Josef Sudek: Master of Photography


Further to the last post I have collected some images from the Czech photographer Josef Sudek (1896 – 1976), one of my favourite photographers. The images of this master photographer are a delight. Like the photographs of Eugene Atget they evince generosity in the understanding of light, space and humanity. Insightful writing on Josef Sudek by Charles Sawyer is included in the post.


Josef Sudek. 'A Summer Shower in the Magic Garden' 1954-59


Josef Sudek
‘A Summer Shower in the Magic Garden’
1954 – 59


Joseph Sudek. From the series 'Remembances' 1954


Joseph Sudek
From the series ‘Remembances’


Joseph Sudek. 'Untitled' 1967


Joseph Sudek


“The systematic approach, and the dogged aesthetic experimentation of Sudek are akin to the working habits of Cezanne. But these alone are insufficient to make great art or even good art. On the contrary, if these are all one sees in a work, then the cumulative burdern of so much plain labor would be unbearable. Sudek’s devotion to work may have integrated his shattered life but it could not have offered him the spiritual redemption he was seeking; only his aesthetic quest could bring this. It is the struggle for spiritual redemption through his aesthectic quest that gives Sudek’s best photographs their true power. Two qualities characterize his best work: a rich diversity of light values in the low end of the tonal scale, and the representation of light as a substance occupying its own space. The former, the diversity of light values, requires very delicate treatment of the materials, especially the negative, but also the paper (Sudek used silver halide papers in the main). The latter, the portrayal of light as substance, is a more original trait than his tonal palette, which one sees in occasional prints of other photographers. Flaubert once expressed an ambition to write a book which would have no subject, “a book dependent on nothing external … held together by the strength of its style.” Photographers have sometimes expressed parallel aspirations to make light itself the subject of their photographs, leaving the banal, material world behind. Both ideals are, of course, unobtainable, but nonetheless they may be worth pursuing. (Artists, in their pursuit of the unobtainable, are not so likely to be called pathological as others, of us, though recent developments in ihe philosophy of science tend to view the scientist’s quest for truth as equally quixotic).


Josef Sudek. From the series 'Vanished Statues in Mionsi' 1969


Josef Sudek
From the series ‘Vanished Statues in Mionsi’


Josef Sudek. 'The Window of My Atelier' 1969


Josef Sudek
‘The Window of My Atelier’


Sudek has come closer than any other photographer to catching this illusive goal. His devices for this effect are simple and highly poetic: the dust he raised in a frenzy when the light was just right, a gossamer curtain draped over a chair back, the mist from a garden sprinkler, even the ambient moisture in the atmosphere when the air is near dew point. The eye is usually accustomed to seeing not light but the surfaces it defines; when light is reflected from amorphous materials, however, perception of materiality shifts to light itself. Sudek looked for such materials everywhere. And then he usually balanced the ethereal luminescence with the contra-bass of his deep shadow tonalities. The effect is enchanting, and strongly conveys the human element which is the true content of his photographs. For, throughout all his photography, there is one dominant mood, one consistent viewpoint, and one overriding philosophy. The mood is melancholy and the point of view is romanticism. And overriding all this is a philosphic detachment, an attitude he shares with Spinoza. The attitude of detachment that characterizes Sudek’s art accounts for both its strength and weakness: the strength which lies in the ideal of utter tranquility and the weakness which is found in the paucity of human intimacy. Some commentators find Sudek’s photos mysterious but I think this is a mistake: the air of mystery vanishes once we see in Sudek’s photography a person’s private salvation from despair.”

Charles Sawyer 1


Josef Sudek. 'Still-life after Caravaggio, Variation No 2 (or a night-time Variation)' 1956


Josef Sudek
‘Still-life after Caravaggio, Variation No 2 (or a night-time Variation)’


Josef Sudek. 'Stille (Still Life According to Caravaggio)' 1956


Josef Sudek
‘Stille (Still Life According to Caravaggio)’


Josef Sudek. 'Remembrance of Mr. Magician (the garden of architect Rothmayer)' 1959


Josef Sudek
‘Remembrance of Mr. Magician (the garden of architect Rothmayer)’


Josef Sudek. 'Labyrinths' 1969


Josef Sudek



A good collection of Josef Sudek photographs can be found on the Museum of Fine Arts Boston website. Go to the site and enter ‘Josef Sudek’ in the Collection Search box to the right and then click on the arrow.


1. Sawyer, Charles. “Josef Sudek” in Creative Camera, April 1980, Number 190 [Online] Cited 14/04/2009 at

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4 Responses to “Josef Sudek: Master of Photography”

  1. April 27, 2011 at 5:35 am

    Sudek captured all what we would like to. His capture of light and reflection was wonderful and serves as a model for any aspiring photographer. I could never get bored looking at his work.

  2. 2 Josh Williams
    January 19, 2011 at 3:50 pm

    His use of shadow & light has inspired me. ❤

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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