Jacques K.furukata

Ebook Gratuit

N.B. In response to Facebook's new censorship policies and the potential threat of deletion of our account over two dozen (24) photographs which originally were included in this gallery have been removed. FB does not consider photography an art.

No one could have foreseen that Emmanuel Radnitzky (1890-1976), born in South Philly, the son of Russian-Jewish garment workers, would transform himself into Man Ray, the quintessential modernist who would spend most of his adult life in Paris on the bleeding edge of every avant-garde movement. Ray's artistic resume was impressive: he was one of the first Dadaist and Surrealist painters, one of the first avant-garde photographers and film-makers, one of the first performance and conceptual artists; he sculpted, did collages and assemblages, wrote a few books, and managed to make a name for himself (and a decent living) as a fashion and portrait photographer. In art circles he was famous for his epigraphs and witticisms ("To create is divine, to reproduce is human").

Ray initially taught himself photography in order to reproduce his own works of art, which included paintings and mixed media. In 1921 he moved to Paris and set up a photography studio to support himself. There he began to make photograms, which he called "Rayographs." In the 1920s, he also began making moving pictures. Man Ray's four completed films -- Return to Reason, Emak Bakia, Starfish, and Mystery of the Chateau -- were all highly creative, non-narrative explorations of the possibilities of the medium.

Shortly before World War II, Man Ray returned to the United States and settled in Los Angeles from 1940 until 1951. He was disappointed that he was recognized only for his photography in America and not for the filmmaking, painting, sculpture, and other media in which he worked. In 1951, he returned to Paris, where he concentrated primarily on painting until his death in 1976.

This gallery in the MWW Great Photographers series has 176 of his photographic works, arranged in the chronological order of their creation. Many are accompanied by commentaries from original or reputable sources. Read these for background and insight on specific works, or on the subject portrayed. (Click "See More" in the box to the right of the full-screen image to access these).

Other entries in the "MWW Great Photographers" series include:
* #1 - Alfred Stieglitz
* #2 - Edward Steichen
* #3 - Dorothea Lange
* #4 - Brassai
* #5 - Paul Strand
* #6 - Ansel Adams
* #7 - Imogen Cunningham
* #9 - Edward Weston & Tina Modotti
* #10- Henri Cartier-Bresson
* #11- Yousuf Karsh
* #12- Robert Capa
* #13- Walker Evans & the FSA Photographers
* #14 - Richard Avedon

Lueurs cendrées "Le pays du grain" Dans la pure tradition du n&b argentique , Le pays du grain Réponses Photo, portfolio de 6 pages Romann fait une photo classique, loin des modes Pierre Faure, 9 Lives magazine

Une interview d'époque d'Henri Cartier-Bresson pour s'inspirer | Lense L’oeuvre d’Henri Cartier-Bresson ne cesse de résonner et de rayonner au cours des décennies. Mais si ses photos continuent de marquer les esprits, ses mots eux aussi restent une mine d’information et d’inspiration. ………………………… Des rues de Paris, en passant par la Chine, ...

Des photos d'artistes et de célébrités immortalisés dans les rues de Paris à travers ce recueil.

Le bon pain du matin ...🌹

Paul Almasy (Français, 1906-2003), Rue Drevet, escaliers de Montmartre, Paris, 1947

Margaret Bourke-White (1904-1971) broke through a lot of glass ceilings in her remarkable career as a documentary photographer and photojournalist -- the first female photographer for Henry Luce's "Life" magazine, the first female war correspondent, the first female permitted to work in combat zones, and the first foreign photographer (of any gender) permitted to take pictures of Soviet Industry.

She was born "Margaret White" in the Bronx, the product of a free-thinking Jewish father and Irish-Catholic mother. After graduating from Plainfield NJ High School, she studied herpetology for a semester at Columbia, then attended a succession of universities before finally receiving her B.A. from Cornell in 1927. While at Cornell her youthful passion for photography blossomed as she did photo essays for the campus newspaper. After graduation she appended the "Bourke" (her mother's maiden name), moved to Cleveland and hired herself out to clients as an "industrial photographer." Her superb work in this area, often compared to that of Charles Sheeler in painting, caught the eye of Time magazine co-founder Henry Luce, who hired her in 1929 as an associate editor and staff photographer for his new publication "Fortune." During her six years with Fortune she established herself as one of the world's leading photojournalists, photographing everything from industrial plants to Dust Bowl farmers for the magazine, and, in 1930, becoming the first foreign photojournalist to take pictures of Soviet industry.

In 1935 she was Luce's first hire for his new "picture magazine," Life, which featured one of her photographs on the cover of its inaugural issue of November 23, 1936. Except for a memorable stint as a photographer with the U.S. Army during WWII, she would continue as a staff photographer with Life until the ravages of Parkinson's Disease forced her into full retirement in 1969. During that long period her photographs made her a household name to the legions of Life subscribers. With consummate art (and often considerable bravery) she brought them inside a N**i Germany preparing for war, a Soviet Union under siege, an American combat unit under fire, a Germany in ruins, the horror of the N**i death camps, the bloodshed and turmoil of newly independent India and Pakistan. During her lifetime she also published eight books of photographs and prose (two co-authored with the novelist Erskine Caldwell, her second husband), each a gripping account of a slice of history that she witnessed. She died in 1971 at her home in Darien, Connecticut, aged 67, of the Parkinson's Disease which since its onset in 1953, at the very height of her career, had increasingly limited her activity,

This gallery devoted to Bourke-White presents a representative selection of 200 of her photographs from every part of her career, arranged in the approximate chronological order in which they were taken. As is the case with all MWW galleries, many of the images include commentary from reputable sources. Biographical information about the photographer and many of the persons depicted can be found in the commentary section of the portraits.

Other entries in the "MWW Great Photographers" series include:
* #1 - Alfred Stieglitz
* #2 - Edward Steichen
* #3 - Dorothea Lange
* #4 - Brassai
* #5 - Paul Strand
* #6 - Ansel Adams
* #7 - Imogen Cunningham
* #8 - Man Ray
* #9 - Edward Weston & Tina Modotti
* #10- Henri Cartier-Bresson
* #11- Yousuf Karsh
* #12- Robert Capa
* #13- Walker Evans & the FSA Photographers
* #14- Richard Avedon
* #15- Sebastião Salgado
* #16- Eugène Atget & Berenice Abbott
* #17- Jacob Riis & Lewis Hine
* #18- Robert Doisneau & André Kertész
* #19- Gordon Parks

📷 Le 8 mai 1945, sur l'avenue des Champs-Elysées. Aujourd'hui, Paris et la France commémorent la fin de la Seconde Guerre mondiale en Europe. 🇫🇷

Adolfo Kaminsky (Français né en 1925), Paris la nuit, femme seule qui attend, 1946

Robert Doisneau (Français, 1912-1994), Isabelle Huppert dans un café à Montmartre à Paris, France en 1985

"The marvels of daily life are so exciting; no movie director can arrange the unexpected that you find in the street." -- Robert Doisneau

Robert Doisneau (1912–1994) was one of France's most popular and prolific reportage photographers. He was known for his modest, playful, and ironic images of amusing juxtapositions, mingling social classes, and eccentrics in contemporary Paris streets and cafes. His photographs over the course of several decades provide people with a great record of French life. Influenced by the work of Kertész, Atget, and Cartier-Bresson, in over twenty books Doisneau has presented a charming vision of human frailty and life as a series of quiet, incongruous moments.

"[T]he moment always dictates in my work....Everybody can look, but they don't necessarily see....I see a situation and I know that it's right." -- André Kertész

Henri Cartier-Bresson once stated on behalf of himself, Robert Capa, and Brassaï, "Whatever we have done, Kertész did first." When André Kertész (1894-1985) left Hungary in 1925 to mingle with the tight-knit community of artists in Paris, he was primarily a "street photographer." Once he got settled there he began to show an uncanny ability to create in advance what the avant-garde movements of the period held purely as ideals. He added "still-lifes" to his repertoire, pure and concise images of everyday objects transformed by his art into striking geometric compositions. By 1933 he was ready to take a walk on the bleeding edge and began experimenting with optical distortions, becoming the first photographer to venture into that realm. Eventually he tired of life on the edge and returned to street photography.

This gallery devoted to these two seminal "street photographers" presents a selection of 74 of Doisneau's photographs, followed by 97 of Kertész's, arranged in the approximate chronological order in which they were taken. Many are accompanied by commentaries which give more information about the photographer or photograph.

Other entries in the "MWW Great Photographers" series include:
* #1 - Alfred Stieglitz
* #2 - Edward Steichen
* #3 - Dorothea Lange
* #4 - Brassai
* #5 - Paul Strand
* #6 - Ansel Adams
* #7 - Imogen Cunningham
* #8 - Man Ray
* #9 - Edward Weston & Tina Modotti
* #10- Henri Cartier-Bresson
* #11- Yousuf Karsh
* #12- Robert Capa
* #13- Walker Evans & the FSA Photographers
* #14- Richard Avedon
* #15- Sebastião Salgado
* #16- Eugène Atget & Berenice Abbott
* #17- Jacob Riis & Lewis Hine

Robert Doisneau (Français, 1912-1994), Pique-nique à Saint Cloud, 1950

ギャラリー：20世紀の「大量虐殺」　写真19点 オスマン帝国がアルメニア人に行った破壊的虐殺行為から、ナチス・ドイツのホロコースト、初のジェノサイドであるルワンダ虐殺まで、20世紀に行われた大量虐殺の記録です。

W***y Ronis (Français, 1910-2009), Rue Mouffetard, soirée chez Raymond, Paris, 1955

Le premier pain blanc après la libération de Paris, aout 1944

Photo © Agence presse libération / Roger Viollet – Musée Carnavalet

Aujourd’hui, il aurait eu 110 ans…

Robert Doisneau est né le 14 avril 1912 à Gentilly.

Morris Engel (Américain, 1918 - 2005), New York, East Side, années 1940

Robert Doisneau (Français, 1912-1994), Jardin des Tuileries, Paris 1er arr, 1944

Restaurant, rue de l'Abreuvoir, Montmartre

JANINE NIÉPCE, Paris, 1950
https://www.primevideo.com/storefront/channels?tag=balade-21

Au-delà des mots, la musique a l’avantage d’être beaucoup plus directe émotionnellement.
Martin Valente - (Evene.fr)

Photo : 10 expos qui en mettent plein la vue à Paris en février

Sans-emploi

N.B. In response to Facebook's new censorship policies and the potential threat of deletion of our account six (6) photographs which originally were included in this gallery have been removed. They do not consider photography an art.

"To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which gave that event its proper expression." -- Henri Cartier-Bresson in "The Decisive Moment " (1952)

Henri Cartier-Bresson (1908-2004) became known for “the decisive moment,” an instantaneous composition of a scene, for which the photographer must act quickly and intuitively. As a photojournalist for Magnum Photos, the agency he founded with his colleagues Robert Capa and David “Chim” Seymour, he traveled across the world, photographing some of the most important events of the 20th century. Early in his career, he developed a distinct style that made him the undisputed master of candid photography.

His earliest photographs were made in Paris and Eastern Europe and reveal the influence of both Cubism and Surrealism -- bold, flat planes, collagelike compositions, and spatial ambiguity -- as well as an affinity for society's outcasts and the back alleys where they lived and worked. First with an unwieldy box camera, then in 1932 with a small 35mm Leica, Cartier-Bresson traveled to Italy, Spain, Morocco, and Mexico, developing what would become the hallmark of twentieth-century photographic style. In his 1952 monograph "The Decisive Moment," he defined his philosophy: "To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which gave that event its proper expression."

Cartier-Bresson spent more than three decades on assignment for Life and other journals. He traveled widely, documenting some of the great upheavals of the 20th century —- the Spanish Civil War, the Liberation of Paris in 1944, the 1968 student rebellion in Paris, the fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the Berlin Wall, and the deserts of Egypt. And along the way he paused to document portraits of Camus, Picasso, Colette, Matisse, Sartre, Giacometti and other cultural figures. Yet his most renowned photographs are those of ordinary daily life, seemingly unimportant moments captured and then gone.

"Photography is not like painting," Cartier-Bresson told the Washington Post in 1957. "There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative," he said. "Oop! The Moment! Once you miss it, it is gone forever."

Cartier-Bresson retired from photography in the early 1970s and by 1975 no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out. He returned to drawing and painting. After a lifetime of developing his artistic vision through photography, he said, "All I care about these days is painting—photography has never been more than a way into painting, a sort of instant drawing." He died in Montjustin (Alpes-de-Haute-Provence, France) on August 3, 2004, at 95.

This MWW gallery has 279 photos of his -- arranged chronologically and many with accompanying comments -- including over a hundred from his visits to India, China, and the Soviet Union. You'll find here a representative sample of the entire body of his work, ranging from fine art photography to photojournalism, street scenes to portraits, and even a few landscapes.

Other entries in the "MWW Great Photographers" series include:
* #1 - Alfred Stieglitz
* #2 - Edward Steichen
* #3 - Dorothea Lange
* #4 - Brassai
* #5 - Paul Strand
* #6 - Ansel Adams
* #7 - Imogen Cunningham
* #8 - Man Ray
* #9 - Edward Weston & Tina Modotti
* #11- Yousuf Karsh
* #12- Robert Capa
* #13- Walker Evans & the FSA Photographers
* #14 - Richard Avedon

Une courette de la rue des Amandiers, en 1981, par Henri Guérard. Paris 20e

Robert Doisneau (Français, 1912-1994), Démolition des Halles, Paris, 1971

Sabine Weiss (Suisse / Française, 1924 - 2021), Petit matin brumeux, Lyon, France, 1950