A charming portrait of early 20th-century European society through the lens of Lartigue, with 55 unpublished photographs Despite becoming interested in photography when he was barely in double digits, French artist Jacques Henri Lartigue (1894-1986) didn't achieve mainstream recognition until he was nearly 70 years old. A 1963 exhibition of his boyhood photography at the Museum of Modern Art in New York prompted new appreciation for his pictures, which bore a clear affinity with the street photography of the great humanist photographer Henri Cartier-Bresson. Though he mainly supported himself as a painter later on in life, Lartigue was devoted to the art of photography and continued to capture the world around him until he was in his 90s, beginning with domestic candid shots in his childhood and later depicting the upper crust of European society. With their motion-blur and frequently grinning, unposed subjects, Lartigue's images convey the photographer's genuine passion for life and a consistent interest in everyday moments. This publication accompanies the 2020 exhibit dedicated to Lartigue at the Casa dei Tre Oci in Venice, which marks the largest retrospective of Lartigue's work to take place in Italy. The book presents 120 images from Lartigue's numerous personal photo albums, including 55 pictures that have never been published before.
Jacques-Henri Lartigue (1894-1986), celebrated photographer, and one of the greatest practitioners the medium has ever known, discovered the Riviera with his first camera in the company of his wealthy family when he was just eleven years old. For the rest of his life Lartigue was a regular visitor to the Cote d'Azur, taking many of his finest pictures in Nice, Cannes, Cap d'Ail, Antibes, Menton, and Monaco. This splendid volume is the first book, to bring together a large selection of these photographs which are accompanied by a lively, informative text. Not only did Lartigue document the elegant resort life of the leisure class of which he was a member-in the villas, hotels, beach clubs, and casinos where they lived and played-but he also created an intimate chronicle of the life he shared on he Riviera with his beautiful first wife Bibi, during the 1920s, his companion Renee Perle, in 1930-31, and Florette whom he married in 1942. Apart from the stunning black-and-white images for which Lartigue is celebrated-including his ground-breaking panoramic photographs of the coastline-Lartigue's Riviera also reveals an important group of little-known and rarely published color photographs. The world ski-jumping championships in Juan-les-Pins, filming Les Aventures du roi Pausole in Cap d'Antibes, the Ziegfeld Follies girls in Monte Carlo, alternate here with the daily life of Latigue and his friends-stopping for lunch in St. Tropez, exercising on the beach in Cannes, drinking an aperitif at sunset at Cap d'Ail. Among the most beautiful-and often funny and poignant-photographs ever taken, Lartigue's pictures of the Riviera will come as a revelation to those who will be discovering them for the first time, and as a welcome glimpse of the sunlight and glamour for which he is so admired by his devoted fans.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Anglo-English Attitudes brings together Geoff Dyer's best journalism and other writing from 1984-99. There are studied meditations on photographers (Robert Capa, William Gedney, Cartier-Bresson), painters (Bonnard, Gauguin), musicians (Coltrane, Nusrat Fateh Ali Khan), and close critical engagements with writers including Camus, Michael Ondaatje and Martin Amis. Also here are idiosyncratic reflections on boxing, comics, Airfix models and Action Man, and often hilarious accounts of his 'misadventures'.
This innovative collection demonstrates the profound effects of feeling on our experiences and understanding of photography. It includes essays on the tactile nature of photos, the relation of photography to sentiment and intimacy, and the ways that affect pervades the photographic archive. Concerns associated with the affective turn—intimacy, alterity, and ephemerality, as well as queerness, modernity, and loss—run through the essays. At the same time, the contributions are informed by developments in critical race theory, postcolonial studies, and feminist theory. As the contributors bring affect theory to bear on photography, some interpret the work of contemporary artists, such as Catherine Opie, Tammy Rae Carland, Christian Boltanski, Marcelo Brodsky, Zoe Leonard, and Rea Tajiri. Others look back, whether to the work of the American Pictorialist F. Holland Day or to the discontent masked by the smiles of black families posing for cartes de visite in a Kodak marketing campaign. With more than sixty photographs, including twenty in color, this collection changes how we see, think about, and feel photography, past and present. Contributors. Elizabeth Abel, Elspeth H. Brown, Kimberly Juanita Brown, Lisa Cartwright, Lily Cho, Ann Cvetkovich, David L. Eng, Marianne Hirsch, Thy Phu, Christopher Pinney, Marlis Schweitzer, Dana Seitler, Tanya Sheehan, Shawn Michelle Smith, Leo Spitzer, Diana Taylor
The first transnational history of photography’s accommodation in the art museum Photography was long regarded as a “middle-brow” art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book—part institutional history, part account of shifting photographic theories and practices—Alexandra Moschovi tells the story of photography’s accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography’s status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.
" --ChoiceSurveying art history as well as the technologies of war and urban planning, one of France's leading intellectuals provides an introduction to a new "logistics of the image."
1913. Jacques Henri Lartigue was only nineteen years old when he spent his first winter vacation in the Alps. Immediately captivated, he became a frequent visitor to the increasingly fashionable resorts of Chamonix, Megève, and Saint Moritz. The photographs that he took there are full of the adolescent wonderment that he was to maintain all his life. The exhilaration at being in the mountains and the awe inspired by the ethereal scenery of snowcapped summits are difficult to contain. Lartigue was overcome by the "dazzle of colorless light" that surrounded him: "I am in the negative of night!" he wrote in his journal at the time. The young photographer's joy was as fresh as it was lasting, reinforced by the inexhaustible pleasures of winter sports, which he discovered at the same time. He photographed all the fun and glamour of European high-society at play in the snow--intrepid sportsmen and women in action, displaying their athletic prowess at skiing, ice hockey, skating, curling, bobsleigh. . . . His pictures propel us between sky and land: skaters twirl, skiers jump, fir trees sway. But the mountains also harbor more contemplative, personal moments: his honeymoon with his young wife Bibi at Chamonix; skiing through "silence as soft as down"; the quiet poetry of a winter landscape. Beautifully reproduced in duo-tone, this collection of winter photographs, the majority of which are published here for the first time, reiterate Lartigue's positon as one of the great masters of twentieth-century photography.
Many know her as the reclusive Chicago nanny who wandered the city for decades, constantly snapping photographs, which were unseen until they were discovered in a seemingly abandoned storage locker. When the news broke that Maier had recently died and had no surviving relatives, Maier shot to stardom almost overnight. Bannos contrasts Maier's life has been created, mostly by the men who have profited from her work. Maier was extremely conscientious about how her work was developed, printed, and cropped, even though she also made a clear choice never to display it.
Une passion française vous invite à la visite privée d'une des plus importantes collections du monde, celle de Roger Therond. Directeur général et " l'œil " de Paris Match, il montre pour la première fois son " champ de rêves " : " En trente ans, j'ai franchi les trois étapes du collectionneur: jeu, chasse, aujourd'hui sérénité. Après avoir beaucoup travaillé et beaucoup aimé, on se surprend à revenir sur ce que l'on a réuni. On s'aperçoit que s'inscrivent dans vos choix, en filigrane, votre jeunesse, vos souvenirs, vos fantasmes, avoués ou non. On se trouve sans s'être cherché. Votre démarche est privée et rêvée. Comment S'imposent le port de Sète, et Rome, et Athènes et Istanbul, et l'Egypte des Pharaons et notre Narbonnaise ? Que viennent faire ici les réminiscences d'une France médiévale et son accès à la modernité ? Et la gloire et la chute de l'Empire ? Pourquoi s'attarder sur ces hommes et ces femmes du XXe siècle qui allaient bouleverser l'art de la photographie ? Est-ce le fruit d'une élaboration peaufinée, d'un hasard productif, d'une volonté secrète ? D'une nonchalance égocentrique ?... Quoi qu'il en soit, montrer sa collection c'est la perdre. Elle est à vous. " Une passion française is a private tour of one of the world's major collections of vintage photographs, that of Roger Therond, Editor in Chief and "The Eye" of Paris Match. It present for the first time what he calls his "Dream Sampler": "In thirty years, 1 have passed through the three phases of collecting: play, hunt, and today serenity. After having worked and loved a great deal, 1 catch myself thinking again about what I have assembled. I realize that my choices were interwoven with memories of youth and fantasies, whether conscious or not. We find ourselves without having looked for ourselves. It is a private way, like dreaming. What connects the port of Sète and Rome, Athens and Istanbul ? The Egypt of the pharaohs and the Narbonnaise ? Why these memories of medieval France and its march into modernity ? Or the rise and fall of the Empire ? Why dwell on these 20thcentury men and women who were to revolutionize the art of photography ? Is it a product of refined elaboration, creative chance, a secret will, or egocentric whim ? ... Whatever, to show a collection is to lose it. Now it is yours".