Posts Tagged ‘Brassaï Au Cochon Limousin

26
Mar
22

Exhibition: ‘The Paris of Brassaï. Photographs of the City Picasso Loved’ at the Museo Picasso Málaga

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

 

Brassaï (Hungarian-French, 1899-1984) 'Steps of Montmartre with a white dog, Paris' 1932

 

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

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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

 

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

 

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' 1935

 

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

 

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

 

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

 

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

 

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

 

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.

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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

 

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

 

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”

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Pablo Picasso

 

 

Brassaï (Hungarian-French, 1899-1984) 'Plaster sculptures in Pablo Picasso's studio, Boisgeloup' December 1932

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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
29015 Málaga, Spain

Opening hours:
Daily 10am – 7pm

Museo Picasso Málaga website

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31
Jul
20

European photographic research tour exhibition: ‘Brassaï’ at Foam, Amsterdam

Exhibition dates: 13th September – 4th December 2019
Visited September 2019 posted July 2020

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam
Photo: Marcus Bunyan

 

 

These are my thoughts at the time of my seeing the exhibition.

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I have been blessed this trip by seeing an amazing selection of master photographers… Brassaï being no exception.

Every print in this exhibition is a vintage print. They were made by Brassaï before 1968. If larger than 30 x 40cm they were made after 1945 when he started printing with an enlarger.

As usual, the iPhone camera makes all the images too light and adds too much contrast. Think darker, less contrast in these vintage prints.

Brassaï’s prints are – just like those of Josef Sudek and August Sander that I have seen on this trip – much softer and with a more limited tonal range than I imagined. They are all the more atmospheric and magical because of it.

To walk around the exhibition and then arrive at an alcove (see walk through below)… to stand in front of Le Môme Bijou, the old lady with the jewellery and Billiard Player, is such a privilege. I am surrounded by the presence of these famous images. I peer intently at each of them, observing the details, feeling their eyes stare back at me. No deflection of intent, just these human beings and their spirit presented in a photograph. Brassaï captured their essence before they drifted away, just in that moment.

In the latter print the dark billiard ball was almost indistinguishable from the baize; in the former, the circular light in the woman’s eyes means that Brassaï must have set up a light, or that there was a light source, above and behind the camera. Specular highlights twinkle off jewellery and pearls. Even as she is draped in her bourgeois, bohemian ornamentation this dame of the night possesses a resilient, composed, determined air.

Personally, I think Brassaï’s Graffiti series are far stronger than Lee Friedlander’s series of the same name.

The juxtaposition of the photographs in Paris at Night is something I will always remember.

Dr Marcus Bunyan

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Please click on the photographs for a larger version of the image. All iPhone installation photographs © Marcus Bunyan

 

 

The more scrupulously [the photographer] has respected the independence and autonomy of his subject, and the closer he has gone toward it instead of bringing it nearer to himself, the more completely his own personality has become incorporated into his pictures.

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Brassaï

 

 

Foam is proud to present the first retrospective of Brassaï in the Netherlands. The French photographer of Hungarian descent is considered a key figure of 20th-century photography.

Brassaï (1899-1984) created countless iconic images of 1930s Parisian life. He was famous for capturing the grittier aspects of the city, but also documented high society, including the ballet, opera, and intellectuals – among them his friends and contemporaries like Pablo Picasso, Salvador Dalí and Henri Matisse. The exhibition at Foam traces his career with over 170 vintage prints, plus a selection of drawings, a sculpture and documentary material.

Brassaï gathers many of the artistic facets of the photographer, from photos to drawings of female nudes. It is organised in twelve thematic sections: Paris by Day, and by Night, Minotaure, Graffiti, Society, Places and Things, Personages, Sleep, Pleasures, Body of a Woman, Portraits – Artists, Writers, Friends and The Street. Each is very different from the next – reflecting the diversity of Brassaï’s photographic work.

 

 

 

Digital walk through of the exhibition Brassaï at Foam, Amsterdam in September 2019

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam showing at second right Brassaï’s Paris 1937, and at right Paris c. 1932
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
Paris (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris' 1937 (installation view)

 

Brassaï (French, 1899-1984)
Paris (installation view)
1937
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris' 1937 (installation view)

 

Brassaï (French, 1899-1984)
Paris (installation view)
1937
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam
Photos: Marcus Bunyan

 

 

Foam is proud to announce the first retrospective of Brassaï in the Netherlands. This French photographer of Hungarian descent is considered as one of the key figures of 20th-century photography. Brassaï (1899-1984) created countless iconic images of 1930s Parisian life. He was famous for capturing the grittier aspects of the city, but also documented high society, including the ballet, opera, and intellectuals – among them his friends and contemporaries like Pablo Picasso, Salvador Dalí and Henri Matisse. The exhibition at Foam traces his career with over 170 vintage prints, plus a selection of drawings, a sculpture and documentary material.

Gyula Halász, Brassaï’s original name, was born in 1899 in Brassó, Transylvania (then part of the Austro-Hungarian empire, nowadays Brasov, Romania). He studied at the University of Arts in Berlin before finally settling in Paris in 1924, a city that was to become the main subject of his work. He started as a painter but soon discovered that his strongest and most original talent lay in photography. To keep his real name for his paintings, he signed journalistic work, caricatures and photographs with ‘Brassaï’ (from Brassó). His photos would make this pseudonym more famous than his real name. Brassaï’s work of the 1930s would become a cornerstone of a new tradition as photography was discovered as a medium with aesthetic potential. A generation earlier photographers had merely emulated the established arts. Now photography became an art in itself and the perfect medium to capture modern life.

The nocturnal scenes collected in his book Paris by Night (1933) are complemented by his work that reveals the everyday life of the city by day. The monuments, picturesque spots, scenes from daily life and architectural details are present in his work as a reflection of the irresistible fascination the artist felt for the French capital. In his quest to cover all of the facets of Paris, he also immersed himself in the city’s darker side. For Brassaï the gang members, outcasts, prostitutes and drug addicts all represented the least cosmopolitan aspect of Paris, an aspect that was more alive and more authentic. He compiled a huge collection of images of entertainment venues, ranging from night clubs to popular festivals and featuring the people who frequented them. Brassaï was deeply immersed in a wide circle of friends among the writers and artists of Montparnasse, who also became the subjects for some of his portraits. Most of the portraits taken by Brassaï were of well-known people, putting him into a very comfortable position. He collaborated with the luxury art magazine Minotaure right from its very first issue and enjoyed a prominent role for the publication over the years. After the war, he also travelled regularly on commissioned shoots for the American magazine Harper’s Bazaar.

The exhibition at Foam gathers many of the artistic facets of the photographer, from photos to drawings of female nudes. It is organised in twelve thematic sections: Paris by Day, and by Night, Minotaure, Graffiti, Society, Places and Things, Personages, Sleep, Pleasures, Body of a Woman, Portraits – Artists, Writers, Friends and The Street. Each is very different from the next – reflecting the diversity of Brassaï’s photographic work.

Press release from the Foam gallery website

 

Brassaï (French, 1899-1984) 'Staircase, Montmartre' 1937 (installation view)

 

Brassaï (French, 1899-1984)
Staircase, Montmartre (installation view)
1937
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Les Escaliers de Montmartre, Paris' 1936

 

Brassaï (French, 1899-1984)
Les Escaliers de Montmartre, Paris
1936
Gelatin silver print

 

Brassaï (French, 1899-1984) 'La rue Quincampoix' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
La rue Quincampoix (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'La rue Quincampoix' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
La rue Quincampoix (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Pillar of the Elevated, Metro Glacière' 1932 (installation view)

 

Brassaï (French, 1899-1984)
Pillar of the Elevated, Metro Glacière (installation view)
1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Near the rue Mouffetard' c. 1945 (installation view)

 

Brassaï (French, 1899-1984)
Near the rue Mouffetard (installation view)
c. 1945
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdamz

 

Installation views of the exhibition Brassaï at Foam, Amsterdam with at bottom centre, Brassaï’s Concierge’s Lodge, Paris, 1933
Photos: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Concierge's Lodge, Paris' 1933 (installation view)

 

Brassaï (French, 1899-1984)
Concierge’s Lodge, Paris (installation view)
1933
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Concierge's Lodge, Paris' 1933 (installation view)

 

Brassaï (French, 1899-1984)
Concierge’s Lodge, Paris (installation view)
1933
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Concierge's Lodge, Paris' 1933

 

Brassaï (French, 1899-1984)
Concierge’s Lodge, Paris
1933
Gelatin silver print
Photo: Marcus Bunyan

 

99-1984) 'Lovers at the gare Saint Lazare' c. 1937 (installation view)

 

Brassaï (French, 1899-1984)
Lovers at the gare Saint Lazare (installation view)
c. 1937
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Sunday Painter, avenue du Général Leclerc' 1946 (installation view)

 

Brassaï (French, 1899-1984)
Sunday Painter, avenue du Général Leclerc (installation view)
1946
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Sunday Painter, avenue du Général Leclerc' 1946 (installation view)

 

Brassaï (French, 1899-1984)
Sunday Painter, avenue du Général Leclerc (installation view)
1946
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Annecy' 1936 (installation view)

 

Brassaï (French, 1899-1984)
Annecy (installation view)
1936
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Hôtel de la Belle Étoile' 1945 (installation view)

 

Brassaï (French, 1899-1984)
Hôtel de la Belle Étoile (installation view)
1945
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) A Corpse on the Banks on the Seine 1931 (installation view

 

Brassaï (French, 1899-1984)
A Corpse on the Banks on the Seine (installation view)
1931
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Les Fétes de Paris: La Nuit Féerique de Longhamp' 1937

 

Brassaï (French, 1899-1984)
Les Fétes de Paris: La Nuit Féerique de Longhamp
1937
In L’illustration, no. 4, 923 (July 10, 1937)
13. Rue Saint-Georges, Paris (9°)
Photo: Marcus Bunyan

 

Regards, no. 155 (December 31, 1936)

 

Regards, no. 155 (December 31, 1936)
Back cover
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing at at left, Brassaï’s Meat Porters, Les Halles c. 1935 and at second left, Au Cochon Limousin 1935
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Meat Porters, Les Halles' c. 1935 (installation view)

 

Brassaï (French, 1899-1984)
Meat Porters, Les Halles (installation view)
c. 1935
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Au Cochon Limousin' 1935 (installation view)

 

Brassaï (French, 1899-1984)
Au Cochon Limousin (installation view)
1935
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Les Halles' 1930-32 (installation view)

 

Brassaï (French, 1899-1984)
Les Halles (installation view)
1930-1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Cesspool cleaners' c. 1931 (installation view)

 

Brassaï (French, 1899-1984)
Cesspool cleaners (installation view)
c. 1931
Gelatin silver print
Photo: Marcus Bunyan

 

 

Paris de nuit / Paris at night

Brassaï had been making photographs for barely two years when luck and ambition brought him a contract for a book on nocturnal Paris. When Paris de nuit (Paris at Night) was published to acclaim in December 1932, “Brassaï” became a familiar name in the world of photography. The book’s rich photogravures, marginalises pages, and bold design made it an icon of modernity. Many of Brassaï’s best night picture were made after Paris de nuit appeared, however, and many of his greatest images of Parisian nightlife were not published until 1976.

In the self-portrait here we see Brassaï’s first camera, a Voigtländer Bergheil that used 6.5 x 9 cm glass plates one at a time. The long exposures of night photography – often five minutes or more – required a tripod, which Brassaï frequently used for other pictures as well. While much of the adventurous European photography of the 1920s and 1930s celebrated mobility and speed, spontaneity was alien to Brassaï’s sensibility. He favoured images that are sharp, deliberate, and stable.

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam
Photos: Marcus Bunyan

 

Brassaï (French, 1899-1984) Morris Column, avenue de l'Observatoire 1934 (installation view)

 

Brassaï (French, 1899-1984)
Morris Column, avenue de l’Observatoire (installation view)
1934
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Morris Column, avenue de l'Observatoire' 1934

 

Brassaï (French, 1899-1984)
Morris Column, avenue de l’Observatoire
1934
Gelatin silver print

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing at right, Brassaï’s Self portrait, On the boulevard Saint-Jacques 1930-1932
Photo: Marcus Bunyan

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Self-portrait, Boulevard Saint-Jacques, Paris 14ème' c. 1931-1932

 

Brassaï (French, 1899-1984)
Self portrait, On the boulevard Saint-Jacques
1930-1932
Gelatin silver print

 

Voigtländer Bergheil Built in 1932

 

Voigtländer
Bergheil
Built in 1932
6.5 x 9cm negative
Green

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing at left, Brassaï’s The Tour Saint-Jacques 1932-1933, and at third right View through the pont Royal toward the pont Solférino c. 1933
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'The Tour Saint-Jacques' 1932-33 (installation view)

 

Brassaï (French, 1899-1984)
The Tour Saint-Jacques (installation view)
1932-1933
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'View through the pont Royal toward the pont Solférino' c. 1933

 

Brassaï (French, 1899-1984)
View through the pont Royal toward the pont Solférino
c. 1933
Gelatin silver print

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing at right, Brassaï’s Avenue de l’Observatoire in the Fog c. 1937
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Avenue de l'Observatoire in the Fog' c. 1937 (installation view)

 

Brassaï (French, 1899-1984)
Avenue de l’Observatoire in the Fog (installation view)
c. 1937
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Avenue de l'Observatoire in the Fog' c. 1937

 

Brassaï (French, 1899-1984)
Avenue de l’Observatoire in the Fog
c. 1937
Gelatin silver print

 

Brassaï (French, 1899-1984) 'Paris de Nuit' (Paris at Night) 1932

 

Brassaï (French, 1899-1984)
Paris de Nuit (Paris at Night) pp. 9-10
1932
Book

 

Brassaï (French, 1899-1984) 'Paris de Nuit' (Paris at Night) 1932

 

Brassaï (French, 1899-1984)
Paris de Nuit (Paris at Night) pp. 13-14
1932
Book

 

 

Digital flick through of Brassaï’s Paris de Nuit (Paris at Night) book 1932
Video: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris de Nuit' (Paris at Night) 1932 (installation view)

 

Brassaï (French, 1899-1984)
Paris de Nuit (Paris at Night) pp. 19-20 (installation view)
1932
Book
Photo: Marcus Bunyan

 

Minotaure, no. 7 (June 1935)

 

Minotaure, no. 7 (June 1935)
Pages 24-25: Photographs by Brassaï, “Nuits parisiennes” (Parisian Nights)
Pages 26-29: Photographs by Brassaï
Photo: Marcus Bunyan

 

 

Portraits – artists, writers and friends

In Brassaï’s era, portraits and nudes were bread-and-butter genres for any professional photographer. As a portraitist Brassaï made a speciality of artists and writers, who often were his friends, and in 1982 he collected many of the best pictures in Les artistes de ma vie (The Artists of My Life), for which he also wrote the lively text. He excelled at two distinct types of portraiture: In one, the artist is framed by his environment – the studio. In the other, the subjects confronts the photographer frankly, and the setting hardly matters. In an undated note, Brassaï summed up his approach to the second type: “To oblige the model to behave as if the photographer isn’t there really is to stage a comic performance. What’s natural is precisely not to dodge the photographer’s presence. The natural thing in that situation is for the model to pose honestly.”

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam showing in the top photograph at right, Oskar Kokoschka in his Studio, Paris 1931-1932 and in the bottom photograph at third right, Brassaï’s Kiki de Montparnasse and her Friends, Thérèse Treize and Lily c. 1932
Photos: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Oskar Kokoschka in his Studio, Paris' 1931-32

 

Brassaï (French, 1899-1984)
Oskar Kokoschka in his Studio, Paris (installation view)
1931-1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Kiki de Montparnasse and her Friends, Thérèse Treize and Lily' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
Kiki de Montparnasse and her Friends, Thérèse Treize and Lily (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam showing in the bottom photograph at left, Brassaï’s portrait of Jean Genet 1948
Photos: Marcus Bunyan

 

Brassai. 'Jean Genet' 1948

 

Brassaï (French, 1899-1984)
Jean Genet
1948
Gelatin silver print

 

 

Graffiti

The appreciation of graffiti as a powerful if anonymous art form began to blossom in the twentieth century. Like African tribal objects and the art of children, graffiti was admired as more expressive and vital than the refined forms of traditional Western art. Brassaï was among the first to embrace it. He was an inveterate magpie who collected all manner of neglected artefacts and natural specimens throughout his life. Virtually as soon as he began making photographs, he used the medium to collect the graffiti that appeared abundantly on the walls of Paris – predominantly images that had been scratched or gouged rather than drawn or painted and, as he pointed out, in which irregularities of the wall itself played a role. He compiled hundreds of these pictures, a small sample of which is presented here.

 

Minotaure

Between arriving in Paris in early 1924 and taking up photography six years later, Brassaï developed a wide circle of friends among the international community of artists and writers in Montparnasse. Among them were Les deux aveugles (The Two Blind Men), as the art critics Maurice Raynal and E. Tériade called themselves. In December 1932 – the same month Brassaï’s book Paris de unit (Paris at Night) appeared – Tériade invited Brassaï to photograph Pablo Picasso and his studios in and near Paris for the first issue of Minotaure, a lavish art magazine launched in June 1933 by the Swiss published Albert Skira. Thus began one of the key friendships of Brassaï’s life. Over the next few years he played prominent role in Minotaure, notable as a collaborator of Salvador Dalí, as an illustrator of texts by André Breton, and, on a few occasions, as an artist in his own right.

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam showing to the right, photographs from Brassaï’s series Graffiti
Photo: Marcus Bunyan

 

Minotaure, nos. 3-4 (December 1933)

Minotaure, nos. 3-4 (December 1933)

 

Minotaure, nos. 3-4 (December 1933)
Pages 6-7: Photographs and text by Brassaï, “Du mur des cavernes au mur d’usine” (From the Wall of the Caves to the Wall of the Factory).
Photos: Marcus Bunyan

 

This was the first appearance in print of Brassaï’s series Graffiti.

 

Brassaï (French, 1899-1984) 'The Sun King' 1945-50 (installation view)

 

Brassaï (French, 1899-1984)
The Sun King (installation view)
1945-1950
From the series Graffiti
Gelatin silver print
Photo: Marcus Bunyan

 

Brassai. 'Untitled' from the series 'Graffiti' 1950

 

Brassaï (French, 1899-1984)
Untitled (installation view)
1950
From the series Graffiti
Gelatin silver print
Photo: Marcus Bunyan

 

Brassai. 'Untitled' from the series 'Graffiti' 1945-55

 

Brassaï (French, 1899-1984)
Untitled (installation view)
1945-1950
From the series Graffiti
Gelatin silver print

 

Brassai. 'Untitled' from the series 'Graffiti' 1945-55

 

Brassaï (French, 1899-1984)
Untitled (installation view)
1945-1950
From the series Graffiti
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left La Môme Bijou, Bar de la Lune, Montmartre 1932; and in the centre, Billiard Player, boulevard Rochechouart 1932-1933 and Market Porter, Les Halles 1939
Photo: Marcus Bunyan

 

 

Personages

In the introduction to a book of his photographs that was published in 1949, Brassaï linked the modern arts of photography and film to the work of artists of the past who had depicted everyday life, among them Rembrandt van Rijn, Honoré Daumier, Edgar Degas, and Henri de Toulouse-Lautrec. He praised them for the “desire to get beyond the anecdotal and to promote [their] subjects to the dignity of types.” Brassaï himself had a talent for rendering at the same time a generic social role and a particular individual who inhabited it, as if his attentiveness to the person would elevate him or her into a distinctive personage.

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left, Festival in Seville 1951; and at right, La Môme Bijou, Bar de la Lune, Montmartre 1932
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left, Festival in Seville 1951; at centre, La Môme Bijou, Bar de la Lune, Montmartre 1932; and at right, Billiard Player, boulevard Rochechouart 1932-1933
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing a photograph from the section Personages, La Môme Bijou, Bar de la Lune, Montmartre 1932
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'La Môme Bijou, Bar de la Lune, Montmartre' 1932 (installation view)

 

Brassaï (French, 1899-1984)
La Môme Bijou, Bar de la Lune, Montmartre (installation view)
1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'La Môme Bijou, Bar de la Lune, Montmartre' 1932

 

Brassaï (French, 1899-1984)
La Môme Bijou, Bar de la Lune, Montmartre
1932
Gelatin silver print

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left La Môme Bijou, Bar de la Lune, Montmartre 1932; and at right, Billiard Player, boulevard Rochechouart 1932-1933
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Billiard Player, boulevard Rochechouart' 1932-33 (installation view)

 

Brassaï (French, 1899-1984)
Billiard Player, boulevard Rochechouart (installation view)
1932-1933
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Billiard Player, boulevard Rochechouart' 1932-33

 

Brassaï (French, 1899-1984)
Billiard Player, boulevard Rochechouart
1932-1933
Gelatin silver print

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left Billiard Player, boulevard Rochechouart 1932-1933; and at right, Market Porter, Les Halles 1939
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Market Porter, Les Halles' 1939 (installation view)

 

Brassaï (French, 1899-1984)
Market Porter, Les Halles (installation view)
1939
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Bal des Quatre Saisons, rue de Lappe' c. 1932

 

Brassaï (French, 1899-1984)
Bal des Quatre Saisons, rue de Lappe
c. 1932
Gelatin silver print

 

Brassaï (French, 1899-1984) 'Chez Suzy' 1931-32

 

Brassaï (French, 1899-1984)
Chez Suzy
1931-1932
Gelatin silver print

 

Brassaï (French, 1899-1984) 'At the Hôtel des Terrasses' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
At the Hôtel des Terrasses (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from Brassaï’s series Sleep
Photo: Marcus Bunyan

 

 

Sleep

In 1945 Brassaï wrote a brief essay to accompany some of his pictures of sleepers. It reads in part “All things that stand against their inclination – a tree, a column, a tower, a rock – are regarded with a malign eye by gravity … She especially has a grudge against man, that foolhardy being who, in open collusion with the sunlight, alone among his brothers under the spell of gravitation, dares to stand up. For sunlight and gravity fight over living beings, the one turning over what the other has put up. Alas! Sunlight lives a long way away and can never be found when she is needed the most. Thus gravity is suited to have the last word.”

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from Brassaï’s series Sleep with at left, Paris c. 1934; and at centre, Sleeping c. 1935
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris' c. 1934 (installation view)

 

Brassaï (French, 1899-1984)
Paris (installation view)
c. 1934
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Sleeping' c. 1935 (installation view)

 

Brassaï (French, 1899-1984)
Sleeping (installation view)
c. 1935
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Montmartre' 1930-31

 

Brassaï (French, 1899-1984)
Montmartre
1930-1931
Gelatin silver print

 

 

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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