Tag: art photographs of Paris

Exhibition dates: 19th October 2021 – 3rd April 2022

Brassaï (Hungarian-French, 1899-1984)
Steps of Montmartre with a white dog, Paris
1932
Gelatin silver print
30 x 40cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles

A quick text today as I’m still not well with bronchitis.

I really struggled to get images for this posting, the museum supplying 12 of the 21 photographs while I gathered the rest after seeing an installation image from the exhibition and deciphering further images from the preview to the catalogue of the exhibition on the Amazon website.

If you are interested in the subject matter – photographs of an environment where Picasso was in his element, a volcano at the epicentre of a vibrant, creative city – then I think the catalogue would be the way to go… but at close to $100 for just 152 pages the cost might seem a little excessive.

My favourite images in the posting are the two atmospheric photographs of Picasso’s sculptures in his studios.

Dr Marcus Bunyan

Many thankx to the Museo Picasso Málaga for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Brassaï (Hungarian-French, 1899-1984)
A chair in the Luxembourg Gardens, Paris
1947
Gelatin silver print
23 x 17.5cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
Luxembourg Gardens basin, Paris
1930
Gelatin silver print
29.6 x 22.3cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
‘Au cochon limousin’, rue Lecourbe, Paris
1935
Gelatin silver print, modern copy
29.8 x 22.9cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
Fat Claude and her girlfriend at Le Monocle, Paris
c. 1932
Gelatin silver print
27.6 x 22.1cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
Kiki with her accordion player at the Cabaret des Fleurs, Rue de Montparnasse
c. 1932
Gelatin silver print
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
Trapeze artists, Medano Circus
1932
Gelatin silver print
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
Colonne Morris dans le Brouillard
1933
Gelatin silver print
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
Self-portrait, Boulevard Saint-Jacques, Paris
1930-1932
Gelatin silver print
29.6 x 22.9cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles

The exhibition The Paris of Brassaï. Photographs of the City Picasso Loved, presented by Museo Picasso Málaga, shows the work of one of the most famous European photographers of the first half of the 20th century. With his work, Brassaï helped to create the universal public image of Paris, the Eternal City. It is displayed here alongside works by Pablo Picasso, Pierre Bonnard, Georges Braque, Lucien Clergue, Fernand Léger, Dora Maar and Henri Michaux, and with period piece films, posters, sheet music and a large quantity of documentary material.

Brassaï’s photographs invite the viewer to wander through Paris, with its river Seine, Notre Dame, its brothels and its markets. His conjured up a superb depiction of society in his many shots of the intellectual, literary, and artistic scene of 1930s and 1940s Paris, ranging from Sartre to Beckett.

This exhibition has been organised with sponsorship from Fundación Unicaja and the special collaboration of Estate Brassaï succession, Paris; Institut Français, Seville, and Musée national Picasso-Paris. It sheds light on the professional relationship and friendship between Brassaï and Picasso, who considered Brassaï to be the best photographer of his work.

Brassaï arrived in Paris from Hungary in 1924. Little by little, he discovered the dynamic nature and the social idiosyncrasies of the great metropolis. While he initially explored the city’s nightlife, over time he began to create a precise X-ray of its architecture and its people. He joined the fascinating intellectual and artistic avant-garde community of which Picasso was a member, becoming one of its finest eyewitness photographers. But Brassaï was not just a photographer, he was also a versatile artist who drew, made sculptures, decorated, and made films.

As a photographer, Brassaï constructed a visual topography of the city of light (and shadows) in the 1930s and 40s, but this exhibition also aims to show him as a prolific creative artist. The Paris of Brassaï. Photographs of the City Picasso Loved features over 300 works, with photographs, drawings and sculptures that come mainly from the Brassaï family archives (Estate Brassaï Succession). Also on display are photographs and artworks by Pablo Picasso, alongside works by Pierre Bonnard, Georges Braque, Lucien Clergue, Fernand Léger, Dora Maar and Henri Michaux.

Films, posters, musical scores, theatre programmes and a large quantity of documentary material from the Paris of that period, make up an exhibition that takes the visitor back to an unforgettable city and time.

The structure of the exhibition comprises four sections that relate to film, the visual arts, literature, and music, based on the photographic work of one of the most famous photographers of the first half of the 20th century. The exhibition layout begins with Who is Brassaï? which displays artistic works whose main feature is their expressive freedom. Paris by Day features scenes from everyday life as if they were being shown for the first time: Paris by Night is a journey through a city of shadows that evokes the melancholy that emanated from the streets and characters. Conversations with Picasso brings together work by the two artists who enjoyed a long-lasting professional and personal relationship.

The Eye of Paris

Brassaï was the pseudonym of Gyula Halász (1899-1984), a Hungarian photographer who was best known for his work on Paris, the city where he made his career. When he was three years old, his family moved to the French capital, in the year that his father, a professor of literature, was teaching at the Sorbonne. As a young man, Brassaï studied painting and sculpture at the Academy of Fine Arts in Budapest, before joining the Cavalry of the Austro-Hungarian army during the First World War. In 1920, he went to live in Berlin to work as a journalist and to study at the University of the Arts. In 1924, he moved back to Paris, where he remained for the rest of his life. He soon made friends with writers Henry Miller (who described him in one of his books as “the eye of Paris”), León-Paul Fargue and Jacques Prévert. Inspired by his frequent night-time walks around Paris, Gyula Halász asked to borrow a camera to capture the beauty of the streets and gardens in the rain and fog. He used poetic metaphors in these pictures, leading more than one graphic reporter to describe him as a poet with a camera. He then began to sign his work with the pseudonym Brassaï. It means “the man from Brasso”, his birthplace, which is now part of Romania.

In the 1930s, Paris was by no means a feast. Various events were leaving their mark on a new age, with major financial and political repercussions. The decade began with one of the greatest financial crises the world had ever experienced: the Great Depression. This was to lead to the collapse of the financial system and to poverty for thousands of families. Europe was facing the possibility of new wars and uprisings that would lead to the rise of totalitarianism. Culture and art were not blind to these events, but art dealers and artists were irresistibly drawn to Paris, seeking in the City of Light a new artistic and personal life that matched their ideals, along with the necessary freedom to make them happen.

Brassaï’s photographic work during these years helped to construct the image we have today of the French capital, with its depictions of artistic, social and intellectual life. He took X-ray-like shots of the great city, during the day and at night, from its dark alleyways to it dazzling social and artistic scene. The exhibition The Paris of Brassaï. Photographs of the City Picasso Loved shows the modern, cosmopolitan city par excellence, in a Europe that bore the hallmarks of the great changes brought about by 19th-century industry and by the international exhibitions of the early 20th-century. It was a city that Brassaï loved, as did his colleague and friend, Pablo Picasso.

Night Walks

In 1932 he published his first photographic book, “Paris de Nuit”. It contained high-contrast night shots with full bleed and no margins that feature the play of light and shadow, taken on streets, squares, rooftops, street corners, gardens, buildings and monuments. During his nocturnal wanderings, smoking cigarette after cigarette, the gaslights, fog and car headlights lit up a unique Paris, transforming its rigorously classical architecture and capturing the strange beauty of the fleeting shadows. His negatives became black and white photographs with a strong sense of mystery. They are pictures that alter your perception of the familiar. “Paris de Nuit” was a cultural sensation and a well-deserved success that caught the attention of leading art magazines such as Minotaure, one of the most important cultural publications of the time.

Brassaï liked to say that his birthplace was very close to that of Count Dracula, and that, like him, he was a nocturnal creature. For this reason, in several of his unforgettable photobooks he showed an alternative Paris, with scenes in brothels and bars where young gay men, lesbians and transvestites are all seen having fun. They also contain scenes from the city’s social life, high society, and intellectual circles.

Portraying the Intellectual Circles

The photographer himself described 1932 and 1933 as the most important years of his life. It was during these years that he met the key figures of Parisian cultural life, many of whom were also foreigners, and he evolved alongside the intellectual milieu and the artistic avant-garde movements that were flourishing in Paris at the time.

His earliest works coincided with the rise of Surrealism in France. The movement believed that photography encouraged a division of the poetic personality simultaneously into subject and object. But although his pictures display the same attraction to the dreamworld expressed by the surrealists, and his series on graffiti indicates his interest in the wonder of random discovery and the primitive world, Brassaï always denied belonging to the movement. His photographs, based on the traditional realist style, are evocative images that condense the atmosphere of a brief moment, without becoming documentary photography.

Brassaï was part of the Paris intellectual circle, as was Picasso, at a time when art was flourishing. He took photographs of artists who were to become the sacred monsters of our age, many of whom were his friends: Pablo Picasso, Salvador Dalí, Alberto Giacometti, as well as leading writers of the time such as Jean Genet and Henri Michaux. His portraits reveal his great skill at capturing the personality of his sitters, creating a collective portrait of the intellectual circle.

On the Walls of Paris

Brassaï was the first person in the history of modern photography to intuitively consider the camera as a tool with which to dissect urban life. “The eye of Paris”, as Henry Miller dubbed him in one of his essays, also directed his gaze at the drawings, marks and doodles on Paris walls. He came across these popular anonymous signs and imprints on walls during his walks along Parisian alleyways: faces, symbols, animals, handprints, the scratched-on outlines of sketches… They were captivatingly primitive, and he elevated them to the status of “Art Maudit” or Damned Art because, for him, they were more than just ways for people to express themselves.

Over the years, Brassaï compiled a catalogue of the marks that the capital’s inhabitants left on its walls, with photos that no editor would publish, until at last they were collected together in a book, Graffiti (1961), after Edward Steichen declared his admiration for this work and his intention of organising an exhibition at MoMA in New York. When Brassaï immortalised these street pictures, the term graffiti had not yet been coined, and it was not until the 1980s that it finally became classified as Urban or Street Art.

Brassaï was a prolific creative artist who also produced drawings and sculptures, wrote numerous articles and published 17 books. His film Tant qu’il y aura des bêtes won the award for the best original short film at the Cannes Film Festival in 1956, and in 1978 he won France’s Grand Prix National de la Photographie.

Brassaï / Picasso. A Friendship

Photography constantly accompanied Picasso, not only as a testimony to his life, but often revealing his personality, work and inner circle. Of all the many relationships he struck up in Paris with writers, essayists, playwrights and visual artists, the Museo Picasso Málaga exhibition focuses on the close and prolific professional relationship between Brassaï and Pablo Picasso.

In December. 1932, the art critic Tériade invited Brassaï to take pictures of Picasso, his studio and his sculptures, to illustrate the first issue of Minotaure. This collaboration led to a long and sincere friendship that was sustained by mutual admiration. Brassaï was fascinated by Picasso’s personality, and Picasso admired the photographer’s unbiased gaze. The two friends were both foreigners in the big city: one of them was to become one of the great photographers of the 20th century, and the other, the great artist who changed the history of art. They shared an extraordinary gift for observation, as well as great curiosity. They both collected strange objects that had been thrown away and found again by chance, and they shared a keen interest in primitive art, art brut, bones, poetry and graffiti. They also had a common dislike of focussing on a single discipline, in their urge to explore other creative fields.

This obvious and very special complicity meant that Brassaï became an exceptional witness to Picasso’s private world: the places where he created art, the works themselves, his family life and his friends. Brassaï was one of the few people Picasso allowed free access to his studios, and he was the first to photograph his sculptures. The Málaga-born artist opened the doors of his studios to him in Boisgeloup, La Boétie and Grands Augustins, successively. Brassaï had a great sense of detail, he knew how to put order into disorder, and he composed his photographs in an almost architectural way, giving a new dimension to the works Picasso created and the objects and materials with which he surrounded himself.

One of the most important books in terms of getting to know Picasso, is Brassaï’s Conversations with Picasso (1964), a fascinating text that is outstanding for the immediacy and detail of a man who wrote in the same way he took pictures. This chronicle, which Brassaï illustrated with over 50 photographs, runs from September 1943 – eleven years after he first met Picasso – to September 1962. It provides us with two decades-worth of the artist’s story and, above all, of an environment where Picasso was the epicentre, while at the same time describing the history of art and the main events of those years. The relationship between Brassaï and Picasso remained intact until the Spaniard’s death in 1973. Brassaï died in the South of France in 1984 and was buried in Montparnasse cemetery, in the city that both he and Picasso loved.

For the occasion, Museo Picasso Málaga and La Fábrica have jointly published the photobook Brassaï (Paris & Picasso), which contains 105 full-page photographs and an excerpt from the text in which Henry Miller dubbed Brassaï “The eye of Paris”. This bi-lingual hardback edition is printed on coated paper, to highlight the photographs’ half-tones and nuances of light and shade. The book is now available to purchase from the Museo Picasso Málaga bookshop and is due to be distributed to Spanish, European and US bookshops.

Press release from the Museo Picasso Málaga

Brassaï (Hungarian-French, 1899-1984)
The fireplace in Pablo Picasso’s studio, Rue La Boétie
1932
Gelatin silver print
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
Pablo Picasso in the studio on Rue la Boétie, in front of the portrait of Yadwigha by Henri Rousseau, Paris
1932
Gelatin silver print
28.1 x 21.8cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles

“When I enter the studio, I leave my body at the door… I only allow my spirit to go in there and paint”

Pablo Picasso

Brassaï (Hungarian-French, 1899-1984)
Plaster sculptures in Pablo Picasso’s studio, Boisgeloup
December 1932
Gelatin silver print
© Estate Brassaï Succession-Philippe Ribeyrolles

In 1930, Picasso acquires a house and land near Gisors, Normandy, with the aim of creating monumental sculptures. Of those he creates there, La femme au vase (Woman with Vase), a piece from 1933, stands out for its great symbolic weight, given that it is placed on the artist’s tomb in the Château of Vauvenargues. But it is above all the busts of Marie-Thérèse Walter, his young secret lover, who both Brassaï and Boris Kochno capture with their respective lenses in attempts to recreate the peculiar atmosphere of that country studio, inhabited by strange creatures. While Kochno’s report is that of an amateur, Brassaï’s is a commission for the first issue of Minotaure art magazine, from 1933, accompanying a text by André Breton, “Picasso dans son élément” (Picasso in his Element), which reveals Picasso as a sculptor, a facet of his work that was completely unknown until then.

Anonymous text from the Museo Picasso website Nd [Online] Cited 11/03/2022

Brassaï (Hungarian-French, 1899-1984)
Weekend, Paris
1936
Gelatin silver print
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
Man with Ram (1943), Bust of Dora Maar (1941) and Seated Cat (1941-1943) by Pablo Picasso, Paris
1943
Gelatin silver print
30 x 20.7cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles
© Sucesión Pablo Picasso, VEGAP, Málaga, 2021

Brassaï (Hungarian-French, 1899-1984)
Pablo Picasso at the window of his studio on the Rue des Grands Augustins, Paris
1939
Gelatin silver print
© Estate Brassaï Succession-Philippe Ribeyrolles

Pablo Picasso (Spanish, 1881-1973)
Ile de la Cité – vue de Notre-Dame de Paris
Paris, 26 February 1945
Oil on canvas
80 x 120cm
Museum Ludwig, Cologne
© Rheinisches Bildarchiv Cologne
© Sucesión Pablo Picasso, VEGAP, Málaga, 2021

Brassaï (Hungarian-French, 1899-1984)
Detail of the plaster sculpture Woman with Leaves (Pablo Picasso, 1934) in the studio on the rue des Grands Augustins, Paris
1943
Gelatin silver print
27.7 x 22.1cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles
© Sucesión Pablo Picasso, VEGAP, Málaga, 2021

Pablo Picasso (Spanish, 1881-1973)
Woman with Leaves, Boisgeloup
1934
Original plaster varnished
38.5 x 27.5 x 21cm
Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid
On temporary loan to the Museo Picasso Málaga
© Sucesión Pablo Picasso, VEGAP, Málaga, 2021

Brassaï (Hungarian-French, 1899-1984)
Circumstantial Magic. Sprouting Potato
1931
Gelatin silver print
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
The Sun King, Paris
1930-1950
From the Graffiti series
Gelatin silver print
40 x 29.5cm
Estate Brassaï Succession, Paris
© Estate Brassaï Succession-Philippe Ribeyrolles

Brassaï (Hungarian-French, 1899-1984)
Le Poussin
1955
From the Graffiti series
Gelatin silver print
© Estate Brassaï Succession-Philippe Ribeyrolles

Museo Picasso Málaga
Palacio de Buenavista C/ San Agustín, 8
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