Who can tell me the detailed life introduction and famous works of the famous photographer robert frank? Urgent ~ ~ ~

Robert frank (1924-) is a special phenomenon in the history of photography in the 20th century. He changed the direction of modern photography with his first photo album, The American, and established himself as an undisputed master in the history of photography. It is only 1 1 year before he leaves his native Switzerland.

Frank boarded a cargo ship bound for new york on February 20th 1947.

Frank, a young photographer, was determined to try his hand in America, the free world that most European youths yearned for at that time, because he couldn't stand the tedium and narrowness of Switzerland. At this time, he has been quite tempered in Switzerland, and he is a talented young photographer recognized in Switzerland. He left the country as an adventure. Although new york can perform in a much wider space than the Swiss, what new york means to him is still unknown.

As soon as he arrived in new york, he found a job as a photographer. This is due to his solid photography training in Switzerland. He got the job of taking fashion photos in Harper's Market, a famous fashion magazine. The artistic director of this magazine is Alexei Brodovich, a famous American magazine at that time. He resigned after only half a year in this enviable job. Although this is related to the temporary closure of Harper's market, it is also related to his inability to agree with fashion photography. Frank, who has a deep personality and loves hype, can't feel the attraction of fashion photography that only pays attention to superficial visual effects. And the worship of money for the purpose of American fashion and even the whole country in the United States made him unbearable. As a result, he resolutely quit the fashion photography industry and started his life as a freelance photographer. Obviously, this is a decision that requires courage.

As a freelance photographer, he basically has the possibility to choose his own subject matter freely except shooting some necessary photography orders to solve his livelihood. At this time, the daily life of people in new york, a modern metropolis, the relationship between modern cities and urbanites, and the charm of the city itself have become the first choice for this photographer who is essentially concerned about people's living conditions. Compared with new york, a distant and indifferent European metropolis, it obviously gives him a complex and fresh feeling for a person who struggles here alone. How to express your feelings about the city through images is not only a photographer's obligation and instinct, but also an important issue closely related to the photographer's living posture in the city. His photography of this city is also a way to solve his relationship with this strange city. By photographing the city, he needs to confirm his role and position in the city and gain a lifestyle and wisdom in the city.

While filming in new york, Frank also accepted the order to shoot in Europe. After completing the filming task, he will visit cities such as Paris and London. For him, the city, the artificial container of civilization, contains the most resources and materials of contemporary civilization, from which we can find the image that transcends the appearance of urban civilization and reaches the essence of western modern civilization. Therefore, mastering metropolitan photography with different temperament will help you sort out your feelings about urban life and have an essential understanding of the city.

Frank's photographic creed is that "it is more important than (capturing) what is on the surface of a photo to capture something in an instant and express it in a more free form". He not only wants to shoot things, but also liberates things through his own shooting, so that things can gain independent character and become the proof of photographers' free framing. In this sense, the photographer is essentially a liberator. He liberated himself and his thoughts while liberating the object.

No matter which city he is in, Frank always tries to find a theme corresponding to the cultural temperament of the city and his own mood for the city. He photographed the flowers and chairs in Paris, and grasped the characteristics of Paris as a leisure and sightseeing destination through these two cultural images. In London, he photographed all kinds of lonely and deserted scenes, and also showed a gentleman's reserve and alienation. His cold poetic heart and lonely temperament make him particularly sensitive to the abnormal alienation of modern cities. He can only release his loneliness by communicating with some objects. As a result, his special vision gave some unremarkable things and scenes a special sense of life and significance, and gave them a special existence value. His special perspective makes people find that all the scenery in the world has unique and profound significance to the eyes, time and space of a unique photographer, which is not easy to ignore or discover. Through Frank's concern, we can re-understand the world and people themselves in this city. He used his own photos to show that the city is the best place for him to show his rich sensibility.

Frank's filming in new york, Paris, London and other cities actually became a rehearsal of his later famous work "The American" again and again. Americans are just the general mobilization of his style. The seemingly random, open and unbalanced composition, ambiguity and polysemy in "The American" have already had a preliminary performance in his urban photography. The city shows great richness and complexity in his expression style. He touched the city with soft eyes and made an extremely personal response with his camera. With his quick and keen eyes, he constantly pushed away the illusion hidden on the surface of things and reached the essence of modern urban life. As allen ginsberg, Frank's best friend and the "Beat Generation" poet, said, "Robert used the humble Lycra camera (wasn't it not an art of photography before? ) First of all, I invented a way to look at it by luck. This is natural vision-accidental truth. " Jack Kruja, the soul of the "Beat Generation", later wrote a preface for his American version of "The American" and was also the author of the novel "On the Road". He said that Frank's filming was "drawing his own songs from his own heart".

One of the charms of Frank's urban photography is elegant visual drama. Judging from many of his photos, he is not keen on dramatic events. In him, the drama of events is different from the drama of vision. The drama of events is a concern for specific people, while visual drama is a philosophical visual gain through in-depth observation of reality. Photographers convey their essential concern for people and reality through such visual dramas. Frank's "visual drama" is a meaningful visual poem, which combines vision and perception, and is mixed with complicated psychological factors such as obscurity, ambiguity, sarcasm, romance, sentimentality, indifference, elegance, lightness and freedom. That's not a clear explanation of the real world, but a speculation about the real world. He is talking to another city with a camera and questioning another city. In fact, he is talking to his lonely self and questioning himself. He used photography to solve the complex problems of this city. He provides you with an opportunity to chew reality with pictures that can withstand careful chewing. In other words, when you chew his picture, it means that you are also chewing the reality of the city. He sympathizes with the city with photography, and his images prove that he is well-deserved as an urban psychic.

Frank's city picture is a threshold to understand the city. If you are lucky enough to cross the threshold set by him, you will have a new understanding of the depth of urban reality. Frank's street photography is an intelligence test. His city images not only test your eyes, but also test your sensibility and intelligence. This is a kind of sensibility and intelligence necessary to understand and survive in the city. Another talent is to find symbols representing the temperament of a specific city in the most inconspicuous place on the street. He looked for lyrical basis from everything in the street. I will also mobilize my delicate nerves to find a moving poem from ordinary scenes. He is as straight as a China ink painter who captures the charm of the object. He can capture everything around him with his cold glance and make everything meaningful. The strong sense of scene and the breath of life are restored by his unique and charming images, which constitute the most touching part of his photos.

However, several photographers who have created a new generation of styles must be unique in their form innovation. Frank's photos always touch people with a natural sense of composition. He is good at conveying his unique understanding of urban life with a subtle composition that seems casual. Every photo of him is as simple, concise, meaningful and unforgettable as a visual aphorism. In a sense, his style is almost like preparing for the city. The random, messy and accidental characteristics of modern urban life have been most accurately restored in his photos. Judging from the composition of his photos, sometimes it is as simple as a few lines, but this is a poetic image summary of the world made by the photographer. This generalization is a sober insight and concern for urban life, and it is also a photographer's own wise image grasp of the world.

Compared with his contemporary American photographer William Klein's unrestrained and impulsive photography, Frank's photography is relatively stable, gentle and unpretentious. If Klein's photography is reckless hostility and attack on the city, then Frank's photography is the result of careful taste of various flavors of urban life. As far as their action style is concerned, Klein belongs to the active attack type, through which he seized what he needed; Frank, on the other hand, belongs to the latent type, and his photos are the result of looking on coldly.

The photography of Frank and his contemporary william klein is an important turning point for contemporary western photographers. Their urban photography can be included in the category of documentary photography, but unlike their previous documentary photography, their photographic discourse no longer has a grand narrative style based on the universal values of western humanism, but a personal narrative style based on their own feelings and experiences. In essence, their video discourse is a query to the meta-discourse of "turning to a great narrative (in the language of Jean-Fran? ois Olita) such as spiritual dialectics, meaning hermeneutics, the liberation of rational subject or labor subject, and the growth of wealth". Their documentary works are not aimed at expounding a universal concept, but personal speeches based on personal life experience and focusing on the reality of personal life. It is a rebellion against the unified values, a desire and call for diversity, and a confrontation with the dull American reality that McCarthyism ruled the country in an image way at that time. The images of Frank and Klein share a common spiritual feature with the "Beat Generation" at that time, that is, they have strong doubts about the "virtue" of the United States blindly pursuing "progress", "strength" and "material". The appearance of documentary photography from their personal standpoint prepared for Diana Abbas's "new documentary" style in 1960s and Nan Goldin's private documentary style in 1980s.

Frank 1924 was born in Zurich, Switzerland. He began to work in the field of photography in Switzerland at the age of 16 and received strict professional training in photography. 1954, he applied for the Guggenheim Prize for a visual inspection of American culture and Americans. Walker Evans introduced his application, in which he wrote that his purpose was to "observe and record the significance of the culture discovered in the United States, born in this land and expanding outward" by people who joined American citizenship through photography. He said that he "wants to make a real contemporary record, and the visual impact of this record will even make the written description useless." After the successful application, Frank, the first foreigner winner of the Guggenheim Prize in history, traveled all over the United States in a shabby second-hand car during the two years of 1955- 1956, and conducted a "civilization study through vision" on the United States. Although he has traveled all over the United States, his main shooting locations are mostly big cities, such as new york, Los Angeles, Detroit and Chicago. Frank made an in-depth observation of American urban civilization as a sober bystander and a "foreigner". In his letter to his parents, he wrote: "I work hard not only to take pictures, but to express an opinion in my American photos." America is an interesting country, but there are many things I don't like and will never accept. I also try to show these in photos. "After two years of shooting, he selected 83 photos from more than 20,000 negatives and compiled them into an album called Americans. But this landmark album was first published in France.

The French version of "The American" published by 1958 is not in the form of a formal photo collection like the English version published by 1959 in the United States. The basic style of the French version of "The American" is that on the left, Simone De Beauvoir, abraham lincoln, André Maurois, john steinbeck, henry miller and other ancient and modern celebrities wrote "On America and Americans", and at the same time, a large number of charts and statistics about the United States were published. On the right of the book is an American photo taken by robert frank. Therefore, in a sense, it seems that there is a danger of underestimating his works just by regarding his America as a great achievement in the history of photography. His work is actually a special cultural criticism. 1959, published in America. As soon as this book appeared, it received two completely different evaluations. Technologists think that his photos are unqualified, many of them are out of focus and the composition is not rigorous, while some conservative defenders think that he ignores the "light" of the United States and shoots the United States with malicious eyes. Fierce people even labeled him "communist" and "anti-American". However, time has proved that his American has become the best image to illustrate the anxiety, uneasiness, indifference and alienation of Americans under the fear of money worship and the Cold War. His photos are like a prophetic image prophecy, revealing the spiritual poverty of the United States and making the light, self-confidence and joy of the United States in the 1950 s present a morbid state.

After The American was published, Frank began to turn to filming. A series of films he shot were very experimental and became an important part of the anti-mainstream culture at that time. It was not until 1972 that he published his second photo album Poems in My Hands, which was published by a man named Kazuhiko Motomura in Tokyo. Since then, he gradually began to shake hands with photography. But reappearing in the rivers and lakes, the photography style has changed greatly. The form of his works is not a single photo, but a combination of several consecutive pictures in the film. Some ambiguous words are added to the pictures, and the images tend to be mysterious and closed, showing some new thinking about photography. 1969, he left new york and moved to Nova Scotia. From 65438 to 0985, the German Photography Association awarded him the Enrich Salmon Award in recognition of his outstanding contribution to photography. From 65438 to 0990, he donated a large number of negatives (more than 3000 volumes), samples, work photos and exhibition photos to the National Gallery of Washington. The National Gallery has set up the robert frank Collection for this purpose. From 65438 to 0994, robert frank's retrospective exhibition entitled "Moving Out" was held in the National Gallery of Washington, which made a comprehensive summary of the artistic career of the godfather of modern photography. Frank's unique image photography has become the most fertile spiritual nourishment for contemporary photography, and has been and is constantly enriching and nourishing the latecomers.

Frank said, "I just keep taking pictures and looking." He used his slender and sensitive mind to perceive and meet the mystery of this city. He believes that the function of photography is to convey the essence, form and atmosphere. When these elements are well balanced, the charm and essence of the theme appear. "He seems to make people feel that his responsibility is to present the mystery shrouded under the surface of the subject and give new visual inspiration to life. He used his own works to tell us how happy a photographer can find the "accidental truth" only related to personal experience with a pair of "natural eyes".