T for tout

a little of this, a little of that... Mostly photography, litterature, cinema... The main point here is Photographic Portrait You can reach me through the Question? box. Since I don't accept the Anonymous messages anymore, those who are not registered with tumblr. can leave a message to: sam.chagalov [at] gmail [dot] com . You are welcome to reblog. If you do so: DO NOT remove the credit/source lines, please!

[chagalov]

The rediscovered face of Vincent Van Gogh, 1887 From left to right : Arnold Koning (with the cap), Émile Blanche, Vincent Van Goght, André Antoine (standing), Félix Jobbé-Duval and Paul Gauguin, 96 rue Blanche (Courtyard of the Salle de répétitions du Théâtre Libre), Paris, ca. December 1887 -attributed to Jules Antoine

The photo (Melanotype, direct reversed positive with sensitized collodion on waterproofed cardboard, 88x119 mm, stamped "Gautier Martin breveté", recto) was brought to Serge Plantureux (Expert, Studios Robespierre) for identification.

The process and result of the identification will be soon published: Serge Plantureux, Le Visage retrouvé de Vincent Van Gogh: Enquête sur un carton photographique dévoilant son visage d'adulte, in Nicéphore : Cahier de Photographies, no. 3 (en préparation) The issue can be read online at issuu.com

photos from L’Oeil de la Photographie

[chagalov]

Adolfo Bioy Casares: "Borges" (Sábado 14 de junio de 1986)

Un individuo joven, con cara de pájaro, que después supe que era el autor de un estudio sobre las Eddas que me mandaron hace meses*, me saludó y me dijo, como excusándose: «Hoy es un día muy especial». Cuando por segunda vez dijo esa frase le pregunté: «¿Por qué?». «Porque falleció Borges. Esta tarde murió en Ginebra», fueron sus exactas palabras.

Read the text in Borges todo el año

photo : Jorge Luis Borges (L) and Adolfo Bioy Casares in Librería Casares, Buenos Aires,  27 November 1985 -by Alberto Casares-Javier Moreno-dpa Corbis

quote : Bioy Casares, Adolfo: Borges. Edición al cuidado de Daniel Martino. Barcelona: Ediciones Destino ("Imago Mundi"), 2006

from  Borges todo el año

[chagalov]

Claude Cahun, Self-Portraits 1928 (l.), c1947 (r.)  [+] Jersey Heritage Collections

EXHIBITION Magic Mirror - Claude Cahun and Sarah Pucill Nunnery Galley (17 Apr. - 14 June 2015)

from and read more : L’Oeil de la photographie

[chagalov]

Still from L’Enfance d’Ivan, 1962 © Andrej Tarkovskij / courtesy Schirmer/Mosel

Ref.: Andrej Tarkovskij - Leben und Werk: Filme, Schriften, Stills & Polaroids, Ed. by Andrej Tarkovskij jr., Hans-Joachim Schlegel and Lothar Schirmer. (Schirmer/Mosel, 2012)

photo from L’Œil de la photographie

[burnedshoes]

DARCY GRIMALDO GRIGSBY - ENDURING TRUTHS

I’m very glad that I was able to help author Darcy Grimaldo Grigsby with her book Enduring Truths - Sojourner’s Shadows and Substance, a book about African-American abolitionist and women’s rights activist Sojourner Truth (check out previous post).

Featuring the largest collection of Truth’s photographs ever published, Enduring Truths is the first book to explore how she used her image, the press, the postal service, and copyright laws to support her activism and herself. Darcy Grimaldo Grigsby establishes a range of important contexts for Truth’s portraits, including the strategic role of photography and copyright for an illiterate former slave; the shared politics of Truth’s cartes de visite and federal banknotes, which were both created to fund the Union cause; and the ways that photochemical limitations complicated the portrayal of different skin tones. Insightful and powerful, Enduring Truths shows how Truth made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self. (read more)

[chagalov]

DARCY GRIMALDO GRIGSBY - ENDURING TRUTHS 

[chagalov]

Giuseppe Ungaretti, Roma, November 1969 | © Renate von Mangoldt / Steidl Verlag

in Renate von Mangoldt, Autoren - Fotografien 1963-2012. Steidl Verlag, Göttingen

photo from Zeit Online

[chagalov]

Günter Grass, 2002 -by Jim Rakete

Doppelportrait der Fotografin Renate Höllerer gewidmet

Alle  Köpfe im Ausschnitt gewinnen. Wenn ein Hai im  Profil durch das Bild schwimmt. Oder auch Haare extra bei Gegenwind. Nimm dich zusammen: Postkartengröße.

In meinem Motivsucher stellte sich ein: ich, die Iinke gefällige Seite ausgeleuchtet nach der Rasur und straff, weil geohrfeigt.

Wenn immer mein Hündchen bellt, mache ich knips und belichte: Dich und den Hintergrund. Meine Geliebte ertrinkt im Entwickler.

Schwarz. Das sind wir auf zwei Stühlen, wenn wir schweigen, dem Auslöser lauschen: breit im Format, bei angehaltenem Atem und verdeckter Blende.

.........................

Double Portrait  dedicated to the photographer Renate Höllerer

Every head gains by being cut out. If a shark in profile swims through the picture. Or hair, too, as an extra, against the wind. Pull yourself together:  postcard size.

In my motive finder there appeared: myself, the left, affable side photo-flooded after shaving and taut, because it had been slapped.

Whenever my little dog barks I go click and use the flash: on you and the background. In the developer my loved one drowns.

Black. That's us on our two chairs, when we're silent, listening to the release: wide in format, with our breath held and the  diaphragm covered.

-- Günter Grass, from Ausgefragt 1967. In Novemberland - Selected poems (1956-1993). Transl. by Michael Hamburger, (Harcourt Brace & Company, 1996) pp 68-69

photo from kwerfeldein

[chagalov]

Alfred Eisenstaedt (Portrait and Hand), 1992 -by Walter Schels  [+]

from Villa Grisebach

[thegetty]

Self-Portrait at Typewriter, Prellerstrasse Studio, 1925, Oskar Schlemmer. The J. Paul Getty Museum

[chagalov]

Self-Portrait at Typewriter, Prellerstrasse Studio, 1925, Oskar Schlemmer. The J. Paul Getty Museum  [+]

[chagalov]

Shadi Ghadirian, Serie Miss Butterfly, 2011

from : L’Œil de la photographie - and more on Contemporary Iranian Photography

[chagalov]

Victor Brauner in his atelier, Paris 1938 -by Limot (Walter Lichtenstein)

photo from : Yasmine Youssi, Victor Brauner, itinéraire d'un peintre juif sous l'Occupation (Telerama 20/10/2012)

Le Surréaliste Victor Brauner à qui il a était (sic) interdit de vivre et de peindre et dont l'oeuvre a toujours était (sic) indésirable, vous présente ses tableaux fait dans la clandestinité. (Victor Brauner, Cahiers 1944) from : Manuscrits-cahiers et carnets de Victor Brauner, Carnet rose "L'Alpin" - Bibliothèque Kandinsky

[chagalov]

Marcel Duchamp, New York, 1964-1965 -by Ugo Mulas

All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualification and thus adds his contribution to the creative act. This becomes even more obvious when posterity gives a final verdict and sometimes rehabilitates forgotten artists. [Full text here]

-- Marcel Duchamp, The Creative Act (1957) - in Robert Lebel. Marcel Duchamp (New York: Paragraphic Books, 1959)

photo from Lia Rumma

Exhibition: Ugo Mulas - The Sensitive Surface Galleria Lia Rumma - Naples (Until 14 February 2015) See L'Oeil de la Photographie

[chagalov]

René Char, Struth (Alsace), winter of 1939–1940 - Anonymous

Les Parages d'Alsace

Je t'ai montré La Petite Pierre, la dot de sa forêt, le ciel qui naît aux branches, L'ampleur de ses oiseaux chasseurs d'autres oiseaux, Le pollen deux fois vivant sous la flambée des fleurs, Une tour qu'on hisse au loin comme la toile du corsaire, Le lac redevenu le berceau du moulin, le sommeil d'un enfant.

Là où m'oppressa ma ceinture de neige, Sous l'auvent d'un rocher moucheté de corbeaux, J'ai laissé le besoin d'hiver. Nous nous aimons aujourd'hui sans au-delà et sans lignée, Ardents ou effacés, différents mais ensemble, Nous détournant des étoiles dont la nature est de voler sans parvenir.

Le navire fait route vers la haute mer végétale. Tous feux éteints il nous prend à son bord. Nous étions levés dès avant l'aube dans sa mémoire. Il abrita nos enfances, lesta notre âge d'or, L'appelé, l'hôte itinérant, tant que nous croyons à sa vérité.

-- René Char, in Le Nu perdu (Gallimard, 1971)

photo from : Mary Ann Caws (Ed). Surrealist Painters and Poets - An Anthology (MIT Press, 2001)

[chagalov]

André Malraux, Paris, 1933 -by Philippe Halsman

A book and an exhibition Paris Magnum, Ed. by Éric Hazan (Flammarion and Rizzoli)

Paris Magnum, la capitale par les plus grands photoreporters Hôtel de Ville de Paris - Until 28 March 2015 

Together, the photographers [from Magnum] document the evolution of the capital from 1940 to 2000 almost more effectively than a history textbook. [Read more at L'Oeil de la Photographie]

photo from l'Oeil de la Photographie - Magnum

[chagalov]

Alfred Stieglitz, 1930s -by Dorothy Norman  [+]

from Swann Galleries

[chagalov]

René Magritte>, 1965 (this print : 1979) -by Duane Michals  [+]  [+]

from Swann Galleries

[chagalov]

Wisława Szymborska, Krakow, 2009 -by Andrzej Banaś  [+]

The Three Oddest Words

When I pronounce the word Future, the first syllable already belongs to the past.

When I pronounce the word Silence, I destroy it.

When I pronounce the word Nothing, I make something no non-being can hold.

- - -

Trzy słowa najdziwniejsze

Kiedy wy­mawiam słowo Przyszłość, pier­wsza sy­laba od­chodzi już do przeszłości.

Kiedy wy­mawiam słowo Cisza, niszczę ją.

Kiedy wy­mawiam słowo Nic, stwarzam coś, co nie mieści się w żad­nym nieby­cie.

-- Wisława Szymborska, Poems: New and Collected, 1957-1997 (Harcourt Brace, 1998) - Translated by Stanislaw Baránczak and Clare Cavanagh

photo from Andrzej Banaś