Excess In The Solo Passage

The Photographer W

The Photographer W. Eugene Smith (1918-1976) was already a living legend, his victories were as spectacular as his defeats.

A difficult, obsessive character, notorious for its editors to control manic compulsion as a notorious and feared Deadline Crashers, revered by his peers for his integrity and uncompromising - a pillar saint for all magazine photographer who had to bow to the dictates of the editors. Smith was a perfectionist, driven, ambitious and self-destruction, Which eventually failed because of the grand hubris of his own claims.

The comprehensive retrospective at the Martin-Gropius-Bau based on the great photo essays of photo journalists. A sensible policy, because no other photographer has brought to come as great championship like the Americans. With its elaborately researched reports, # in which he sought a new unity of image and text, Smith broke existing stereotypes and defined the boundaries of the newly established genus. Particularly enlightening for the understanding of his photo essays are published correlations, Which are issued with. While the raw material contact sheets show the photo essays, the double sides of the famous "Life Magazine" reports in the display cases illustrate the importance of image selection, image-text ratio and layout.

Andr Kertsz and Martin Munkcsi were the pioneers, but it was W. Eugene Smith developed the photo essay in its reports for the largest circulation magazine in the U.S. "Life" to an art form that moved millions of readers. Driving force was not the documentation, but the principle of truthfulness and the dedicated involvement. "Let Truth Be the Prejudice" was the programmatic title of a retrospective, giving it the Jewish Museum in New York devoted in 1971.

Smith is not afraid to make his images into instruments of political engagement. To report from the task of the food shortages in Spain, he made a subtle indictment of the Franco regime. In the report "Spanish Village" shows the photographer rural poverty and child labor and take the first communion of a girl as for example of the dominance of the Catholic Church in this backward part of the country. Nevertheless, Smith proves here as nostalgic. He shows himself fascinated by village life that captures the severity of a black costume and rule the strong elegance of an archaic agriculture, donkey carts and Sense. This report is one of his aesthetically impressive: the squatting spinner zwirnt the linen, the wooden board with flat bread, Which a woman wears in the broiling midday heat through the village, have become icons of photographic history. Franco himself only indirectly brings about graffiti on the walls into the picture, while Smith can look men in the infamous Civil Guard in the famous photo of the series on purpose in the sun - through its squinted eyes look Franco-garde in the artfully composed picture even darker.

It is this essay shows how well matched Smith initially in the format of the magazine: as the article appeared in 1951, might the "Life" graphic images inspire Smith's in top form - the layout they were virtuous and free approach to page layout and picture arrangement. Smith's critical text which certainly smoothed and defused. It was one of the many defeats of the photographer, who saw the essay despite its resounding success than failure.

by: aarenbrowns

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