Posts Tagged ‘Brassaï Montmartre

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.

.
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

.
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.

.
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)
1930-32
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 1930-32
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
1930-32
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 1932-33, 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)
1932-33
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 1931-32 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)
1931-32
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)
1945-50
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)
1945-50
From the series Graffiti
Gelatin silver print

 

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

 

Brassaï (French, 1899-1984)
Untitled (installation view)
1945-50
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 1932-33 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 1932-33
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 1932-33
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)
1932-33
Gelatin silver print
Photo: Marcus Bunyan

 

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

 

Brassaï (French, 1899-1984)
Billiard Player, boulevard Rochechouart
1932-33
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 1932-33; 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
1931-32
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
1930-31
Gelatin silver print

 

 

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20
Apr
18

Exhibition: ‘Brassaï’ at Fundación MAPFRE, Barcelona

Exhibition dates: 20th February – 13th May 2018

Curator: Mr. Peter Galassi

 

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Vista per sota del Pont Royal cap al Pont de Solférino [View through the pont Royal toward the pont Solférino]' c. 1933

 

Brassaï (Gyulá Halász, 1899 – 1984)
Vista per sota del Pont Royal cap al Pont de Solférino
View through the pont Royal toward the pont Solférino

c. 1933
[Nuit / Night 53]
40.1 x 51 cm
© Estate Brassaï Succession, Paris

 

 

For those who know how to look

Not everyone can see. It takes a great eye and a great mind, and the liberation of that mind, to be able to transform the mundane, the everyday, the vernacular – into art. Brassaï’s folklore, his mythology of life, suggests that the life of others (those living on the edge) is as valuable and essential to the formation of culture as any other part of existence.

Brassaï’s work comes alive at night and, as Alejandra Uribe Ríos observes, “The night was undoubtedly the great muse of his work, his inspiration.” While he got some of his friends to stage scenes for his book Paris by night – acting as prostitutes and customers hanging around in back alleys – it matters not one bit. The artist was embedded in this world and represents what he knows, what he has seen in his mind’s eye.

The density of his photographs is incredible – their atmosphere thick and heavy; revealing and beautiful. “In certain photographs, objects take on a particular light, a fascinating presence. Vision has fixed them “as they are in themselves” […]. It confers a density that is entirely foreign to their real existence. They are there, one might say, for the first time, but at the same time for the last.” The first and last, a circular compaction of time and space into the eternal present, objects as they are in themselves and will always be.

That fascinating presence can be felt even today, for that is what the time freeze of photography does: it “look backwards and forwards in the same instance.”

Brassaï saw something clearly, so that we might see it now. Look at the seemingly mundane space portrayed in Concierge’s Lodge, Paris (1933, below) from his book Paris de jour / Paris by Day. The photograph could be taken at night, but it is day! The small amount of sunlight falls on the tied-back curtain in the doorway; the crumpled mat lies outside the door; the two doors compete for our visual attention – one the solid presence that holds up the left hand side of the image, the other the vanishing point in the distance; and the eye is led down to this door by the pavement and the gutter with a band of water emphasising the form. The verticality of the worn and ancient stone work is emphasised by the modern metal box in front of it, leading the eye up to the Concierge sign only, mind you, for numbers 5 & 7. But then the mystery… what is going on above the ancient door at the rear – the sky, a ceiling, another wall lit by the last rays of the sun? Such a dense, complex image that requires an intimate knowledge of the mystery of place, in both the artist and the viewer.

Here we see Brassaï in Self-portrait, Boulevard Saint-Jacques, Paris 14ème, standing in the snow at night, heavy overcoat, hat, cigarette hanging out of his mouth, squinting through his camera to previsualise not just the photograph he is taking, but it’s final, physical embodiment, the print. In our world today of Insta-photos, millions and millions of photographs that mean basically nothing, and where anyone without training can pick up a camera and think of themselves a photographer, there is something to be said for taking the time to train and educate your eye and your mind. Only then might you reveal something about the world and, possibly, yourself as well.

Marcus

@mapfrefcultura #expo_brassai

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

 

 

“I was eager to penetrate this other world, this fringe world, the secret, sinister world of mobsters, outcasts, toughs, pimps, whores, addicts, inverts. Rightly or wrongly, I felt at the time that this underground world represented Paris at its least cosmopolitan, its most alive, its most authentic, that in these colourful faces of its underworld there had been preserved from age to age, almost without alteration, the folklore of its most remote past.”

.
Brassaï, 1976

 

“In certain photographs, objects take on a particular light, a fascinating presence. Vision has fixed them “as they are in themselves” […]. It confers a density that is entirely foreign to their real existence. They are there, one might say, for the first time, but at the same time for the last.”

.
Brassaï, undated note

 

“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.”

.
Brassaï, undated note

 

“The night suggests, he does not teach. The night finds us and surprises us by its strangeness; it liberates in us the forces that, during the day, are dominated by reason.”

“Night does not show things, it suggests them. It disturbes and surprises us with its strangeness. It liberates forces within us which are dominated by our reason during the daytime.”

.
Brassaï

 

“The night was undoubtedly the great muse of his work, his inspiration. The train tracks, the lovers, the fog, the posters, the ballet and the cabarets. Everything is worthy of portraying for those who know how to look and that is undoubtedly one of Brassai’s merits: embodying the everyday, rescuing the magical, the lyrical, the mystery of common life, and doing it with elegance, converting the seemingly trivial into a artwork.”

.
Alejandra Uribe Ríos

 

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Porteria, París [Concierge's Lodge, Paris]' 1933

 

Brassaï (Gyulá Halász, 1899 – 1984)
Porteria, París
Concierge’s Lodge, Paris

1933
[Paris de jour / Paris by Day 686]
29.3 x 22.2 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'The Eiffel Tower seen through the Gate of the Trocadéro' 1930-32

 

Brassaï (Gyulá Halász, 1899 – 1984)
La Torre Eiffel vista a través del reixat del Trocadéro
La torre Eiffel vista a través de la reja del Trocadero
The Eiffel Tower seen through the Gate of the Trocadéro

1930-32
[Nuit / Night 1; variant of Paris de nuit / Paris by Night, plate 57]
30 x 23.6 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Extinguishing a Streetlight, rue Émile Richard' c. 1932

 

Brassaï (Gyulá Halász, 1899 – 1984)
Apagant un fanal, Rue Émile Richard
Apagando una farola, rue Émile Richard
Extinguishing a Streetlight, rue Émile Richard

c. 1932
[Nuit / Night 267]
22.9 x 28.1 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Avenue de l'Observatoire' 1934

 

Brassaï (Gyulá Halász, 1899 – 1984)
Avenue de l’Observatoire
1934
Gelatin silver print
23.4 x 30.1 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Streetwalker, near the place d’Italie' 1932

 

Brassaï (Gyulá Halász, 1899 – 1984)
Meuca, a prop de la Place d’Italie
Prostituta, cerca de la Place d’Italie
Streetwalker, near the place d’Italie
1932
[Plaisirs / Pleasure 333]
29.9 x 22.9 cm
© Estate Brassaï Succession, Paris

 

 

Introduction

Fundación MAPFRE is launching its 2018 exhibition programme in Barcelona with the exhibition Brassaï, a comprehensive survey of the career of this celebrated Hungarian-born French photographer whose work helped to define the spirit of Paris in the 1930s. Brassaï was one of the most important of the group of European and American photographers whose work in the inter-war years greatly enriched photography’s potential as a form of artistic expression.

The artist began to take photographs in 1929 or 1930, maintaining an intense level of activity throughout the 1930s. Brassaï’s principal subject was Paris, where he settled in 1924, intending to become a painter. Around the end of World War I the artistic centre of the city had shifted from Montmartre to Montparnasse where most of the artists, constituting a major international community, lived like a large family. Brassï was fascinated by the French capital and later said that he started to take photographs in order to express his passion for the city at night. Soon, however, he also began to take portraits, nudes, still life, images of everyday life and depictions of picturesque corners of the city and moments captured during the day.

Brassaï’s confidence in the power of blunt, straightforward photography to transform what it describes, as well as his talent for extracting from ordinary life iconic images of lasting force, won him an important place among the pioneers of modern photography.

This exhibition offers a survey of the artist’s career through more than 200 works (vintage photographs, a number of drawings, a sculpture and documentary material) grouped into twelve thematic sections, of which the two devoted to Paris in the 1930s are the most important. Produced by Fundación MAPFRE and curated by Peter Galassi, chief curator of the Department of Photography at the MoMA, New York, from 1991 to 2011, this is the first retrospective exhibition on Brassaï to be organised since 2000 (Centre Pompidou) and the first to be held in Spain since 1993.

The exhibition benefits from the exceptional loan of the Estate Brassaï Succession (Paris) and other loans from some of the most important institutions and private collections in Europe and the United States, including: The Art Institute of Chicago, The Museum of Fine Arts (Houston), The Metropolitan Museum of Art (New York), The Museum of Modern Art (New York), the Musée National d’Art Moderne, Centre Pompidou (París), The Philadelphia Museum of Art, The San Francisco Museum of Modern Art, David Dechman and Michel Mercure, ISelf Collection (London) and Nicholas and Susan Pritzker.

 

The Photographer – Brassaï (Gyulá Halász, 1899 – 1984)

Brassaï (the pseudonym of Gyulá Halász) was born in 1899 in Brassó, Transylvania (present-day Braşov in Rumania), from where he subsequently took his name for signing his photographs (Brassaï means “from Brassó”).

After studying art in Budapest and Berlin, he moved to Paris and very soon began to earn occasional money and establish a reputation by selling articles and caricatures to German and Hungarian magazines. Photographs were rapidly replacing traditional magazine illustrations and Brassaï also functioned as a one-man photo-agency. Eventually he started making photographs himself, abandoning painting and sculpting, disciplines for which he nevertheless retained great interest and to which he returned during his career. Around 1900, an aesthetic movement had justified its claim that photography was as a fine art by imitating the appearance of the traditional arts. It was not until the 1920s and 1930s that a new generation rejected that approach and began exploring the artistic potential of plain, ordinary photographs. When the tradition that they launched began to achieve widespread recognition in the 1970s, Brassaï would be recognised as one of its leading figures.

During the German occupation of Paris, Brassaï was obliged to stop taking photographs and he thus returned to drawing and writing. In 1949 he obtained French nationality. After the war he once again devoted part of his time to photography and traveled regularly to undertake commissions for the American magazine Harper’s Bazaar. He died in Beaulieu-sur-Mer (France) in 1984 without ever returning to his native Brassó.

 

The sections of the exhibition

Paris by Night

Paris by Night was in fact the result of a commission which the publisher Charles Peignot gave to the young and still unknown Brassaï. The book, of which a copy is presented in the exhibition, was published in December 1932 and was extremely successful thanks in part to its modern design, pages without margins and richly toned photogravures. Brassaï continued to explore nocturnal Paris throughout the 1930s, developing a personal vision that is embodied in numerous prints in the exhibition.

They evoke the city’s dynamic, vibrant mood: the close-up image of a gargoyle on Notre Dame Cathedral rather than a conventional view of that building, or the Pont Royal seen from the water rather than from above. These are almost always silent images in which time seems to stand still.

Pleasures

When Brassaï reorganised his archive just after World War II, gathered under the rubric Plaisirs he included his pictures of small-time criminals and prostitutes and other figures of Parisian low life together with images of Parisian entertainments, including cheap dance halls to local street fairs to the annual entertainments designed to flout bourgeois conventions. Brassaï obtained permission to work backstage at the famous Folies Bergère, which allowed him to observe everything that was happening from a high viewpoint. His images of Parisian low life transpose to the vivid new medium of photography a vital mythology that had been elaborated in literature and the traditional visual arts.

No one photographed Paris by night as skilfully as Brassaï but he also built up a considerable collection of images of the city by day. Its famous monuments, picturesque corners and details of everyday life are the subject of many of these photographs. Some of his images of the early 1930s reveal his interest in daring geometrical forms and abrupt truncation, for example his famous images of the city’s cobblestones. But even his boldest graphic experiments reflect his abiding fascination with the continuities of an enduring human civilisation.

Paris by day

Nobody photographed Paris at night as accurately as Brassaï, but also accumulated a considerable collection of images of the city in daylight. Monuments, picturesque corners or details of everyday life play a large part in these scenes.

Some of his photographs from the thirties also reflect his interest in geometric styles or abrupt cuts, as shown by the famous cobblestone images of city streets. But even these bolder graphic experiments reflect, like the rest of his images of the city, his permanent fascination with what for him was presented as a remote and inexhaustible tradition, in constant development.

Graffiti

The notion of graffiti as a powerful art form first emerged in the 20th century. Like African tribal objects, children’s art or that of the mentally ill, graffiti was considered more expressive and vital than the refined forms of traditional western art.

Brassaï was in fact one of the first to focus on this subject matter. He was an inveterate hoarder who throughout his life collected all types of cast-off objects and from almost the moment he began to take photographs he used the medium to record the graffiti he saw on the walls of Paris. He preferred examples of graffiti that had been incised or scratched to drawn or painted ones, as well as those in which the irregularity of the wall itself played an important role in aesthetic terms. He took hundreds of images of this type of which only a small selection is on display here.

Minotaure

Between the time of his arrival in Paris in early 1924 and his first steps in photography taken six years later, Brassaï built up a large circle of friends within the international community of artists and writers in Montparnasse. They included Les deux aveugles [The two blind men], as the art critics Maurice Raynal and the Greek-born E. Tériade referred to themselves. In December 1932, the same month that Paris de nuit was published, Tériade invited Brassaï to photograph Picasso and his studios to illustrate the first issue of Minotaure, the deluxe art magazine that would be published in 1933 by the Swiss publisher Albert Skira. Copies of various different issues are on display in this section. This collaboration marked the starting point of Brassaï’s friendship with Picasso, one of the most important of his entire life. Over the following years Brassaï would play an important role in the life of the magazine, particularly with the projects for which he collaborated with Salvador Dalí and as an illustrator to texts by André Breton, although in some cases as an artist in his own right. The first number of the magazine included a series of nudes by Brassaï and his growing graffiti series, while number 7 devoted several pages to Brassaï’s nocturnal visions. All these evoke the artist’s modernity and his relationship with the most important circles of the Parisian avant-garde.

Personages / Characters

In 1949 in his prologue to Camera in Paris, a monograph on contemporary photographers, Brassaï paraphrased Baudelaire in The Painter of modern Life and established a line of continuity between the art of the photographer and that of some of the great artists of the past such as Rembrandt, Goya and Toulouse-Lautrec. In this sense he explained how, like them, photography could elevate ordinary subjects to the level of the universal. The people depicted in this gallery reflect that idea as not only do we see a worker at Les Halles market, a transvestite or a penitent in Seville, but through the dignity given to them by the image all of them exceed their individuality and come to represent a collective.

Places and things

One of Brassaï’s earliest projects, which was never produced, was a book of photographs of cacti. Many years later, in 1957, he made a short film on animals. Most of his photographs of objects or places, however, focus on human creations, reflecting his boundless curiosity about the people that made them, used them or lived in them.

During his trips Brassaï took numerous photographs of which a small selection are on display here: a view of Gaudí’s Sagrada Familia from a high viewpoint, a painted wall in Sacromonte, Granada, and a shop window in New Orleans. In some of these images, such as Vineyard, Château Mouton-Rothschild (June 1953), the viewpoint jumps sharply from the foreground to the background, splitting the image in half along its horizontal axis – a pictorial device invented by Brassaï.

Society

During the mid-1930s and just after World War II, Brassaï photographed at more than two dozen gatherings of Parisian high society – costume balls, fancy soirées, and other events both at private homes and such elegant venues as the Ritz – as well as the famous Nuit de Longchamp (the race course just outside of Paris) every summer from 1936 to 1939. At these events he had much less opportunity to intervene in the action than in Parisian dance halls and bars, but he nonetheless was able to create lasting images of a distinct social reality. Perhaps the most extraordinary of them is his photograph of the celebration of the fiftieth anniversary of the Art Nouveau interior of the swank restaurant Maxim’s (completed just a few years before the Casa Garriga Nogués). Although that image has been famous since it was made in 1949, Brassaï’s series on Parisian high society is poorly known, and several of the photographs are presented for the first time in this exhibition.

Body of a woman

During the occupation of Paris (1940-1944), Brassaï declined to work for the Germans and so was unable to photograph openly. His only income seems to have come from a clandestine commission from Picasso to photograph the master’s sculptures. Partly at Picasso’s urging, Brassaï returned to drawing. Most of the drawings that he made in 1943-45, like most of the drawings that survive from his time as an art student in Berlin in 1921-22, are female nudes. The same is the case with many of the sculptures that he started to produce after the war, often made from stones worn by the effect of water.

It would be foolish to attempt to disguise the intensity of Brassaï’s male gaze behind the curtain of a purely aesthetic pursuit of “form.” What is distinctive and powerful in his images of the female body is their unembarrassed carnal urgency.

Portraits: artists, writers, friends

Pablo Picasso, Salvador Dalí, Henry Miller (who gave Brassaï the sobriquet “The eye of Paris”), Pierre Reverdy, Jacques Prévert, Henri Matisse and Léon-Paul Fargue are just a few of the subjects of the portraits on display in this section of the exhibition.

Most of Brassaï’s portraits are of people that he knew and perhaps as a result of that closeness they convey a powerful spirit of frankness, unencumbered by posturing. It is also true; however, that Brassaï regularly achieved that spirit even when he did not know the subject.

Sleep

Broadly speaking, the hallmark of advance European photography in the 1920s and 1930s was a new sense of mobility and spontaneity. But spontaneity was alien to Brassaï’s sensibility, which instead sought clarity and stability. Instead of the popular, hand-held camera, a 35mm Leica, Brassaï chose a camera that used glass plates and often stood on a tripod. As if to declare his independence from the aesthetic of mobility, he chose sleeping in public as a recurrent motif.

The street

Brassaï’s work for Harper’s Bazaar led him to travel in France and in numerous other places, from Spain to Sweden, the United States and Brazil. While the roots of his talent lay in Paris he thus produced an extensive body of photographs taken in places that were unfamiliar to him. The exhibition includes a number of these works, three of them depicting Spain.

Press release from Fundación MAPFRE

 

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

 

Brassaï (Gyulá Halász, 1899 – 1984)
Chez Suzy
1931-32
[Plaisirs / Pleasure 352]
30 x 23.8 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Nude in the Bathtub' 1938

 

Brassaï (Gyulá Halász, 1899 – 1984)
Nu a la banyera
Desnudo en la bañera
Nude in the Bathtub
1938
[Nu / Naked 199]
23.5 x 17.3 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Four Seasons Ball, rue de Lappe' c. 1932

 

Brassaï (Gyulá Halász, 1899 – 1984)
Bal des Quatre Saisons, rue de Lappe
Four Seasons Ball, rue de Lappe
c. 1932
[Plaisirs / Pleasures 2]
49.8 x 40.4 cm
Estate Brassaï Succession, Paris © Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'At Magic City' c. 1932

 

Brassaï (Gyulá Halász, 1899 – 1984)
Al Magic City
En Magic City
At Magic City
c. 1932
[Plaisirs / Pleasures 439]
23.2 x 16.6 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Lovers at the Gare Saint-Lazare' 1937

 

Brassaï (Gyulá Halász, 1899 – 1984)
Amants a l’estació de Saint-Lazare
Amantes en la Gare Saint-Lazare
Lovers at the Gare Saint-Lazare
c. 1937
[Plaisirs / Pleasures 143]
23.6 x 17.3 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Haute Couture Soirée' 1935

 

Brassaï (Gyulá Halász, 1899 – 1984)
Vetllada d’alta costura
Velada de alta costura
Haute Couture Soirée
1935
[Soirées 85 (image reversed)]
17.6 x 21.1 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Lobster Seller, Seville' 1951

 

Brassaï (Gyulá Halász, 1899 – 1984)
Venedor de marisc, Sevilla
Vendedor de marisco, Sevilla
Lobster Seller, Seville
1951
[Étranger / Foreign 401]
49.3 x 37 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'New Orleans' 1957

 

Brassaï (Gyulá Halász, 1899 – 1984)
New Orleans
1957
[Amérique / America 451]
35.9 x 29.4 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Montmartre' 1930-31

 

Brassaï (Gyulá Halász, 1899 – 1984)
Montmartre
1930-31
[Paris de jour / Paris by day 472.C]
29.8 x 39.6 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Jean Genet, Paris' 1948

 

Brassaï (Gyulá Halász, 1899 – 1984)
Jean Genet, Paris
1948
[Arts 787.E]
39.7 x 30.2 cm
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Picasso Holding One Of The Sculptures' 1939

 

Brassaï (Gyulá Halász, 1899 – 1984)
Picasso Tenant Une De Les Sculptures
Picasso Holding One Of The Sculptures

1939
© Estate Brassaï Succession, Paris

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Portrait of Picasso in His Studio at 23 rue de La Boëtie, Paris' 1932

 

Brassaï (Gyulá Halász, 1899 – 1984)
Portrait of Picasso in His Studio at 23 rue de La Boëtie, Paris
1932
© Estate Brassaï Succession, Paris

 

23 rue de La Boëtie, Paris

 

23 rue de La Boëtie, Paris

 

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

 

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

 

 

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Casa Garriga i Nogués exhibition space
Calle Diputació, 250
Barcelona

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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, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr 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.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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