Under the direction of FRIZOT Michel, EBNER Florian
Gaston Paris, Photography on show.
Pompidou Center
Regular price
€45,00
| N° d'inventaire | 25312 |
| Format | 19.5 x 27.5 |
| Détails | 250 p., numerous plates, paperback. |
| Publication | Paris, 2022 |
| Etat | Nine |
| ISBN | 9782365112888 |
A talented photographer, a diligent reporter, and the most widely published in Vu magazine, famous for its avant-garde layouts and images, Gaston Paris (1905-1964) remains surprisingly one of the forgotten figures in the history of photography. His images appear throughout the press of the time, alongside those of Laure Albin-Guillot, Germaine Krull, and André Kertész. Equipped with his Rolleiflex and politically engaged, he captured, from the 1930s onward, the Parisian nightlife scene, the world of the circus and cabarets, and social struggles: his bold framing, his low-angle views, and his contrasting black and whites demonstrate a sharp, modernist eye.
Alongside this production dedicated to major subjects praising modernity, Gaston Paris delivered numerous strange and personal reports, with surrealist inspirations. He excelled in astonishing staging and became one of the regular contributors to the magazine Détective from the late 1930s to the 1950s; between horror and Grand Guignol, he recreated dramas populated by gangsters and mysterious characters.
This work also sheds light on the emerging practice of photojournalism, in particular on some of the major subjects favored at the time (the world of the night, poverty, stars including Piaf and Cocteau, the idea of progress, etc.) and provides an exceptional testimony to the evolution of society between the two wars.
Conducted under the scientific direction of photography historian Michel Frizot, this monograph presents the multiple aspects of a previously unknown body of work rediscovered by the Cabinet de la photographie at the Centre Pompidou. Photographs, thematic contact sheets conscientiously produced by Gaston Paris, as well as excerpts from pages of magazines with which he regularly collaborated, provide a glimpse of the breadth of his aesthetic and photographic vocabulary. This visual exploration will be enriched by an introduction to the work by Michel Frizot, an essay by Julie Jones on the representation of women in 1930s Paris, and a text by Delphine Desvaux, head of the Gaston Paris collection.
Alongside this production dedicated to major subjects praising modernity, Gaston Paris delivered numerous strange and personal reports, with surrealist inspirations. He excelled in astonishing staging and became one of the regular contributors to the magazine Détective from the late 1930s to the 1950s; between horror and Grand Guignol, he recreated dramas populated by gangsters and mysterious characters.
This work also sheds light on the emerging practice of photojournalism, in particular on some of the major subjects favored at the time (the world of the night, poverty, stars including Piaf and Cocteau, the idea of progress, etc.) and provides an exceptional testimony to the evolution of society between the two wars.
Conducted under the scientific direction of photography historian Michel Frizot, this monograph presents the multiple aspects of a previously unknown body of work rediscovered by the Cabinet de la photographie at the Centre Pompidou. Photographs, thematic contact sheets conscientiously produced by Gaston Paris, as well as excerpts from pages of magazines with which he regularly collaborated, provide a glimpse of the breadth of his aesthetic and photographic vocabulary. This visual exploration will be enriched by an introduction to the work by Michel Frizot, an essay by Julie Jones on the representation of women in 1930s Paris, and a text by Delphine Desvaux, head of the Gaston Paris collection.
Alongside this production dedicated to major subjects praising modernity, Gaston Paris delivered numerous strange and personal reports, with surrealist inspirations. He excelled in astonishing staging and became one of the regular contributors to the magazine Détective from the late 1930s to the 1950s; between horror and Grand Guignol, he recreated dramas populated by gangsters and mysterious characters.
This work also sheds light on the emerging practice of photojournalism, in particular on some of the major subjects favored at the time (the world of the night, poverty, stars including Piaf and Cocteau, the idea of progress, etc.) and provides an exceptional testimony to the evolution of society between the two wars.
Conducted under the scientific direction of photography historian Michel Frizot, this monograph presents the multiple aspects of a previously unknown body of work rediscovered by the Cabinet de la photographie at the Centre Pompidou. Photographs, thematic contact sheets conscientiously produced by Gaston Paris, as well as excerpts from pages of magazines with which he regularly collaborated, provide a glimpse of the breadth of his aesthetic and photographic vocabulary. This visual exploration will be enriched by an introduction to the work by Michel Frizot, an essay by Julie Jones on the representation of women in 1930s Paris, and a text by Delphine Desvaux, head of the Gaston Paris collection.