Picasso et brassai biography
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Brassaï arrived in Paris from Hungary in Little by little, he discovered the dynamic nature and the social idiosyncrasies of the great metropolis. While he initially explored the city’s nightlife, over time he began to create a precise X-ray of its architecture and its people. He joined the fascinating intellectual and artistic avant-garde community of which Picasso was a member, becoming one of its finest eyewitness photographers. But Brassaï was not just a photographer, he was also a versatile artist who drew, made sculptures, decorated, and made films.
As a photographer, Brassaï constructed a visual topography of the city of light (and shadows) in the s and 40s, but this exhibition also aims to show him as a prolific creative artist. Brassaï’s Paris. Photographs of the City Picasso Loved features over works, with photographs, drawings and sculptures that come mainly from the Brassaï family archives (Estate Brassaï Succession). Also on display are photographs and artworks by Pablo Picasso, alongside works by Pierre Bonnard, Georges Braque, Lucien Clergue, Fernand Léger, Dora Maar and Henri Michaux. Films, posters, musical scores, theatre programmes and a large quantity of documentary material from the Paris of that period, make up an exhibition that takes the visitor back t
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Summary of Brassaï
Gyula Halász, or Brassaï - the pseudonym by which he has become much better known - is widely celebrated for his signature photographs of Parisian night life, and especially his book of collected photographs, Paris by Night. His breadth of range is however more expansive than that seminal collection might suggest. As a photographic freelancer and photojournalist, he contributed most to the idea of vernacular photography though, thanks in part to the Surrealists, he is often attributed with blurring any obvious distinction between what might be called street photography and what might qualify as fine art. Ultimately, it was his curiosity for the lived phenomena of twentieth-century urbanization, and of Paris in particular, that determined the subjects onto whom, and on which, he turned his lens.
Accomplishments
- Brassaï wanted to "immobilize movement" (to use his own words) rather than capture the dynamic pulse of the city through movement. Like Eugène Atget, Brassaï encountered Paris at street level and in unfamiliar places; and like Atget, he often saw beauty in the mundane or the overlooked and forgotten.
- Brassaï presented the varied characters he encountered as "types". He used his camera to chronicle the unseen side of human behavior: from illici
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Picasso and Brassaï
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