September 16th, 2011
Brassaï (b. 1899, d. 1944)
from the top: Untitled [Futurist hair creation by Antoine], 1930; Culotte et bas, c. 1950;
The Wall of Sante Prison, Boulevard Arago, Paris, c. 1932
Making up for my absence yesterday with a tripledose. Oh mama but consistency’s a bitch. So anyway: Brassaï. Blessed be but I could post his work from now ’til kingdom come (I couldn’t get enough of Paris by Night, staring at those shadowy Parisian alleys and wet moonglowy cobblestones — do you know it? Isn’t it beautiful?). ————–> So, the pieces at hand. Don’t you love the brassy lustre of the hair in the topmost shot? Something about the clump of murky shadow beneath it completes the composition, maybe by virtue of its counterpoise to the brilliant stuff above it. ————> The prison wall shot (first from the bottom) is simple in its perspective and composition but man how perfect is it? The wet shadows thrown against the wall, the dense clumps of naked branches all along its top. The misty glow at the end of the tunnel. ————> And the middle shot, rapturous. The contrast of her skin against the shot’s darks. Her legs bent just so, kicked out as if the rug were a raft and the floor a black river, languid trailing of her to in the cool water. All kinds of stories could emerge from these three.
For more, check out this great roundup of Brassaï’s photography at Vintage Vivant.