Estate Brassaï Succession, Paris Brassaï: Kiki de Montparnasse and Her Friends, Thérèse Treize and Lily, circa 1932 In Paris, in the late 1970s, the Hungarian émigré photographer André Kertész told me that he was the one who taught night photography to Brassaï himself Hungarian-born , and it is true that Kertész had made such pictures in Budapest as early as 1914. He found the city intoxicating, with people relieved to resume their lives after years of destruction and chaos. Jean Genêt in shirtsleeves looks up with a mixture of shyness and defiance. Art amateurs, buy paintings, art photography and even contemporary sculpture from a choice of thousands of artworks online, all carefully selected from the best artists of today! His work is of a natural quality impressive, as if he was trying to capture the ordinary, the life of all the days of his subjects. Does Bronze sculptures Periodic visits to photograph New York. His friends encouraged him to make his work for idealistic, rather than commercial reasons, and his time in Paris energized his creativity.
Stettner wrote of his New York work. He found a night job at a security company, prowling the streets during the day with his camera. In another image, the spotted bark of a lone plane tree looks like an exotic snake. He felt and still believes that the cities belong to the people who live there, not the tourists and visitors. He also did not hesitate to manipulate them if he thought it would make them stronger: for example, in a photo of two standing gang members, the face of the one on the right is cut in half by what seems like a section of wall but is, in fact, an opaque block Brassaï created in the darkroom. Early on, Stettner also befriended American street photographer Weegee.
With an unerring eye for the poetry of the everyday, he trained his camera on subway riders and pedestrians in New York — the unceasing human ebb and flow in the old — and ordinary Parisians going about their daily rounds, like the woman walking her dog on a deserted and misty Avenue de Chatillon in 1949. Louis Stettner had an over seven decade career. Now 93 and residing in Paris, he has lived long enough to see the recent terrorist attacks unfold in real time through countless photographs disseminated every second via Twitter and Instagram. People bump into each other. In addition, his paintings and sculptures tend to be abstract and in striking contrast with its clear, vivid photographic images. Born in 1899 in Brassó then part of Hungary, now part of modern-day Romania , Brassaï—who fashioned his name after his birthplace—had studied art in Budapest and Berlin, and had planned to be a painter or sculptor. Foundation, and the Accessions Committee Fund; © Estate of Louis Stettner, all rights reserved.
Photographs Paris continually during this period. He was embraced by the local photography scene, still small, and made friends with such luminaries as Brassai, Henri Cartier-Bresson, and Robert Doisneau, as well as the Americans Man Ray and Paul Strand. Yet by 1963, the landmark, famed for its glorious architecture, had been demolished to make room for the less-than-grand Madison Square Garden. After moving to Saint-Ouen, a suburb of Paris, in 1990, Mr. In the 1970s Stettner spent more time in New York City, where he taught at Brooklyn College, Queens College, and Cooper Union. They act as frames within the frame as we peer into the train compartments where men and women sleep, play cards, chat, or read the papers in what feels like a secluded underwater world.
In 1935, Brassaï bought a Rolleiflex, a more portable, twin-lens reflex camera that enabled him to produce twelve negatives on each roll of film. Generous support is provided by Sarah Wigglesworth and Asiff Hirji. For the past three years, he has been photographing in forests in the south of France, near Aix-en-Provence, using an 8×10 camera on a tripod. Sent to study engineering at Princeton University. Taking advantage of the G. Over the course of his eight-decade career, Louis Stettner created a singular approach to photographing everyday life.
With the bibliography are essays and reviews covering 25 years by noted photography critics that clarifies and enriches our appreciation and enjoyment of his photographs. Back from the war he joined the in New York. The image looks nocturnal but was in fact taken during the day. There, he studied at the Institut des Hautes Études Cinématographiques and became friends with Brassaï, an iconic representative of French humanist photography. After serving in the U. He went back and forth between New York and Paris for almost two decades and finally settled permanently in , near Paris, in 1990.
When, later in life, he turned to color photography, much of his format and mission remained. Now 80 years of age, he continues to photograph with great energy. When he moved to Paris from Hungary in 1924, he became a reporter to make ends meet, covering sports for a Hungarian newspaper and writing features for German magazines. He was particularly interested in the life of the working class in each city and it shows a great sensitivity in the photographing with great dignity. The book Early Joys should become a classic reference to the photographs of this great American photographer. His father, Morris, gave him a box camera when he was a boy, and after reading an article by photographer Jr.
Continues to photograph New York. It is curated by Mr. He is grateful to know the images resonate with audiences all these years later, as he has devoted his entire life to his pursuit of art. Stettner came of age in a world that moved more slowly and gracefully: Witness his classic 1958 photographs of the original Pennsylvania Station in New York. There, he studied at the Institut des Hautes Études Cinématographiques, became friends with the influential photographer Brassaï whose work will be on view on Floor 3 from November 17, 2018—February 18, 2019 , and developed a unique point of view that melded the boldness of American street photography with the softer humanism more characteristic of his Paris contemporaries. In 2016 Stettner was treated to a retrospective at the Centre Pompidou, Paris; the exhibition Ici et Ailleurs was co-curated by Clément Chéroux and Julie Jones.
In many of his more atmospheric photographs, there is the sense of the graduated blending of a charcoal drawing, the erasure of limits. He did this as a point of view and as a political act. On going friendship with Brassai, who is his maitre. When in New York, Stettner began each day walking the streets. Born in Brooklyn in 1922, Stettner began working as a photographer in the 1930s and served in the U. Slowly a legend has blossomed about his early photographs 1947 - 1972 that has strongly influenced young photographers.