Blacet's works

A Night in Paris was first published in 1932, which exhausted the whole nightlife in Paris and shocked all France at that time. When 1976 was reprinted, it was renamed "Secret Paris in the 1930s", and the original 60 works were increased to 120, which was divided into 2 1 unit. Blacet wrote a reading note before each unit. These articles were even praised by the critical The New York Times book critic Kwame: "Blacet outlined the memoirs of that era in the style of an excellent novelist." The photos of "Paris at night" won Blacet the reputation of "the originator of night photography" and "the night watchman of the times". In these works, Blacet always kept calm, tried not to get close to the scene at that time, and recorded the figures of the lower classes such as drunkards, tramps and nightingales, leaving another face of the upper class in the lower classes at that time.

The attitude of prostitutes photographed by Blacet is unusually calm or indifferent, which is in sharp contrast to the absurd scene in the photo: in a narrow and cramped space, prostitutes stand in twos and threes, naked, bloated and slightly flabby. A well-dressed and sanctimonious spring buyer stood by, without any expression, as if secretly considering and choosing-he didn't seem to find anyone taking pictures.

The Night Scene of Paris by Blacet recorded Paris at that time. Although Blacet doesn't think photography is an art, Paris in his lens is extremely emotional. In Blacet's photos, the streets are often empty, and in the dark, there is an unknown light shining on them. The uneven bricks rubbed by the footsteps of pedestrians in the street look like a symbol of an era, reminding us how many people have been displaced in this space for their own lives, and they have always been the protagonists in this background, performing their own insignificant history in the street, although no one has ever asked.

It is still a technical mystery for Blacet to shoot the night scene of Paris, because the limitations of photography technology at that time-the aperture of the lens and the sensitivity of the negative film could not meet the requirements of professional photographers to shoot dynamic pictures at night. During his stay in Paris, Blacet lived in the famous Milieu Art District, made many friends in the art world, and got to know the top contemporary artists because of the introduction of Terry Yade, a respected art critic at that time. The artist in my life published from 65438 to 0980 is a photographic record of these painters and sculptors by Blacet.

The book "Artists in My Life" records the life and work of 2 1 artists. The intensive shooting period is between 1932 and 1940, and then 1962 is shot intermittently. Among them, Picasso, Dali, Matisse, Miro, Jack Medi, Braque, Du Fei, Ponar, Mayo and others were in their heyday when they just established their position in the world art forest. Under the articles of excellent novelists, Blacet exposed the other side of these masters, making this photo album a hot book in the painting world. Busella's writing is as sharp as the lens of his camera. He described Picasso like this: "I was attracted by his eyes, which were not as big and clear as usual." They are huge because people have a curious instinct to open their eyelids, expose the whites around their eyes and reflect lightning-like direct light. "

He described Dali in this way: "Picasso introduced me to Dali's studio in Rue LaBloetie Street in the winter of 1932. At that time, Dali was young and handsome, with a thin face, a mixture of pale and olive, and a mustache. His big crazy eyes are full of wisdom and strange sparks. A gypsy long hair was combed smoothly, and later he told me that it was not hair oil on his head, but oil painting varnish. "

Blacet's keen observation is also accurately shown in these photos. These masters of art have been photographed by many photographers, and Duncan has also photographed two Pythagoras albums. Hasman filmed a whole Dali album; Bresson once photographed Jack Medici, Matisse and Bonaire. Cash is good at shooting people, and has taken photos for Milo, Xia and others. The same artist in the eyes of every photographer has similarities and differences-the same is the original appearance of the artist, but the difference is the interpretation of different photographers.

The artist in Blacet lens

The artists in Blacet's eyes are much more ordinary than those photographed by others, without any sense of "greatness": Picasso's palm, Picasso greeting Pierre Matisse in the restaurant, Matisse's son, Matisse painting models, Dali's head painted with varnish when he was young and handsome, Miro in the street, Jack Medici in the alley ... These ordinary life photos of the masters are the strongest style in Blacet, just like he photographed Paris.

He gave up self-interpretation, so the Picasso we know from his photos is not a genius, but a mortal side of Picasso. The Milo he photographed is even like a cautious accountant, which is very amazing: how can this visionary be like this? It is very rare for artists living in Blacet to show their original life characteristics.

Regarding Blacet's photography style, Chakowski, director of the photography department of the Museum of Modern Art, has this introduction: "Looking at his photos, people don't realize the existence of photography, as if the theme itself reshapes itself through its own media." Henry miller said more clearly: "Emotionally, Brassette expressed such a strong desire that he would not interfere with the object itself. Isn't this feeling inspired by profound human nature? Blacet respects and reproduces the original appearance of the object. "