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Brassaï Graffiti
Brassaï became interested in the marginal art form of graffiti in the 1930s, seeing it as a form of outsider art that could open the door to new forms of artistic expression. His atmospheric photographs capture the essence of this unfettered creation. Stark contrasts of black and white alternate with softer shades of grey that meld into one another, smoothing the harsh gouges typical of graffiti. Several of these photographs first appeared in the Surrealist review Minotaure; others were first published in France and Germany in 1960, in a work entitled Graffiti, which accompanied an exhibition that visited New York, London, Milan, Baden-Baden, Frankfurt, Hannover, and Paris. The approach was hugely influential, both for the Surrealists and in the domain of Outsider Art. Accompanying the photographs are selections from previously unpublished writings, including extracts from Brassaï's own notebooks, in which he noted the presence of elements of graffiti on the walls of Paris that he intended to photograph. The book also contains an interview with Picasso on the subject of graffiti as an art form. This first English language version of this classic title is a beautifully produced edition of what is undoubtedly a seminal work in the history of modern photography.
- GenresArtPhotography
156 pages, Hardcover
First published January 1, 1980
About the author
Brassaï
69 books41 followersGeorge Brassaï (pseudonym of Gyula Halász) (9 September 1899 — 8 July 1984) was a Hungarian photographer, sculptor, and filmmaker who rose to international fame in France in the 20th century.
He was one of the numerous Hungarian artists who flourished in Paris beginning between the World Wars. In the early 21st century, the discovery of more than 200 letters and hundreds of drawings and other items from the period 1940–1984 has provided scholars with material for understanding his later life and career.
He was one of the numerous Hungarian artists who flourished in Paris beginning between the World Wars. In the early 21st century, the discovery of more than 200 letters and hundreds of drawings and other items from the period 1940–1984 has provided scholars with material for understanding his later life and career.
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Displaying 1 of 1 review
July 7, 2023
I first encountered this book ten years ago in university.
At the time I was unimpressed but as my style of photography and interest in photography changed, I found myself reflecting on a en finally re-reading the book.
The various introductory chapters are insightful, thought-provoking and unpretentious.
They refer to Pompeii and both French and Spanish cave art.
They offer insight and inspiration as to the creation and documentation of one of our oldest human impulses.
The photographs themselves range in clarity as the introduction reminds us he focused with a string to understand the desired distance and often shot using an old wood web tripod.
This is a book that explores self-expression on an emotional rather than intellectual intellectual level, a stylistic one rather than a technical one.
We’ll worth a few prolonged glances.
At the time I was unimpressed but as my style of photography and interest in photography changed, I found myself reflecting on a en finally re-reading the book.
The various introductory chapters are insightful, thought-provoking and unpretentious.
They refer to Pompeii and both French and Spanish cave art.
They offer insight and inspiration as to the creation and documentation of one of our oldest human impulses.
The photographs themselves range in clarity as the introduction reminds us he focused with a string to understand the desired distance and often shot using an old wood web tripod.
This is a book that explores self-expression on an emotional rather than intellectual intellectual level, a stylistic one rather than a technical one.
We’ll worth a few prolonged glances.
Displaying 1 of 1 review