Sabine Weiss - Photographe a Londres
Sabine Weiss
Photographe a Londres
Silver Gelatin Photograph
1954, printed 2015
image: 16 1/2 x 12 5/8 inches, paper: 20 x 16 inches

Signed, titled and dated on verso.

Sabine Weiss - Sortir de Métro, Paris
Sabine Weiss
Sortir de Métro, Paris
Silver Gelatin Photograph
1955, Printed Later
image: 17 1/2 x 12 3/8 inches, paper: 20 x 16 inches

Signed, titled and dated on verso.

Sabine Weiss - Courses à Auteuil, Paris
Sabine Weiss
Courses à Auteuil, Paris
Silver Gelatin Photograph
1952, Printed Later
image: 11 1/2 x 17 1/4 inches, paper: 15 1/2 x 19 1/2 inches

Signed on recto. Signed, titled and dated on verso.

Sabine Weiss - Place Blanche, Paris (Le Restaurant Coquet)
Sabine Weiss
Place Blanche, Paris (Le Restaurant Coquet)
Silver Gelatin Photograph
1953, printed later
image: 9 3/8 x 11 3/4 inches, paper: 12 x 15 7/8 inches

Signed on recto. Signed, titled and dated on verso.

Sabine Weiss - Velo Nuit Naples (Bicycle at Night in Naples)
Sabine Weiss
Velo Nuit Naples (Bicycle at Night in Naples)
Silver Gelatin Photograph
1955
16 x 20 inches

Signed in pencil on verso.

Sabine Weiss - Bois de Boulogne, Paris
Sabine Weiss
Bois de Boulogne, Paris
Silver Gelatin Photograph
1952, printed later
image: 10 1/2 x 13 1/2 inches, paper: 12 x 16 inches

Signed, titled and dated on verso.

Sabine Weiss - Amoureux et Femme Lisant (Lovers and woman reading)
Sabine Weiss
Amoureux et Femme Lisant (Lovers and woman reading)
Silver Gelatin Photograph
1985, printed later
16 x 20 inches

Signed on verso.

Sabine Weiss - Pont Neuf, Paris
Sabine Weiss
Pont Neuf, Paris
Silver Gelatin Photograph
1952, Printed Later
image: 11 7/8 x 18 1/8 inches, paper: 19 7/8 x 24 inches

Signed on recto. Signed, titled and dated on verso.

Sabine Weiss - Vers la Lumière, Paris
Sabine Weiss
Vers la Lumière, Paris
Silver Gelatin Photograph
1953, Printed later
image: 17 1/4 x 11 5/8 inches, paper: 20 x 16 inches

Signed on recto. Signed, titled and dated on verso.

Sabine Weiss - Gare St. Lazare, Paris
Sabine Weiss
Gare St. Lazare, Paris
Silver Gelatin Photograph
1954, Printed Later
image: 9 3/4 x 14 3/4 inches, paper: 12 x 16 inches

Signed on recto. Signed, titled and dated on verso.

Henri Cartier-Bresson, Seville
Henri Cartier-Bresson
Seville (boy, shadows)
Silver Gelatin Photograph
1933, Printed circa 1980
9 1/2 x 14 1/4 inches

Cartier-Bresson's signature, in ink, on recto.

Henri Cartier-Bresson - Italy, Abruzze, Village of Aquila
Henri Cartier-Bresson
Italy, Abruzze, Village of Aquila
Silver Gelatin Photograph
1951, Printed 1980s
9 1/2 x 6 3/8 inches

Titled and artist's copyright stamp on verso.

Henri Cartier-Bresson - Seville
Henri Cartier-Bresson
Seville
Silver Gelatin Photograph
1933
11 x 14 inches

Signed in pen on print lower right.

Henri Cartier-Bresson - Picnic on the Banks of the Marne
Henri Cartier-Bresson
Picnic on the Banks of the Marne
Silver Gelatin Photograph
1938, Printed Later
Image Size: 11 3/4 x 17 1/2, Paper Size: 15 5/8 x 19 1/2 inches

Signed in margin on lower right recto.

Henri Cartier-Bresson - Naples, Italy
Henri Cartier-Bresson
Naples, Italy
Silver Gelatin Photograph
1960, Printed 1980s
11 3/4 x 15 3/4 inches, Image size 9 1/2 x 14 1/4 inches

Cartier-Bresson's signature, in ink, and his embossed copyright stamp on recto.

Henri Cartier-Bresson| Three Juveniles, Montreal, Canada
Henri Cartier-Bresson
Three Juveniles, Montreal, Canada
Silver Gelatin Photograph
1964
9 1/2 x 14 1/4 Inches

Signed in ink lower right margin recto.

Henri Cartier-Bresson - New Orleans
Henri Cartier-Bresson
New Orleans
Silver Gelatin Photograph
1947
11 x 14 inches
Signed lower right on recto
Brassai - Deux Filles De Montmartre
Brassaï
Deux Filles De Montmartre
Silver Gelatin Photograph
1932
16 x 12 inches

Signed, titled, dated and numbered 11/30 on verso. Photographer's credit stamp on verso.

Brassai - Fille De Joie Du Quartier Italien Dans Une Robe Printanière
Brassaï
Fille De Joie Du Quartier Italien Dans Une Robe Printanière
Silver Gelatin Photograph
1931, Printed late 1950s or early 1960s
11 x 8 1/4 inches

Ferrotyped, the photographer's studio, copyright, and 'Tirage de l'Auteur' stamps and with title, date, and numerical notations in pencil and ink on the reverse.

Brassai - Paris vu de Notre-Dame
Brassaï
Paris vu de Notre-Dame
Silver Gelatin Photograph
1934, printed c. 1980s
Image: 8 1/4 x 13 3/8 inches, Paper: 12 x 16 inches

Signed and numbered 6/40 on recto. Signed, titled and editioned, with both the "Tirage de l'Auteur" and Brassai's 81, Faubourg St-Jacques stamps on verso.

Un Bar Rue de Lappe (La Bastoche)
Brassaï
Un Bar Rue de Lappe (La Bastoche)
Early Silver Gelatin Photograph
c. 1932, Printed c. 1950s
11 7/8 x 8 1/2 inches

Signed in pencil and copyright credit stamp on verso.

Brassaï (Gyula Halasz) - Untitled (Woman with Cat Mask)
Brassaï
Untitled (Woman with Cat Mask)
Early Silver Gelatin Photograph
1930s
11 1/2 x 8 Inches

Brassai's Rue du Faubrg hand stamp, a "Made in France" hand stamp and various notations in pencil (in an unknown hand) on verso.

Brassai (Gyula Halasz) - Chez Suzy, En Attendant Le Client
Brassaï
Chez Suzy, En Attendant Le Client
Silver Gelatin Photograph
1932, Printed Later
11 5/8 x 9 inches
Signed, titled, dated and numbered 10/30 on the verso.
Brassai - Groupe d'Hommes, autour du "Zinc" dans un bistrot, Rue de Lappe
Brassaï
Groupe d'Hommes, autour du "Zinc" dans un bistrot, Rue de Lappe
Silver Gelatin Photograph
1932, Printed Later
8 1/4 x 11 inches
Signed lower right, titled and dated on verso
Brassai - Couple faché au bal des Quatre-Saisons
Brassaï
Couple faché au bal des Quatre-Saisons
Silver Gelatin Photograph
Circa 1932; printed circa 1980
10 1/2 x 8 1/4 inches

Brassaï's signature and edition notation 23/30, in ink, on recto, and with his numeric notations, the partial title, and other notations, in ink or in pencil, in an unknown hand, the 81, Faubourg St-Jacques copyright hand stamp, and 2 other copyright hand stamps, on verso.

Brassai (Gyula Halasz) - Parade D’Un Spectacle De Fete Foraine, Paris
Brassaï
Parade D’Un Spectacle De Fete Foraine, Boulevard Saint- Jacques, Paris
Silver Gelatin Photograph
1931, Printed c.1970's
9 3/8 X 11 3/4 inches
Signed lower right. Titled, dated and # 15/30 on the verso.
Robert Doisneau - La Dame Indignée
La Dame Indignée (The Lady is Shocked)
Silver Gelatin Photograph
1948, Printed Later
13 x 15 inches

Signed in margin on lower right recto. Signed, titled and dated on verso.

Edouard Boubat - Petite Fille aux Feuilles Mortes, Paris
Edouard Boubat
Petite Fille aux Feuilles Mortes, Paris
Silver Gelatin Photograph
1947, Printed in 1981
10 x 7 3/8 inches image, 16 x 12 inches paper

Signed by the artist in pencil on verso

Edouard Boubat - Bernard, Paris
Edouard Boubat
Bernard, Paris
Silver Gelatin Photograph
1965
12 x 15 1/2 inches

Signed, titled and dated in pencil on verso. Signed in ink in the margin on recto.

Edouard Boubat - L'arbre et la Poule
Edouard Boubat
L'arbre et la Poule
Silver Gelatin Photograph
1950
11 X 14 7/8 inches
Signed, titled and dated in pencil on verso. Signed in ink on recto.
Edouard Boubat - Lella, Bretagne
Edouard Boubat
Lella, Bretagne
Silver Gelatin Photograph
1947, printed in 1994
18 1/4 x 13 3/4 Inches

Signed with ink in recto. Signed, dated, and titled with Pencil on verso.

Edouard Boubat - Jardin du Luxembourg, Paris
Edouard Boubat
Jardin du Luxembourg, Paris
Silver Gelatin Photograph
1955, Printed 1970s
9 1/4 x 14 1/4 inches
Boubat's signature, title and date, in ink, on verso.
Elliott Erwitt - New York City, 1974 (Dog Legs)
Elliott Erwitt
New York City, 1974 (Dog Legs)
Silver Gelatin Photograph
1974, Printed 2014
30 x 40 inches

Signed in ink on recto. Signed, titled and dated in pencil on verso.

Elliott Erwitt - Paris, France 1989 (Umbrella Jump)
Elliott Erwitt
Paris, France 1989 (Umbrella Jump)
Archival Pigment Photograph
1989, printed Later
20 x 24 inches
Signed on recto. Signed, titled and dated on verso.
Elliott Erwitt - Provence, France 1955 (Boy, Bicycle & Baguette)
Elliott Erwitt
Provence, France 1955 (Boy, Bicycle & Baguette)
Silver Gelatin Photograph
1955, Printed 2011
40 x 30 inches
Signed in ink on recto. Signed, titled and dated in pencil on verso.

The Humanist Vision

03/05/2016 - 04/09/2016

INSTALLATION IMAGES

Occupying a highly influential position within the development of photography, humanist imagery emerged in 1930s Europe to create a universal and poetic vision of mankind through its lyrical, realist portraits of common people. The goals of these photographers were to create photographic metaphors in which small activities pointed to larger human pleasures and sentiments. With expertly trained eyes, humanist photographers deftly captured activities such as lovers in the street or dark alleyways, children playing with abandonment, and people simply taking the time to reflect on life.

In particular, photographers shooting in France played a central and pivotal role in humanist photography, focusing on the subject’s environment as much as on the subject itself. Using small handheld cameras, such as the new Leica and Rolleiflex, freed photographers from remaining in studios and allowed them to confront their subjects up close and in any location. The streets of Paris, factories and workshops, and bars and restaurants were favorite locales for these intimate visions that celebrate activities that seem ordinary and unremarkable. While stressing the importance of simple representations, the style also placed particular value on their pictorial construction, creating a type of “poetic realism.” Humanist photographers often composed their pictures through intentional juxtapositions, a combination of selective framing, and exact timing. Their most enduring photographs achieved a seemingly artless lyricism, suggesting spontaneity and un-choreographed “slices of life.” The photographers Henri Cartier-Bresson, Brassaï, Robert Doisneau, and Sabine Weiss exemplify the humanist style and are now considered legends of the era; their work revealed a new vision with profound and lasting significance.

Although humanist photography was more of a loose grouping of like-minded individuals than a true movement with an ideology, one individual helped to found the vision: Henri Cartier-Bresson. In 1951 he told a journalist that the most important subject for him and his colleagues was “mankind and his life, so brief, so frail, so threatened.” Like many of his contemporaries, the “Eye of the Century” provided popular magazines of the day with images that spoke of a universal human condition and captured something remarkable, emotionally engaging, or surreal in scenes taken from daily life. He instinctively understood how a simple observed action could connect with the viewer and how a small moment could be a metaphor suggesting universal shared experiences. He and his Leica camera would obtain legendary status pioneering photojournalism as he traveled throughout the world documenting mankind and capturing “the decisive moment.”

Brassaï’s portrayals of 1930’s Parisian nightlife are an early and famous study of a world that every Parisian knew existed – but no one recorded. His world is a social one in which he gained access and allowed viewers to enter the underworld of the brothels, nightclubs, cafes, and streets of nocturnal Paris shedding light on a common, but secretive world. The pictures were made in the 1930’s and 1940’s and were contemporary for their time, but are now a fascinating record of the legendary “Paris at Night.” The images are still enthralling and engaging and they have not lost their voyeuristic fascination capturing some many common, yet unique personalities that wandered the capital after dark.

Robert Doisneau would come to best exemplify French humanism with his images of the citizens of the nation that were subject to a range of emotions from sensitivity to the simple pleasures of life to their anguish. He gave up a career in commercial and fashion photography late in 1940 to devote himself to depicting life in the street and brought a delightful and humane sensibility to his goal of celebrating individuality. He famously roamed the streets of Paris, camera in hand, waiting to witness and artfully reveal life’s special moments. “Frenchness” and a sense of joie de vivre in midcentury France pervade his images in which he demonstrates a unique ability to find and perfectly frame charismatic characters, entertaining episodes, and fleeting moments of humor and affection.

Doisneau’s work would influence many photographers such as Sabine Weiss who he met in Paris in 1952 and persuaded to join the Rapho photo agency developing her permanent focus on humanity. She was a reportage photographer whose work combined everyday poetry with sharp social observation as she photographed individuals going about their daily lives. She captured their emotions and expanded a style that combined spontaneity and informality. In particular throughout Weiss’s career, she was concerned with natural backlighting and the atmospheric effects it can create on her subjects within her images. A gentle and warm acceptance underscores her pictures. For Weiss, it is the light itself that explains her subject. Today she is a living legend at the age of 91 and she continues to exhibit her early images in museum exhibitions worldwide.

Although the humanist movement gradually lost momentum from the late 1960s, many of the photographers continued working. Their work remains popular, and though sometimes mistakenly criticized as sentimental or nostalgic, it remains of great historical importance particularly to photojournalism. These photographers pictured a world in which values such as the primacy of human feelings and a sense of community still commanded widespread respect. Lives were being shaped by the rise of the middle class along with the shared and hopeful belief that the future would be better.