Madeleine de Sinéty. A village.
| N° d'inventaire | 23350 |
| Format | 23 x 21 |
| Détails | 188 p., publisher's canvas binding. |
| Publication | Guingamp, 2020 |
| Etat | Nine |
| ISBN | 9791094060285 |
33,280 color slides, 23,076 black and white negatives: this is the concise list with which one of the hundreds of pages of Madeleine de Sinéty's diary could have begun. The quality of her relationship with the people photographed, the drama of their gestures, the intimacy, richness, and diversity of the encounters she had in Poilley, a small village 60 kilometers north of Rennes, overflow from all sides of the enormous accumulation of images. Born in 1934, the photographer lived in Poilley from 1972 to 1982. She subsequently made numerous trips there from the United States, where she had established her residence. Having died in 2011, she did not have time to organize this archive herself. Only the black and white had been partially unveiled during an exhibition at the BNF and another at the Portland Museum of Art. So it is without her, with Peter, her son, that we took hold of the collection of color images and that we tried, as humbly and faithfully as possible, to highlight her enterprise, which is neither that of a photographer responding to a commission, nor that of an anthropologist? but the enterprise of living of an artist sharing the life of a close-knit community, of a rural microcosm in full mutation at the dawn of modernity; photos in black and white and in color.
33,280 color slides, 23,076 black and white negatives: this is the concise list with which one of the hundreds of pages of Madeleine de Sinéty's diary could have begun. The quality of her relationship with the people photographed, the drama of their gestures, the intimacy, richness, and diversity of the encounters she had in Poilley, a small village 60 kilometers north of Rennes, overflow from all sides of the enormous accumulation of images. Born in 1934, the photographer lived in Poilley from 1972 to 1982. She subsequently made numerous trips there from the United States, where she had established her residence. Having died in 2011, she did not have time to organize this archive herself. Only the black and white had been partially unveiled during an exhibition at the BNF and another at the Portland Museum of Art. So it is without her, with Peter, her son, that we took hold of the collection of color images and that we tried, as humbly and faithfully as possible, to highlight her enterprise, which is neither that of a photographer responding to a commission, nor that of an anthropologist? but the enterprise of living of an artist sharing the life of a close-knit community, of a rural microcosm in full mutation at the dawn of modernity; photos in black and white and in color.