Clément Chéroux

Andreas Fischer

Pierre Apraxine

Denis Canguilhem

Sophie Schmit

In the early days of photography, many believed and hoped that the camera would prove more efficient than the human eye in capturing the unseen. Spiritualists and animists of the nineteenth century seized on the new technology as a method of substantiating the existence of supernatural beings and happenings. This fascinating book assembles more than 250 photographic images from the Victorian era to the 1960s, each purporting to document an occult phenomenon: levitations, apparitions, transfigurations, ectoplasms, spectres, ghosts, and auras. Drawn from the archives of European and American occult societies and private and public collections, the photographs in many cases have never before been published. The Perfect Medium studies these rare and remarkable photographs through cultural, historical, and artistic lenses. More than mere curiosities, the images on film are important records of the cultural forces and technical methods that brought about their production. They document in unexpected ways a period when developing photographic technology merged with a popular obsession with the occult to create a new genre of haunting experimental photographs.

Photography and the Occult

The Perfect Medium

Ruth Orkin (1921-1985) n'a que 17 ans lorsqu'elle enfourche sa bicyclette et inaugure un « bike trip » à travers les Etats-Unis en 1939, de Los Angeles à New York. Sa traversée et son audace assez inhabituelle pour l'époque suscitent la curiosité des gens et de la presse locale qui lui consacre de nombreux reportages. Cette épopée prend les allures pour la jeune femme d'un voyage initiatique au cours duquel elle esquisse les prémices de son écriture photographique. Ses photographies de scènes de rue, de bâtiments découpés par des jeux subtils de lumière, ses images poétiques et touchantes seront montrées pour la pour la première fois en France à l'occasion d'une exposition à la Fondation Henri Cartier-Bresson du 19 septembre 23 au 14 janvier 24

Ruth Orkin : Bike Trip, USA, 1939

Explorez la vie et l’œuvre d'Henri Cartier-Bresson dans ce Découvertes Gallimard illustré par plus de 170 documents. Dans cette édition numérique : - plongez dans l'univers de l'œil du siècle par l’intermédiaire de 170 documents illustrés ; - et immergez-vous dans les détails de ses photographies grâce à de nombreux zooms. Photographier, c'est mettre sur la même ligne de mire la tête, l'œil et le cœur. C'est une façon de vivre, résumait Henri Cartier-Bresson, cofondateur en 1947 de la célèbre agence Magnum, figure mythique de la photographie du XXe siècle. C'est en 1931, après avoir étudié la peinture, fréquenté les surréalistes et entrepris un premier voyage en Afrique, qu'il décide de se consacrer à la photographie. De Mexico à New York, de l'Inde de Gandhi au Cuba de Fidel Castro, de la Chine devenue communiste à l'Union soviétique des années 1950, il ne cessera plus de déambuler à travers le monde, son fidèle Leica rivé à l'œil. Clément Chéroux est conservateur pour la photographie au Centre Pompidou. Historien de la photographie, docteur en histoire de l’art, Il nous invite à suivre le tir photographique de cet inlassable promeneur qui, se refusant au sensationnalisme et à tout recadrage de ses tirages, donna ses lettres de noblesse à la photographie de reportage et fit de l'imaginaire d'après nature une éthique. Et une esthétique. Note : Les éditions numériques de la collection Découvertes Gallimard sont illustrées et optimisées pour la lecture sur tablette multimédia. Leur lecture est déconseillée sur téléphone ou sur liseuse à encre électronique.

Le tir photographique

Henri Cartier-Bresson - Découvertes Gallimard

the visual inventiveness of photographic postcards : from the collections of postcards of Gérard Lévy, Peter Weiss

The stamp of fantasy

Van Gogh Museum, Amsterdam

A fascinating look at how snapshots by seven Post-Impressionist artists influenced their work and the history of photography The advent of the Kodak camera in 1888 made photography accessible to amateurs as well as to professionals. Artists were not immune to its allure, and many began experimenting with the camera as a means of observing the world and capturing their own images of it. Snapshot investigates seven Post-Impressionist painters and printmakers: Pierre Bonnard, George Hendrik Breitner, Maurice Denis, Henri Evenepoel, Henri Rivière, Félix Vallotton, and Edouard Vuillard. Although celebrated for their works on canvas and paper, these artists also made many personal and informal snapshots. Depicting interiors, city streets, nudes, and portraits, these photographs were kept private and never exhibited. As a result, most have never been seen by the public. Juxtaposing personal photographs with related paintings and prints by these Post-Impressionist artists, Snapshot offers a new perspective on early photography and on the synthesis of painting, printmaking, and photography at the end of the 19th century. Published in association with the Phillips Collection, the Van Gogh Museum, and the Indianapolis Museum of Art Exhibition Schedule: The Van Gogh Museum 10/14/11-01/08/12 The Phillips Collection 02/04/12-05/06/12 The Indianapolis Museum of Art 06/08/12-09/02/12

Painters and Photography, Bonnard to Vuillard

Snapshot

"Henri Cartier-Bresson's photography came to define the 20th century. This book tells his life story through his images: all the major events from this youth to his death in 2004 are described, contextualized, and analysed in the light of his photographic work. From his early encounters with the Surrealists, his film work, and his experiences in the Second World War, to the development of his own personal aesthetic, the concept of the 'decisive moment', and the foundation of Magnum Photos, his influence on the world has been profound and unforgettable."--BOOK JACKET.

Henri Cartier-Bresson

Matteo Terzaghi

Alessandra Spranzi. Nello stesso momento

Henri Cartier-Bresson's photography came to define the 20th century. This book tells his life story through his images: all the major events from his youth to his death in 2004 are described, contextualized and analysed in the light of his photographic work. From his early encounters with the Surrealists, his film work and his experiences in the SecondWorldWar, to the development of his own personal aesthetic, the concept of the 'decisive moment', and the foundation of Magnum Photos, his influence on the world has been profound and unforgettable.

Henri Cartier-Bresson. by Clment Chroux

Pierre Borhan

Michael Kenna

The Nazi Camps Fifty Years After

Impossible to Forget

Quoi de commun entre un photographe qui essaye de capturer des fantômes, un expérimentateur qui tente d'enregistrer ses pensées en disposant une plaque sensible sur son front, un opérateur de fête foraine, un prestidigitateur en chambre noire, de joyeux amateurs et quelques chasseurs de reflets ? Rien, si ce n'est leur appartenance à cette vaste catégorie photographique encore insuffisamment étudiée par les historiens du médium : celle du vernaculaire. La photographie vernaculaire est le plus souvent appliquée ou fonctionnelle, c'est-à-dire utilitaire. La famille est l'un de ses principaux lieux de production ou de circulation, elle est donc aussi domestique. Mais surtout, elle se situe hors de ce qui a été jugé le plus digne d'intérêt par les principales instances de légitimation culturelle. Elle se développe en périphérie de ce qui fait référence, compte et pèse dans la sphère artistique. Elle est l'autre de l'art. En historien consciencieux, mais non sans délectation, Clément Chéroux revient dans cet ouvrage sur quelques-unes de ces pratiques vernaculaires oubliées. Elles deviennent autant d'occasions d'interroger la photographie : faut-il (ou non) croire aux images, comment s'aveugler en les regardant, qu'est-ce qu'un amateur, quel est l'inconscient photographique du cinéma de Georges Méliès, les photographes forains ont-ils le pouvoir de changer la vie en changeant de décor, quelle était la véritable activité d'Eugène Atget ?

essais d'histoire de la photographie

Vernaculaires

"Koudelka's unsentimental, stark, brooding, intensely human imagery reflects his own spirit, the very essence of an exile who is at home wherever his wandering body finds haven in the night."-Cornell Capa In 1988, Josef Koudelka published what was to become one of his most famous and canonical series: Exiles. These gorgeously austere black-and-white images described the travels and everyday life of the peoples he encountered while roaming Europe. Josef Koudelka: The Making of Exilesis an exploration of the genesis and the making of this photographic journey. Enhanced by numerous photographs that have never been published--in particular the photographer's self-portraits--and captions by Koudelka, it includes numerous archival documents (such as reproductions of his travel journals), thumbnail reproductions of the book's layout, an introduction by curator Clément Chéroux and an essay by photo-historian Michel Frizot, who spent hours interviewing Koudelka. Josef Koudelkawas born in Moravia in 1938. Initially an aeronautic engineer, he launched full time into photography in the late sixties. In 1968, he photographed the Soviet invasion of Czechoslovakia, publishing the results under the pseudonym P.P. (Prague Photographer). Koudelka left Czechoslovakia in 1970 and was briefly stateless before obtaining political asylum in England. Shortly afterwards, he joined Magnum Photos. In 1975 he published Gypsies. Koudelka has exhibited at the MoMA and at the International Centre of Photography in New York, at the Hayward Gallery in London, the Stedelijk Museum in Amsterdam and the Palais de Tokyo in Paris.

The Making of Exiles

Josef Koudelka

Aperture is pleased to present the elegantly updated and refreshed Henri Cartier-Bresson edition of the Aperture Masters of Photography Series. With an introduction by notable curator Clément Chéroux, this edition includes new, image-by-image commentary and a chronology of this influential and iconic artist's life. Initially presented as the History of Photography Series in 1976, the first volume of the Masters of Photography Series featured Cartier-Bresson and was edited by legendary French publisher Robert Delpire, who cofounded the series with Aperture's own Michael Hoffman. In this redesigned and expanded version of the classic Aperture book, we have kept the majority of the selection of images from the original series which Cartier-Bresson himself created with Delpire, encapsulating the spontaneity and intuition for which this legendary photographer is so celebrated.

Clément Chéroux

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