Germany. The home of the Swedish photobook. Greger Ulf ... - Steidl
Germany. The home of the Swedish photobook. Greger Ulf ... - Steidl
Germany. The home of the Swedish photobook. Greger Ulf ... - Steidl
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54<br />
Saul Leiter<br />
Early Color<br />
Although Edward Steichen exhibited some <strong>of</strong> Saul Leiter’s color photographs at <strong>the</strong> Museum <strong>of</strong> Modern Art in 1953,<br />
for 40 years afterwards <strong>the</strong>y remained virtually unknown to <strong>the</strong> art world. Early Color provides <strong>the</strong> first opportunity to<br />
see a comprehensive presentation <strong>of</strong> images by one <strong>of</strong> photography’s great originals.<br />
Leiter moved to New York in 1946 intending to be a painter and through his friendship with <strong>the</strong> abstract expressionist<br />
Richard Pousette-Dart he quickly recognized <strong>the</strong> creative potential <strong>of</strong> photography. Though he continued to paint,<br />
exhibiting alongside Philip Guston and Willem de Kooning, Leiter’s camera became – like an extension <strong>of</strong> his arm and<br />
mind – an ever-present interpreter <strong>of</strong> life in <strong>the</strong> metropolis.<br />
<strong>The</strong> semi-mythical notion <strong>of</strong> <strong>the</strong> “New York street photographer” was born at <strong>the</strong> same time, in <strong>the</strong> late 1940s. But<br />
Leiter’s sensibility – comparable to <strong>the</strong> European intimism <strong>of</strong> Bonnard, a painter he greatly admires – placed him<br />
outside <strong>the</strong> visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William<br />
Klein. Instead, for him <strong>the</strong> camera provided an alternative way <strong>of</strong> seeing, <strong>of</strong> framing events and interpreting reality. He<br />
sought out moments <strong>of</strong> quiet humanity in <strong>the</strong> Manhattan maelstrom, forging a unique urban pastoral from <strong>the</strong> most<br />
unlikely <strong>of</strong> circumstances.<br />
None <strong>of</strong> Leiter’s contemporaries, with <strong>the</strong> single and partial exception <strong>of</strong> Helen Levitt, assembled a comparable body<br />
<strong>of</strong> work in color. <strong>The</strong> lyricism and intensity <strong>of</strong> his vision come into fullest play in his eloquent handling <strong>of</strong> color: to <strong>the</strong><br />
rapid recording <strong>of</strong> <strong>the</strong> spontaneous unfolding <strong>of</strong> life on <strong>the</strong> street, Leiter adds an unconventional sense <strong>of</strong> form and a<br />
brilliantly improvisational, and frequently almost abstract, use <strong>of</strong> found colors and tones. Leiter’s visual language <strong>of</strong><br />
fragmentation, ambiguity and contingency is evoked in Early Color by 100 subtle, painterly images that stretched <strong>the</strong><br />
boundaries <strong>of</strong> photography in <strong>the</strong> second half <strong>of</strong> <strong>the</strong> twentieth century.<br />
Saul Leiter was born in Pittsburgh in 1923, <strong>the</strong> son <strong>of</strong> a rabbi. His work is in <strong>the</strong> collections <strong>of</strong> <strong>The</strong> Museum <strong>of</strong> Fine<br />
Arts, Houston; <strong>The</strong> Art Institute <strong>of</strong> Chicago; <strong>The</strong> Baltimore Museum <strong>of</strong> Art; <strong>the</strong> Victoria and Albert Museum, London;<br />
and o<strong>the</strong>r public and private collections.<br />
Co-published with Howard Greenberg Gallery, New York.<br />
Saul Leiter<br />
Early Color<br />
Introduction by Martin Harrison<br />
Book design by Martin Harrison<br />
176 pages with 100 color plates<br />
7.8 x 7.8 in. / 20 x 20 cm<br />
Clothbound hardcover with dust jacket<br />
$ 65.00 / £ 35.00 / € 48.00<br />
ISBN: 978-3-86521-139-2<br />
PostScript Bild<br />
(9783865211392)<br />
55