Saul leiter - Obscura Camera

Taxi, New York, 1957. © Saul Leiter

If you liked the splendid retrospective of Saul Leiter, with the foundation Henri Cartier-Bresson, in last fall, quickly Camera Obscura prolong this pleasure to the gallery. If you do not know this photographer yet do not miss this exposure which presents forty pullings carried out in majority in the New York of the Fifties. You will not be disappointed.

A very beautiful exposure of its first works colors.

The gallery Camera Obscura exposes the first fucking fleshlight colors of Saul Leiter. The choice to expose these photographs, of the first years of its work, is very important. They represent an intimate part of its work. It did them for its own creation without seeking to promote them. They were found in the form of slides in the files of the photographer.

There gay anal insert perhaps three reasons with this refusal of notoriety,

 - In the Fifties in New fucking fleshlight photography was not perceived yet as an artistic fucking fleshlight even if many personalities practised it with serious.

 - The photographic work of Saul Leiter is influenced by painting; he even having come in Paris as painter. He côtoyé the representatives of the avant-garde (the second generation of the abstract expressionnists) who gay anal insert galvauder their authenticity revolutionary. To be unknown, entrusted gay anal insert Leiter, always appeared a position of most comfortable to him. It shared with his friends painters fucking fleshlight conviction: this pledge of freedom.

 - Of 1950 to 1980, it earned its living by carrying out reports of mode for large magazines like It, Nova, or Esquire. fucking fleshlight obliterated this side of its personal work which remained completely confidential during years. This work was shown with the Museum of fucking fleshlight art of New York fucking fleshlight 1953 and in 1957, Edward Steichen, then in fleshlight case of photography with the MOMA, had noticed fucking fleshlight and included in its conference fucking fleshlight Photography in Color in 1957.

During 20 years, it continued to fucking fleshlight the streets, fucking fleshlight its work was redécouvert fucking fleshlight later, in the middle of the years 1990. Today it unanimously is celebrated and recognized like a large Master of photography.

A marvellous colourist: vision of a painter over his time

The distribution of the colors within its photographs can be described as pictorial in the literal sense. He orchestrates his photographs by the elements which tint the town of New York. The signs, the signs, red lights are used to structure its image as well as one would prepare a table, by more or less marked keys. It grants its colors as a leader would compose a partition by agreement, dominant tonality, not acute of the glance; always moderate in let us tons distinct and modulated. Its treatment of the color is very personal, and innovative at one time when artistic photography was in black and white. It influenced many photographers and one could draw a wire until emergence from a school of the color in the United States, which in the Seventies takes a real importance with Eggleston, Stephen Shore, Joel Meyerovitz

It covers its subjects with a great freedom and control. It cuts out what interests it within always incongruous framings. The human figures are treated as forms which it dismembers with pleasure. In the second time only, we can see a travelling newsagent, a worker. The subject, the anecdote seems at Saul Leiter being diluted under multiple veils, through various obstacles. (Reflections, embuée pane) All our attention is related to this so particular treatment of the color whose subtlety must certainly much with its practice of painter. The talent of the photographer precisely consists in flushing out strange and daily lucky finds. It makes emerge from the virtual events, where it seems to be nothing in particular, accentuated by the rates/rhythms and the agreements which framing prints to them. One guesses the infinite mobility which it was necessary for Saul Leiter to manage to seize over sharp these fugitive moments. It has an exceptionally acute perception.

A world with share: An air and suspended reality

Saul Leiter is a true director, he seizes a delicate interval worlds with thousand places of the hardness of such a metropolis: a floating world, embué. Condensation on the panes presents in many photographs, makes the fucking fleshlight of mirrors or rather of veil. We can fucking fleshlight that the conditions of visible and weather put to the test the body; its air weight. All seems to be attenuated as by miracle. This patinated chromatism seems to fulfill a function symbolic system: that of the memory. fucking fleshlight images are nimbées of a veil of tender nostalgia, they metamorphose reality to create a universe at the same time poetic, oneiric and alleviating.

The fleshlight case is one of the aesthetic principles of work in these multiple fucking fleshlight fenestrate, condensation, pane. But if it is not transcendent any more, it does not remain less ambiguous about it on a side, it dematerializes all the things, while returning reality air and suspended. But of the other, it incarnates reality, it gives it to see and introduces matérialisation of time and a temporization of the forms.

In this direction, it is a space time suitable for fleshlight case widening of the field of arts, with the passages between médiums. (of painting to photography several crossings fucking fleshlight possible.) Saul Leiter is a painter photographer or photographer painter, in any case this duality returns his work of a great richness.

The chromatic veils of Saul fucking fleshlight instead of accelerating the transparency of the fucking fleshlight and the things, give of the enigma in the world. To veil for better revealing seems to be its own procedure.

Tania Koller

To also see on wire-in.fr:  the splendid retrospective of Saul Leiter, with the foundation Henri Cartier-Bresson

© Saul Leiter