I bought amazing book. Genial old photos from Paris. Atget wrote in 1920, „I may say that I have in my possession all of Old Paris”. Indeed, he knew the city like the back of his hand and had the pictures to prove it. He captured the historical, atmospheric Paris: churches, monuments, and buildings, as well as bars, shop windows, street-peddlers, and prostitutes. Traversing all of its layers, he immortalized the true spirit of Old Paris.
The Carnavalet Museum presents the Parisian work of one of the most famous photographers of the 20th century, Eugène Atget (Libourne, 1857 – Paris, 1927).
The exhibition proposes a selection of 230 prints created in Paris between 1898 and 1927.
This retrospective, which brings together some well-known images and others previously unseen, paints an unusual portrait of the capital, far from the clichés of the Belle Époque. Visitors will discover the streets of the Paris of old, the gardens, the quays of the Seine, the former boutiques and the travelling salesmen. Atget’s photographs also reveal the changes in his processes: when he started out, this self-taught photographer tried to bring together landscapes and motifs and then images of Paris streets, in order to sell them to artists as models. It was when he dedicated himself to the streets of Paris that he attracted the attention of prestigious institutions such as the Carnavalet Museum and the National Library, which were to become his main clients until the end of his life.
Misha Gordin was born in 1946, the first year after World War II ended. Having survived the hardships of evacuation, Gordin’s parents returned back home to Riga, Latvia, after the war which was then under Soviet occupation. Growing up among the Russian speaking population of Latvia, Russian became Gordin’s root culture. He graduated from the technical college as an aviation engineer but never worked as such. Instead he joined Riga Motion Studios as a designer of equipment for special effects. At this time social realism was an official culture of the country and having little formal knowledge about art, Gordin did not care about it too much. Information about modern western art was scarcely available.
Independent journalist, painter and aphorist (Grand Prix winner of the seventh edition of Aphoristic Contest in Nowy Targ, 2005).
Photorgaphy for the last 25 years has been an important part of his life, but it’s become his true passion few years ago. The former chairman of FOTOSIS (an association of photographers), Sieradz. Currently, a freelance photographer. Has exhibited his works in cities of Pabianice, Słupsk, Ostrołęka.
Prefers square frames & black and white pictures but doesn’t shun colours. In his photomanipulative works he seeks mood, joke and universal symbols, which can strike, make the viewer contemplate or laugh.
Color + Minimalism is a collection from Cedrik Ferrer where he combines minimalist photography subjects with bright colors to convey the simple things in life. With much elements and colors around us, it’s refreshing to sometimes search for simplicity. These are the images that isolate details to make that strong point in a photograph. Check out these shots by Cedrick Ferrer that bring together color and minimalism.
Béatrice Lechtanski is a self-taught photographer from Reims, France, whose interest in photography began only a few years ago, in her garden. She enjoys playing with light, colors and materials, and so the moods of her pictures vary from cheerful and bright to melancholy and dark.
Richard Avedon (May 15, 1923 – October 1, 2004) was an American photographer. An obituary published in The New York Times said that „his fashion and portrait photographs helped define America’s image of style, beauty and culture for the last half-century.”
In 1944, Avedon began working as an advertising photographer for a department store, but was quickly discovered by Alexey Brodovitch, the art director for the fashion magazine Harper’s Bazaar. Lillian Bassman also promoted Avedon’s career at Harper’s. In 1945 his photographs began appearing in Junior Bazaar and, a year later, in Bazaar itself.
In 1946, Avedon had set up his own studio and began providing images for magazines including Vogue and Life. He soon became the chief photographer for Harper’s Bazaar. From 1950 he also contributed photographs to Life, Look and Graphis and in 1952 became Staff Editor and photographer for Theatre Arts Magazine. Avedon did not conform to the standard technique of taking fashion photographs, where models stood emotionless and seemingly indifferent to the camera. Instead, Avedon showed models full of emotion, smiling, laughing, and, many times, in action. Towards the end of the 1950s he became dissatisfied with daylight photography and open air locations and so turned to studio photography, using strobe lighting.