched in the minds of every Mexican, a visceral connection to whom they were at the rebirth of their nation. And he has assured future generations of Mexican that their past will never fall into oblivion.

It’s interesting that he never thought of himself as an “art” photographer like Edward Weston or Manuel Alvarez Bravo, two men who sought to capture the face of Mexico and whose work he would have certainly known at the time. He saw himself as a journalist first — a man who took pictures to tell a story. Yet, many of his photographs transcend the craft of photojournalism and reach the level of art. In this respect, he is reminiscent of the great “Life Magazine” photographer W. Eugene Smith whose photographs not only told a story, but captured a depth and humanity beyond the impersonal image.

Agustin Victor Casasola was born in Mexico City on July 28, 1874. His father died when he was six years old, and the family’s financial situation didn’t permit him to pursue higher education. He apprenticed himself at a young age to a typographer. Typography demands precision, a sense of form and style, and an understanding of the need to communicate. This early training served him well in his later incarnation as a photographer.

By the time he was twenty years old he had moved from setting type to writing stories and became a reporter for El Imparcial, one of the official newspapers of the Porfirio Díaz regime. By the end of the century he had moved into photojournalism.

He couldn’t have been better placed in history. The early 1900s brought great innovative advances into photography, one of which was the half tone. Its use on high-speed presses revolutionized the printed image. Editors and readers demanded the “real thing,” and photographs quickly replaced drawings and etchings on the printed page.

As those were the Porfirio Díaz years, the demand was for “happy” pictures. Anything else wasn’t good business for the newspapers. 85% of the public was illiterate, and the public that could read – businessmen, large landowners, and the emerging middle class – didn’t want their sleep disturbed.

Casasola worked within those narrow confines along with the others in his field. His early photographs document the comfortable lives of the elite, and he was even there to photograph Porfirio Díaz during the inauguration celebration that led to his last days in office. But he was also there to shoot the crowds cheering on the day of the great dictator’s exile and Madero entering Mexico City in triumph. His subject matter is starting to change, and these photographs will take on enormous power in time.

In 1904 Casasola left El Imparcial to work for El Tiempo, which was owned by Rafael Reyes Spindola, a publisher with vision who saw the great potential of newspapers. He purchased the newest machinery to assure the highest visual quality in the production of his daily paper, and he saw the value of creating more space for photographs.

Casasola also saw the growing potential of photography, and his commitment grew accordingly. In 1905 he started his own photo agency with his younger brother Miguel, called Casasola Fotográficos.

In 1907 he did the unthinkable. General Lisandro Barillas, the former president of Guatemala, was shot. The assassins were to be executed in front of a firing squad in Belen Prison. The coverage of the execution was prohibited. Casasola climbed a telephone pole and made a platform for himself that allowed him to shoot over the prison wall. This incredible feat won him a special award.

With the outbreak of the Mexican revolution in 1910, the photographers of the “good life” now found themselves on the battlefield. This new reality compelled Casasola to look behind the image to the unseen.

He still focused on men of power as he did in the time of Porfirio Díaz, though now the power belonged to men like Pancho Villa and Emiliano Zapata. But he was changing. He was now also focused on the human price of war. He photographed armies attacking railroad trains, rough hewed soldiers replacing the upper class in what was once forbidden territory in the better parts of the conquered capital, soldaderas giving comfort and food and fighting along side their men, and the wasted bodies of the dead strewn haphazardly along the countryside. He photographed groups of armed children, the cold faces of executioners, the last moments of those being executed, and the hardened indifference of the living who had seen too much. He photographed with a clear impartial eye the men doing battle on both sides of the fight.

During this time, he was certainly aware of the work of the French portrait photographer, Nadar, and Eugene Atget who photographed the streets and neighborhoods of Paris. He must have seen the work of Jacob Riis, who photographed the slums of New York. And he surely looked through the American magazine Camera Work. It is evident that their work influenced his perceptions as he expanded the possibilities of his craft.

In 1911, along with other photographers in Mexico City, Casasola formed the Asociacíon de Fotógrafos de Prensa (Mexican Association of Press Photographers), and the next year, he founded Agencia de Informacíon Gráfica (Graphic Information Agency), which was one of the first photo agencies in the world. It included his brother, a great photographer in his own right though many of his pictures were never signed, and all members of his family from children to grandchildren.

It eventually became large enough to embrace other photojournalists, 483 of them to be exact! Here a line blurs. In many cases, it’s hard to distinguish how many of Cassola’s photos were shot with him behind the lens and how many were done by others, including his brother whose own name never appeared on his work.

All aspects of Mexican life were now being captured and frozen in time. Great revolutionary heroes shared a place before the lens with criminals and prostitutes.

It was becoming increasingly evident that Casasola was more than just a recorder of facts. His portraits, particularly of groups, show great skill and outstanding artistry. (It probably helped that he was over 6 feet tall, which certainly gave him a perspective not available to most Mexicans.) His photographs reveal a refined handling of space, gesture and interpersonal relationships, and there is a luminous quality to his portraits.

Between 1920 and 1930 with the years of the revolution behind him, Casasola again looked to his city, this time with the help of the 35 mm camera that saw its debut in 1925. The fantasy world of Porfirio Díaz was long gone and his interest in the rarefied world of political leaders and artistic celebrities was on the wane.

He turned is eye to the common man. Loneliness, alienation, separation from others — the world of those who left their ravaged countryside to find hope in Mexico City was the new reality, and his photographs caught these images in a human and compassionate way. They showed every Mexican worthy of attention. In the process, he saw Mexico’s transformation from ancient tradition to modern times, and he tried to capture that, too.

Casasola felt a great need to preserve this part of Mexico’s past. The photographic archives he assembled with his brother comprise nearly 500,000 images and are considered the finest collection available on Mexican history documenting the first part of the twentieth century. The archives are housed in the Convent of San Francisco in the city of Pachuca in Hidalgo.

Filmmakers and writers have all taken their images of the revolution from the photographs in these archives, and it’s those images of the times that we have internalized. We have seen these images in hundreds of tourist shops all over Mexico and in the gift shops of museums. They’ve been reproduced on t-shirts, post cards and ash trays. Even the Zapatista uprising in the state of Chiapas used his images.

We’ve all seen his work but most of us have never been able to put a name to the images, and in this article it was a treat to correct that oversight and pay homage to this extraordinary man of talent and vision.

Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/

INAH, Colección Archivo Casasola

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Colección Archivo Casasola - Fototeca Nacional

La historia de la Fototeca Nacional –como la de la propia fotografía mexicana- está indisolublemente ligada a la colección Casasola, tanto que fue precisamente este acervo el que le dio origen y hasta nombre por un periodo. A pesar de que sigue siendo la colección más apreciada, consultada y estudiada aún tiene muchísimas lecturas inéditas que ofrecer.

La adquisición del Archivo Casasola por parte del gobierno mexicano tuvo lugar en 1976, cuando el entonces presidente de la República, Luis Echeverría, encargó al Instituto Nacional de Antropología e Historia (inah) su custodia, investigación y difusión. La compra de las 484,004 piezas (411,913 negativos y 72,091 positivos) se materializó el 23 de marzo de ese año, mediante un contrato suscrito por el director general del Instituto, Guillermo Bonfil Batalla, y Agustín Casasola Zapata, hijo de Agustín Víctor Casasola, fundador del Archivo. El gobernador del estado de Hidalgo, Jorge Rojo Lugo, donó el anexo del ex Convento de San Francisco, en Pachuca, para que sirviera como sede del acervo, lugar en el que permanece hasta hoy.

Miles de placas conforman este fondo, producto de la labor como fotógrafo y coleccionista de imágenes de Agustín Víctor Casasola Velasco (1874-1938), hombre visionario que creó la Agencia Mexicana de Información Gráfica –nombre que variaría con el transcurso de los años-, una de las primeras agencias en el mundo que proveyó materiales fotográficos de actualidad a la prensa. Su archivo se enriqueció con el trabajo de su hermano Miguel (1876-1951); de sus seis hijos: Gustavo (1900-1982), Agustín (1901-1980), Ismael (1902-1964) y Mario (1923-1988) como fotógrafos, y Dolores (1907-2001) y Piedad (1909-1953) en el laboratorio, en el archivo y atendiendo a la clientela; y con el de sus nietos, en especial Ismael (1923-1970) y Juan (1937-1984) Casasola Tezcuano, y Mario (1929) y Agustín (1930-1995) Casasola López.

También fue fundamental la contratación de fotógrafos externos y la adquisición o reproducción de imágenes de otros, a quienes con frecuencia no se otorgaba el crédito, práctica usual en ese entonces, a excepción de las fotos para las que se tramitaba registro de propiedad. Ello ha dificultado la identificación autoral, aunque es un hecho que el Fondo contiene obra de casi 500 autores, entre ellos Jesús H. Abitia, Hugo Brehme, Antonio Garduño, Heliodoro J. Gutiérrez, los hermanos Mayo, Eduardo Melhado, Genaro Olivares (esposo de Dolores Casasola), Sabino Osuna, Manuel Ramos, Amado Salmerón, Samuel Tinoco y Ezequiel Tostado; así como de las firmas cif y México Fotográfico, y de fotógrafos del siglo XIX.

Muy tempranamente, el fundador utilizó los nombres Casasola, Casasola Hermanos, Casasola fot. o Casasola e Hijos, hasta 1942 en que se convirtió en Archivo Casasola. Aunque el Fondo es famoso por las fotografías de la Revolución Mexicana, lo cierto es que es infinitamente más rico, pues documenta prácticamente todos los aspectos de la vida nacional a partir de su centro político y económico. Reúne casi un siglo de trabajo ininterrumpido para la prensa, las editoras comerciales y las oficinas de gobierno, y su extraordinario valor reside en que Agustín Víctor, consciente del poder de la imagen fotográfica como registro, tuvo el firme propósito de documentar y coleccionar todo evento que a sus ojos fuera significativo en el acontecer del país.

Preocupado por formar un archivo fotográfico al servicio de la historia de México, usó este material para dar vida a un vasto cúmulo de publicaciones que inició en 1921 con el Álbum histórico gráfico, con textos de Nicolás Rangel y Luis González Obregón, obra en la que las fotografías sustentan el discurso y a menudo proveen más elementos de interpretación que la crónica de los hechos. Aunque al parecer fue un fracaso comercial, este proyecto sentó las bases de otra obra fundamental: la Historia gráfica de la Revolución, que su hermano Miguel, y sus hijos Gustavo y Piedad, se encargarían de sacar a la luz en 1942, dando inicio así a la difusión a gran escala de imágenes históricas que, con los años, se convirtieron en iconos implantados en el imaginario colectivo mexicano y del mundo entero.

La labor de Agustín Víctor había iniciado al despertar el siglo xx, cuando sintió la necesidad de tomar una cámara para ilustrar sus reportajes convirtiéndose en uno delos primeros fotorreporteros de México. Desde 1909 participó en diversas asociaciones de periodistas, lo cual le permitió establecer una red de contactos que sería muy útil en el desempeño de la agencia. En 1911 fundó con otros compañeros la Asociación Mexicana de Fotógrafos de Prensa, una de las pioneras mundiales en la materia. De esta manera, pudieron plantear las necesidades del gremio al gobierno emanado de la revolución maderista; en breve Agustín abriría su propia agencia. Paralelamente, Miguel comenzó a trabajar en la prensa y, a partir de los años veinte, los hermanos Casasola desempeñaron diversas comisiones para el gobierno del distrito Federal, en el que Agustín Víctor llegó a ser jefe de fotografía. Desde allí registraron, con especial atención en los encuadres, los momentos significativos, aspectos de la vida social y económica, la obra pública, el sistema judicial y el comercio con sus formas particulares de existir.

Al mismo tiempo, otros miembros de la familia se fueron incorporando a las principales publicaciones periódicas de la época, de modo que la colección cubre en conjunto sucesos culturales, deportivos, sociales, militares y diplomáticos; desastres; transporte público; el mundo laboral, periodístico y del espectáculo; los ámbitos de las costumbres y la vida cotidiana y, desde luego, la escena política. De esta manera, las fotografías del archivo se poblaron tanto de personajes relevantes como de ciudadanos anónimos, convertidos a veces en arquetipo.

La colección Casasola no ha sido fácil de estudiar y analizar dada su condición de registro de la vida del país de fines del siglo XIX a 1972, galería de los gustos e intereses del público –en tanto las imágenes eran publicadas y comercializadas- y muestrario del desarrollo tecnológico del medio: desde la placa de vidrio hasta la película de 35 milímetros. Sin duda, entre sus millares de piezas seguirán apareciendo muchas joyas, ya que la búsqueda de los estudiosos – que siempre responde a los tiempos históricos- encuentra diferentes resonancias en la obra.

Al tocar el imaginario sobre el México del siglo XX, la profunda riqueza y la inherente heterogeneidad del Fondo ponen en evidencia aspectos que han sido poco tratados por la historiografía; por otro lado, la ausencia de ciertos temas y lugares tampoco ha sido objeto de estudio. Sin embargo, es posible afirmar que el éxito de los Casasola se sustentó en una alianza implícita con los gobiernos en turno, lo que en cierto modo se explica como una forma de reconocimiento al principio de autoridad, y una apuesta por la unidad del país. El proyecto de Agustín Víctor y sus descendientes fue generando una estructura que supo responder a las necesidades de la época, basada en una nueva relación del fotorreportero –y evidentemente de la prensa- con el poder.

Mediateca INAH, Colección Archivo Casasola - Fototeca Nacional, https://mediateca.inah.gob.mx/islandora_74/islandora/object/fondo%3Asinafo_a

Billeter, „Imagines of Mexico“

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Whereas Romualdo Garcia spent his life in his studio in his native town, another Mexican photographer by the name of Agustin Victor Casasola took his camera onto the streets. Born in 1874 in Mexico City, where he died in 1938, Casasola was the first reporter with a camera in the whole history of photography. His big moment arrived with the outbreak of the Revolution: exposed to the dramatic situation, he quickly became a pioneer of reportage and documentary photography. It was not, however, until the large-scale exhibition in the Zurich Kunsthaus entitled Photographie Latinamerika in 1981 that he became known in Europe. Little is known about his life, and it is not even clear whether he was in contact with his great photographic contemporaries, for example Paul Strand, Tina Modotti and Edward Weston who lived in Mexico during the 1920s. It is also unclear whether he knew Hugo Brehme who lived in Mexico City at the time and, like Casasola, travelled all over the country during the Mexican Revolution. All

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we know about his education and training is that he worked in a printing and book-binding office when he was still a child. At the age of twenty he became a journalist and worked for the leading Mexico City newspapers El Globo, El Universal and El Tiempo. When his opportunity arose, Casasola emerged as a photoreporter with an individual style of his own. The Mexican Revolution challenged him, enabled him to develop his photographic talent and gave him the chance to try out the medium in the midst of action. The man who began as an amateur now became a master. He had a brilliant technique, a lightning-quick eye, and the capacity to perceive the uniqueness of a specific situation.

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There cannot have been many photographers so ideally suited to documentary photography. After Roger Fenton, he was one of the first great war reporters in history. The Revolution that began in 1910 consisted of a ten year conflict led by Carranza, Pancho Villa and Zapata. Casasola made documents of this guerilla war. He must have had nerves of steel, for he did not shrink from setting up his huge camera near the front in order to photograph the fighting. He was probably the only photographer ever to have taken pictures in which the opposing sides are both visible, and he was a pastmaster at capturing the decisive moment. He took deeply moving photos of martial law executions, and he observed the victims seconds before their death. He was as cool and distant in his work as the documentary photography of today — and in 1910 such dauntlessness was rare. It may be that he inherited it as a characteristic of the Latin countries. He also photographed the assassination of Emperor Maximilian in 1867, and it was from this photo, which has since been lost, that Manet painted his picture. Other frequent subjects were the ‘soldaderas’, the armed women of the Revolution who went to war with their husbands. One of his most famous photos, which shows a soldadera leaning out of a moving train in an attitude of despair, has all the impact of a scene from Eisenstein's film Potemkin. Most of the portraits that made Zapata, the real hero of the Revolution, a household figure were taken by

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Casasola. He photographed him in all his glory, and at the moment of his death. He also photographed the people - the soldiers and their wives, the proud mounted troops, and the barbaric-looking followers who joined the leaders of the Revolution; the masses, the people, were the heroes of the Revolution. Casasola's photographs changed the possibilities and potential of the medium overnight. The studio portrait had served its term, for Casasola had now discovered and recorded the expressions of the people he encountered in the everyday life of the Revolution — on the streets and in the camps and railway stations. There was not a gesture, a movement or an emotion that he missed; and yet, for all their spontaneity, these photographs contained no element of chance for they were graphically composed according to his experience of seeing. Casasola was probably aware of his significance as a witness of one of the most decisive moments of Mexican history, and in 1921 he published an album of photographs and texts on the last years of Porfiro Díaz” dictatorship up to the Madero administration in 1913. This book, the Album Histórico-Gráfico was intended to be the first. part of a multi-volume. It was eventually finished by his sons Gustavo and Ismael — both of them photographers — who painstakingly added to their father’s archives and published the sequel to the first volume, Historia Grafica de la Revolucion Mexicana, in 1960, thereby completing what their father had begun. In 1911, Agustin Casasola founded a photography agency which supplied both Mexican and foreign newspapers. It would be interesting to know whether his photographs appeared in the foreign newspapers of the time.

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…first photographers to photograph them systematically. Then he discovered the people and the alien beauty of the landscape, and in 1923 his book entitled Malerisches Mexiko was published by Ernst Wasmuth in Germany. The title, Picturesque Mexico, characterizes the book perfectly, for Brehme photographed his adoptive country through the eyes of a lover, preserving Mexico as a paradise forever and even robbing the Revolution of some of its horror. Although the theme of the Revolution was common to both Casasola and Brehme, it is difficult to imagine a greater contrast in the way they saw and recorded the events. Even though he photographed the life of the country, he was not a documentary photographer. The pictures he made of the Revolution were taken from a distance, the events recorded as he observed them without political involvement. His photos give the impression that he was more interested in Mexico the country, with its specific customs and its proud people, than in the Revolution. He was not a reportage photographer. When he photographed Pancho Villa’s mounted troops they were all aware of the presence of the photographer and his camera. But he photographed the real Mexico with great profundity, the Mexico of Posada, master of the woodcut, who was one of the first to capture the Mexican temperament and the inimitable characteristics of the country in biting caricatures, persiflage and objective, documentary illustrations. Posada worked with the woodcut, Casasola and Brehme with photography, but the theme was one and the same. It is probable that Posada sometimes worked from photos by Brehme or Casasola; in any case, his woodcut of Zapata was certainly based on Casasola’s famous portrait Zapata on horseback.

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Agustín Casasola, Soldier wounded by the revolutionaries, approx. 1913 380

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> ps * wt mee 25, % - ed 3 are en Agustín Casasola, Execution in Chihuahua, approx. 1915

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381 Agustín Casasola, Execution in Mexico City, approx. 1915

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Agustín Casasola, The first armed revolutionaries, 1910

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Agustín Casasola,

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Agustín Casasola, Army horses, approx. 1913

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Agustín Casasola, Revolutionary fighting for his own land, approx. 1915

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Agustín Casasola, Soldadera, approx. 1915

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Agustín Casasola, Soldaderas cooking on a mil

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Agustín Casasola, Soldaderas fig

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Agustín Casasola, Right-extremists rebelling against the Madero administration, 1913

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Agustín Casasola, Rural police resting, approx. 1913

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387 Agustín Casasola, Revolutionaries from Tehuantepec and their soldaderas, approx. 1914

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Agustín Casasola, Army officials, opponents of the revolution, approx. 1913

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Agustín Casasola, A soldadera supplying her husband with provisions, approx. 1913

Quelle: Erika Billeter, „Imagines of Mexico“, 1987, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22

Literatur

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  • Pablo Ortiz Monasterio (Hrsg.), „Mexico. The Revolution and Beyond. Photographs by Agustín Víctor Casasola 1900–1940“. Essay by Pete Hamill, Afterwords by Sergio Raúl Arroyo und Rosa Casanova, Aperture Foundation, publiziert in Kooperation mit Conaculta-INAH, New York 2003, ISBN 1-931788-22-7

Personen-Normdaten etc.

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Einzelnachweise

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  1. ↑ Pete Hamill, „The Casasola Archive“, S. 13–21, S. 13, Abschn. II., in: Pablo Ortiz Monasterio (Hrsg.), „Mexico. The Revolution and Beyond. Photographs by Agustín Víctor Casasola 1900–1940“, Aperture Foundation, publiziert in Kooperation mit Conaculta-INAH, New York 2003
  2. ↑ Library of Congress, „Casasola, Agustín Víctor, 1874-1938“, https://id.loc.gov/authorities/names/n85161513.html
  3. ↑ a b Erika Billeter, Kap.: »Photographers Who Documented History«, S. 372–421, in: Erika Billeter (Hrsg.), „Imagines of Mexico, The Contribution of Mexico to 20th Century Art“, Catalogue of the exhibition edited by Erika Billeter, Dallas Museum of Art, Dallas, Texas, 1987, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22 S. 372, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22
  4. ↑ a b c Mediateca INAH, Colección Archivo Casasola - Fototeca Nacional, https://mediateca.inah.gob.mx/islandora_74/islandora/object/fondo%3Asinafo_a
  5. ↑ a b c d Erika Billeter, Kap.: »Photographers Who Documented History«, S. 372–421, in: Erika Billeter (Hrsg.), „Imagines of Mexico, The Contribution of Mexico to 20th Century Art“, Catalogue of the exhibition edited by Erika Billeter, Dallas Museum of Art, Dallas, Texas, 1987, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22 S. 373, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22
  6. ↑ a b c d e f g Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, 1. Juni 2004, © 2004 by Rita Pomade, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  7. ↑ Dictionnaire mondial de la photographie / Larousse, 2001, S. 115, „CASASOLA Agustín-Víctor“, https://gallica.bnf.fr/ark:/12148/bpt6k1200506v
  8. ↑ Andres offenbar: Erika Billeter, Kap.: »Photographers Who Documented History«, S. 372–421, in: Erika Billeter (Hrsg.), Imagines of Mexico, The Contribution of Mexico to 20th Century Art, Catalogue of the exhibition edited by Erika Billeter, Dallas Museum of Art, Dallas, Texas, 1987, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22 , S. 372: „It is also unclear whether he knew Hugo Brehme who lived in Mexico City at the time and, like Casasola, travelled all over the country during the Mexican Revolution.“
  9. ↑ Dictionnaire mondial de la photographie / Larousse, 2001, «CASASOLA Agustín-Víctor» , S. 115, https://gallica.bnf.fr/ark:/12148/bpt6k1200506v
  10. ↑ Dictionnaire mondial de la photographie / Larousse, 2001, «CASASOLA Agustín-Víctor» , S. 115, https://gallica.bnf.fr/ark:/12148/bpt6k1200506v
  11. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  12. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  13. ↑ Erika Billeter (Hrsg.), „Imagines of Mexico, The Contribution of Mexico to 20th Century Art“, Catalogue of the exhibition edited by Erika Billeter, Dallas Museum of Art, Dallas, Texas, 1987, S. 373, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22
  14. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  15. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  16. ↑ Erika Billeter, Kap.: »Photographers Who Documented History«, S. 372–421, in: Erika Billeter (Hrsg.), „Imagines of Mexico, The Contribution of Mexico to 20th Century Art“, Catalogue of the exhibition edited by Erika Billeter, Dallas Museum of Art, Dallas, Texas, 1987, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22 S. 273
  17. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  18. ↑ Dictionnaire mondial de la photographie / Larousse, 2001, «CASASOLA Agustín-Víctor» , S. 115, https://gallica.bnf.fr/ark:/12148/bpt6k1200506v
  19. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  20. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  21. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  22. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  23. ↑ Erika Billeter, Kap.: »Photographers Who Documented History«, S. 372–421, S. 372, in: Erika Billeter (Hrsg.), „Imagines of Mexico, The Contribution of Mexico to 20th Century Art“, Catalogue of the exhibition edited by Erika Billeter, Dallas Museum of Art, Dallas, Texas, 1987, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22
  24. ↑ Erika Billeter, Kap.: »Photographers Who Documented History«, S. 372–421, S. 373, in: Erika Billeter (Hrsg.), „Imagines of Mexico, The Contribution of Mexico to 20th Century Art“, Catalogue of the exhibition edited by Erika Billeter, Dallas Museum of Art, Dallas, Texas, 1987, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22
  25. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  26. ↑ Erika Billeter, Imagines of Mexico, 1987, S. 373, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22
  27. ↑ Dictionnaire mondial de la photographie / Larousse, 2001, «CASASOLA Agustín-Víctor» , S. 115, https://gallica.bnf.fr/ark:/12148/bpt6k1200506v
  28. ↑ Erika Billeter, Kap.: »Photographers Who Documented History«, S. 372–421, S. 373, in: Erika Billeter (Hrsg.), „Imagines of Mexico, The Contribution of Mexico to 20th Century Art“, Catalogue of the exhibition edited by Erika Billeter, Dallas Museum of Art, Dallas, Texas, 1987, https://archive.org/details/imaginesofmexico0000erik/page/14/mode/2up?q=%22Casasola%22
  29. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  30. ↑ Rita Pomade, „The legacy of Agustin Victor Casasola (Photographer 1874 – 1938)“, in: MexConnect, June 1, 2004 by Rita Pomade © 2004, https://www.mexconnect.com/articles/1086-the-legacy-of-agustin-victor-casasola-photographer-1874-1938/
  31. ↑ Mediateca INAH, Colección Archivo Casasola - Fototeca Nacional, https://mediateca.inah.gob.mx/islandora_74/islandora/object/fondo%3Asinafo_a
  32. ↑ Dictionnaire mondial de la photographie / Larousse, 2001, «CASASOLA Agustín-Víctor» , S. 115, https://gallica.bnf.fr/ark:/12148/bpt6k1200506v
  33. ↑ Mediateca INAH, Colección Archivo Casasola - Fototeca Nacional, https://mediateca.inah.gob.mx/islandora_74/islandora/object/fondo%3Asinafo_a
  34. ↑ Dictionnaire mondial de la photographie / Larousse, 2001, «CASASOLA Agustín-Víctor» , S. 115, https://gallica.bnf.fr/ark:/12148/bpt6k1200506v
  35. ↑ Mediateca INAH, Colección Archivo Casasola - Fototeca Nacional, https://mediateca.inah.gob.mx/islandora_74/islandora/object/fondo%3Asinafo_a
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