Saul Leiter
| Author | : | |
| Rating | : | 4.65 (711 Votes) |
| Asin | : | 3868282580 |
| Format Type | : | paperback |
| Number of Pages | : | 296 Pages |
| Publish Date | : | 2017-11-22 |
| Language | : | German |
DESCRIPTION:
He teaches at the School of Visual Arts in New York.. For the past 15 years, he has worked on a wide range of historical and arts films, primarily for the BBC. He was the art editor of the Village Voice from 1994 to 2005 and the paper’s photo critic for twenty years. She has co-curated important photo exhibitions like "Lillian Bassman and Paul Himmel" for the Museum Deichtorhallen Hamburg, Germany.Ingo Taubhorn is photographer and since 2006 curator at the House of Photography at Museum Deichtorhallen Hamburg, Germany.Saul Leiter (born 1923 in Pittsburg, PA) is an American photographer and painter whose early work in the 1940s and 1950s was an important contribution to what came to be recognized as The New York School of photographers.Vince Aletti (born 1945) is an American music journalist and photography critic. Today he reviews photography exhibitions for The New Yor
Nearly forty years would go by before his extraordinary artistic color photography was rediscovered.This book, published to mark the first major retrospective of Leiter's work anywhere in the world, features for the first time, in addition to his early black and white and color images, his fashion photography, the overpainted nudes, as well as his paintings and sketchbooks.. Saul Leiter (b. Back then color photography was regarded as "low art," fit only for advertising. This can perhaps be attributed to the fact that Leiter saw himself for a long time mainly as a painter.After coming to New York in 1946, he exhibited alongside abstract expressionists like Willem de Kooning before beginning in the late 1940s to take photographs. Leiter accordingly worked primarily as a fashion photographer, for magazines such as Esquire and Harper's Bazaar
For the past 15 years, he has worked on a wide range of historical and arts films, primarily for the BBC. He teaches at the School of Visual Arts in New York.. Brigitte Woischnik is owner of the agency Foto Factory in Munich, Germany. He was the art editor of the Village Voice from 1994 to 2005 and the paper’s photo critic for twenty years. She has co-curated important photo exhibitions like "Lillian Bassman and Paul Himmel" for the Museum Deichtorh
T. Campbell said A Beautiful, Lovely Book!. Why, oh why did it have to take so long? Had the Post-War Baby Boomer Generation been aware of Leiter in the sixties and seventies, when so many of us caught the fire, selected and clung to our photo-heros for decades, and started shooting, the history of photography would likely have looked rather different.The Steidl-published "Early Color" is a teaser compared to this, but a necessary volume, nonetheless. This magnificent volume, beautifully done, is comprehensive, covering Leiter's color and B&W photography and his painting art. Often the manner of Leiter's seeing in B&W and color and his use of color rem. "Great addition for fans of Saul's work" according to Mark B. Kinsman. My initial impression of the book was mixed. The images of his photos and his paintings are well done and offer a further glimpse into the artist's work. Much of the accompanying articles are in German - which was a bit disappointing, only because it was not mentioned in the book description on Amazon and I don't speak the language. However, delving just a bit deeper, reveals that English translations are include in the back of the book and make for a very fascinating read.Saul Leiter is one of my favorite photographers of the modern era and this book offers a great insight into the man as an artist, with his. Quiet Glory Below 14th Street W. White Like most of us, I discovered Saul Leiter very recently, via the documentary "In No Great Hurry" when it was first shown in the UK on BBC4 in April. I was initially wholly charmed by the man, and then I saw his photographs. The first serious use of color in fine art photography is attributed mostly to three other photographers, none of them Saul Leiter; the canon must be rewritten. Like much truly great photography, Leiter's work is both understated and bursting, and looking at it you can't be bothered by captious questions about whether photography is art. These photographs have such a draw, such presence an