Перша книга про творчість майстра-фотографа Ернста Хааса, присвячена як його класичним, так і нещодавно відкритим кольоровим фотографіям Нью-Йорка 1950-х і 60-х років.

Кольорові роботи Ернста Хааса розкривають видатний геній фотографа та на кожній сторінці нагадують нам, чому ми любимо Нью-Йорк. Коли Ернст Хаас переїхав з Відня до Нью-Йорка в 1951 році, він залишив позаду розірваний війною континент і кар'єру, пов'язану зі створенням чорно-білих знімків. Для Хааса новий засіб кольорової фотографії був єдиним способом зафіксувати місто, що пульсує енергією та людяністю. Ці зображення демонструють неймовірну віртуозність і впевненість Хааса у роботі з плівкою Kodachrome та технічними викликами кольорового друку. Неперевершені за глибиною та насиченістю кольору, сповнені ліризму та драматичної напруги, ці зображення розкривають фотографа на піку його кар'єри.

Про автора:

Філіп Проджер — куратор, автор та історик мистецтва. Раніше він був керівником відділу фотографії в Національній портретній галереї в Лондоні та куратором-засновником фотографії в Музеї Пібоді Ессекс у Салемі, штат Массачусетс, а зараз є виконавчим директором кураторських виставок у Лос-Анджелесі. Серед його попередніх книг — William Eggleston Portraits та Only Human: Photographs by Martin Parr.

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Погортати книгу Ernst Haas: New York in Colour, 1952-1962: New York in Color, 1952-1962

An accessible introduction to the history and themes of photographic portraiture

From the daguerreotype to the digital age, Face Time is an accessible introduction to one of photography’s most popular subjects: ourselves. With over 250 illustrations, it presents rarely seen treasures alongside works by the greatest names in photography, including nineteenth-century pioneers Hippolyte Bayard and Julia Margaret Cameron, twentieth-century masters Edward Weston, Lee Miller and Richard Avedon, and contemporary groundbreakers Newsha Tavakolian, Rineke Dijkstra and Zanele Muholi.

It also immortalizes some of photography’s most iconic subjects, such as Queen Elizabeth II, Barack Obama, Marilyn Monroe, Frida Kahlo, Truman Capote and many others. Transcending time and space, the book adopts a fresh, thematic approach to the history of photographic portraiture in eight chapters, tracing a wide range of applications and influences across the spheres of art, advertising, anthropology, fashion, narrative, documentary and vernacular photography. Informative and insightful introductions to each theme are followed by unexpected and thought-provoking curations of photographs, as well as detailed commentaries on key images.

The result is an ambitiously curated and visually entertaining introduction to the history and themes of photographic portraiture, and an inspiring journey through the ever-elusive question of human identity.

About the Author:

Phillip Prodger is a curator, author and art historian. Previously Head of Photographs at the National Portrait Gallery in London, and the founding Curator of Photography at the Peabody Essex Museum in Salem, Massachusetts, he is currently Executive Director of Curatorial Exhibitions in Los Angeles. His previous books include William Eggleston Portraits, Darwin’s Camera: Art and Photography in the Theory of Evolution and Man Ray | Lee Miller: Partners in Surrealism.

Bringing together unique and rarely seen photographs, paintings, sculpture and drawings, this exquisite book tells the story of the tumultuous relationship between the artists Man Ray (1890–1976) and Lee Miller (1907–1977). From 1929 to 1932, the two lived together in Paris, first as teacher and student, and later as lovers. Historically, Miller has been described as Man Ray’s muse, but Partners in Surrealism reveals how their brief, mercurial love affair was a key source of mutual and sustained inspiration, resulting in some of the most powerful work of each artist’s career. Featuring a candid and poignant contribution from Antony Penrose, the son of Miller and the English painter Roland Penrose, on the relationship between Man Ray and his parents in later years, this is an extraordinary exploration of the love, lust and desire that drove the art of the Surrealists.

From its earliest days, photography could not escape the pictorial traditions that had gone before it. This book, the first comprehensive study of Pictorialism in Europe, analyses the remarkable diversity of approaches taken by photographers across the Continent whose practice was infused with contemporary debate about photography’s relationship to art. Written by an international team of art and photography historians, Impressionist Camera examines the ways in which practitioners realized their pictorial vision, from the re-creation of Academic painting in photography to the use of soft focus to lend images an impressionistic quality. Also explored are the cross-currents with photography in America – where Pictorialism went on to flourish – including the seminal work of Alfred Stieglitz.

The first book to deal comprehensively with European Pictorialism, one of the major movements in the history of photography
Stunningly illustrated throughout with photographs from some of the most important collections worldwide
An essential reference for anyone interested in the development of photography and photographic techniques