Traditional Culture Encyclopedia - Photography major - Robert Doisneau, Robert Doisneau.

Robert Doisneau, Robert Doisneau.

Different from American humanistic care photography (especially the social problems of ethnic groups) and Ma Genan Photography News Agency (focusing on all human problems), "French humanistic care photography" has its own family in the history of photography based on the maintenance of French humanistic culture. After World War II, "French humanistic care photography" was separated from "humanistic care photography" in a broad sense, which is different from the French selfish "Ma Genan Photography News Agency", indicating that the French were not affected by the war.

1947, because he didn't want to leave France and his beloved birthplace, Robert Doisneau resolutely refused the invitation of "Ma Genan Photographic News Agency" and insisted on staying in "Raphael Photographic News Agency" and "XV Society". Compared with other "French humanistic photographers" such as Blacet, Willie Ronnies, Eggerz and Edward Bubba, Robert Doisneau is a little less emotional, but embellishes his sly jokes with moderate sacredness, nostalgia and poetry.

His early work "Two Brothers" shows two brothers walking upside down in the streets of Paris, while the other two brothers are watching with envy. The two brothers who walk upside down are bold and bold, while the two brothers who are stunned are dignified and luxurious, with a sense of humor. In the sixth district of Paris, which is full of antique art shops, Robert Doisneau hid behind the window of Romeo Gallery and photographed a series of true Parisian expressions: in the conservative 1940s, the portrait of a beautiful girl with bare buttocks was not placed in front of the shop, but on the opposite side of the sidewalk, which still attracted many people's attention; The most classic one, strabismus, wins by comparison. In the comparative expression of husband and wife, a double punch line is created-while the wife is seriously talking about the work in front of her, the husband squints at the portrait of the beautiful woman.

From 1945 to 1960, Robert Doisneau's main creative periods, especially in the 1950s, include Hell's Gate, A Kiss in front of City Hall, People in daydreaming, Primako, Fox Hunters and Painters on the Bridge, Mr. Barr's Carousel, etc. "Hell's Gate" surreally "bit" the passing police officer, and the unsuspecting police officer looked at the camera unhappily; In "The Fox Dog and the Painter on the Bridge", the owner of the fox dog keeps a distance to watch the painter draw, but the fox dog looks at the camera curiously. In the era when the art of photography is still unclear, the photographer himself intends to compare photography with painting, which shows the secular status of painting in content and meaning.

Robert Doisneau also wrote a lot about the life of the middle and lower class people in the suburbs: in the Paris district full of chaos, poverty and immigration, a sister pulled her sister who wanted to be close to the camera; Obviously, the little girl has never seen a camera, but the big boy stays out of it with typical French elegance, which constitutes a real but slightly abstract image of children in Abel Square. Following 1949 "Paris Suburb" and 1954 "Such Parisians" photo collections, Robert Doisneau published the photo collection "A Moment in Paris" on 1956, and won the "Neil Potts Award" twice as the peak of French humanistic care photography (Frenchman Neil Potts was the discoverer of photography).

Since the 1960s, French humanistic photography has gradually withdrawn from the image stage, but Robert Doisneau has remained the same, strolling through every street and brick in Paris, looking for every surprising fragment. In his later works, satire and metaphor appear from time to time, which is full of fun and witnessed the gradual post-modernization process in Paris: Venus in control was at the mercy of two porters in the reorganization of Dooley Garden; 17 Morso park leisure statue corresponds to the children in the distance, that is, three children in white; "Helicopter" corresponds to four helicopters hovering in the air, with bronze statues covered with bird droppings (but no pigeons or other birds); Scholars on the bridge are reading books while walking on the ancient bridge with many tall buildings. For Robert Doisneau, the value of Paris will not change with time, and its style will remain the same-though sometimes it is not so real. His most famous masterpiece, A Kiss in front of City Hall, is an example. In the past 50 years, entrusted by American Life magazine, Robert Doisneau produced the theme photography of Paris Couples, which turned Paris into a romantic city. Among them, a kiss in front of the city hall became a symbol of Paris, which became popular at home and abroad. In the 1980s, 500,000 posters, 2.5 million postcards and various products were sold. But in 1993, that is, more than 40 years later, the protagonist of that year suddenly appeared, demanding the right to portrait of 400,000 francs, and took the matter to court. When the current heroine francoise Boine lost the case, she also revealed the fact that Robert Doisneau made a non-documentary film. In a less open era, romantic Paris is not full of kissing scenes, so Robert Doisneau hired Francis and her boyfriend to realize this situation.

However, after Robert Doisneau "confessed", this photo is even more valuable. In 2005, francoise Boine gave her photos as a reward and sold them for $242,000. Most photos of Robert Doisneau have unknown version numbers, and the photos of the first edition are even rarer. Therefore, although this photo is not a "first edition", it is a photo printed at the same time as shooting, and its value is reasonable.

Until 2 1 century, the kiss in front of the city hall was not changed by the dramatic commotion. It did not damage Robert Doisneau's creative value, but showed the romance of Paris, and its significance has gone beyond the truth itself. The value of photography art is not determined by documentary or director's shooting method, especially after "director's photography" became popular in 1980s, the shooting method of director's arrangement, decoration and script has surpassed "documentary photography".

But to be fair, Robert Doisneau's director's shooting is really remarkable, and his portrait works should not be missed. Since the 1940s, Robert Doisneau has been shuttling through the streets of Paris, and at the same time, he has also entered the cafes with the highest literary level in Paris to take photos of Sartre, Simon Beauvoir and Alberto Giacometti. He also photographed Picasso, Fernand Ledger, Colette, Jean Dingley and Robert Capia at home, outdoors or in the studio. His creativity is both surreal and dramatic. 1944, he photographed simone beauvoir, a feminist philosopher, absorbed in writing in Deux Margots Cafe. 1952, he came to Picasso's home in the south of France and took a series of photos of Picasso's home: Picasso's baker's hand became a classic, and the photo of Picasso's hand sticking to the window appeared on the cover of Life magazine-in real life, Picasso's hand is really round and big, and his knuckles are chubby, so in the image of Picasso's baker's hand, he looks like a face. 1954, Robert Doisneau placed Ledger in the overlapping painting room of Ledger's studio, and hardly saw Ledger's existence between his indicative figures and symbols. In 1959, Robert Doisneau filmed the moment when Jean Dingley was covered by his own smoke screen works. /kloc-one night in 0/976, Robert Doisneau photographed actor Robert Capia horizontally on the windowsill across the street. In the image, Robert Capia, the protagonist, is not in the center, but also becomes a part of vision. Unique shop windows and downstairs walkways become the main body, while "people" are a small part of the exquisite Parisian style.

If Paris is a theater, Robert Doisneau is a patient audience, waiting for his play to be staged day and night, and occasionally being promoted to director. He, Henry Cartier-Bray and Eugè ne Ajette are also called the four French photographers. Although influenced by Blacet, they have his unique orientation of "French humanistic photography". These images are not only the important cultural assets of France, but also the image assets of the whole world.