It was with its first book, Paris at Night, today a modern classic, that Brassai had its established reputation. Some of the pictures in this book are defined with clearness and shining light, while others capture the fog of the rainy nights. It has the ones that portray the life obscure of the world of the criminals. To the measure that Brassai created more pictures of the parisiense life, its fame was if becoming international. Its pictures on what today we call grafitagem or pichao, carried through in walls of building in ruins, had been object of its ' ' one-man show' ' in the Museum of Modern Art of New Iorque. On the subject it affirmed: ' ' ' ' the thing that is magnificent about photography is that it can produce images that stirs up emotion based on the subject to matter alone.' ' ' ' Other individual presentations had occurred in Biblioth-That Nationale in Paris, in George Eastman House in Rochester, and the Art Institute in Chicago. Its work was enclosed in many international exhibitions and published in many magazines.

It was the last person to receive the England? s P.H. Emerson Award of the proper one. is interesting to notice that Brassai continued its work in other arts as drawing, poetry, and sculpture. Albums of its drawings and a volume of poetry, Les Pro after of Marie, had been published, and had an exposition with 50 sculptures of it in Paris. Together with other great artists contemporaries? Picasso, Moore, Calder, and Noguchi, Brassai received the honroso invitation to create a 23 mural of X 10 feet for the palace of UNESCO in Paris. Brassai left important affirmations on photograph, amongst which: ' ' We should try, without creasing you the sewing press ourselves constantly by leaving our subjects and even photography itself from teams you the teams, in to order that we may eats back you them with reawakened zest, with the virginal eye.

That is the most precious thing we can possess.' ' ' ' The night suggests, does not teach. The night finds in them and it surprises in them for its queerness; it liberates in us the forces that, during the day, are dominated by razo.' ' (Brassa) Sees the article with photos in mine blog WordPress AntonioLimJr.WordPress Brassai (1899-1984) Photo of BrassaiAmantes in a woollen coffee Place d? Italie, Brassai, 1932Foto nocturnal of BrassaiHomens confidenciando, BrassaiBijoux, BrassaiHoly Week, Seville, BrassaiLes escaliers of montmartre, 1936, BrassaiNevoeiro (Foggy), Brassai, 1934.BibliografiStepan, Peter. 50 Photographers you should know. Prestel, Munich, 2008, pp. 92-93.Stepan, Peter. Woollen Iconos Photograph? El Siglo XX. Electa, 2006, pp. 52-53. Consulted in 19/12/09 to the 14:33 hs. Consulted in 19/12/09 to the 14:33 hs.

The first model stops to explain the inheritance of the color of the eyes in human beings, was created in 1907, it considered the existence of an only gene with two alelos dominant responsible for the black color or a chestnut, and another recessivo, responsible for the blue coloration. This model is incomplete does not explain the diverse intermediate colorations that the Iris human being can present nor the cases of inheritance of these colorations. The color of the eyes depends in part of the amount of a pigment, the melanina, gift in the Iris, part of the effect of the light on this ocular region. If the pigmented cells had been very abundant in the previous layer of the Iris and will be absorbed by the existing melanina in the posterior epitlio of the Iris what it acquires a dark color (black or chestnut) When in contrast has little pigment, a part of the incident light will be reflected by this pigment, while another part of the incident light will be reflected by this pigment while another part passes for the previous layer of the Iris and will be absorbed by the existing melanina in the posterior epitlio of Iris and will be absorbed by the existing melanina in the posterior epitlio of the Iris what she generates a predominantly blue color. In the intermediate cases, the Iris acquires coloration that goes of the chestnut-clearly to the green, depending on the decreasing concentration of the melanina in its previous layer. Such tonalities will vary, animals in agreement the greater or minor concentration of the pupil in reply the incident light in the dark eyes has dominncia on the clear one. In the population human being he perceives that he does not distribute yourself for mendelian segregation, that is, these colors do not distribute themselves in the families in ratio as waited in accordance with the Laws of Mendel. .