🎈SupRARE Saul LEITER - Snow, New York, 1970, Old Authentic Drawing Offset Print

Description: Sale!!! Super RARE! Unique! Saul LEITER - Snow, New York, 1970 Old Authentic Original Drawing Offset print Beautiful Famous photo! Size: 20.2 x 30 cm A wonderful testimony to traditional art printing which unfortunately has completely disappeared today. Remarkable large print, close to a photograph, brilliant, with very beautiful density colors. Its contrast rendering, its luminosity, as well as its sharp definition, are absolutely magnificent. This is a print that the printer had archived as a color reference model for its machine reprints, and laminated to a support so that it can be preserved over time. Print made by a former art printer Archival model Printer four-color printing enhanced with a semi-gloss varnish This unpublished print was found deep in an assembly workshop in the archive lockers of a former art printing house, carefully preserved flat and protected from light. Although it is old, it remains in a good state of conservation. Presence of some traces of dirt on the back and slight marks due to the printer's handling during reprinting. However, the front is intact, in perfect condition and of remarkable shine. Winter 1970, during a particular day, in a burst of light, Saul Leiter in New York aims his camera from inside a store, on a foggy window, in fact the mirror of a city, which reveals and suggests, an artistic blur ruminated into an urban key, transforming New York into transparency. He photographs the present moment, it is urban life that he tries to record, that of a barely recognizable, immobile man, Saul is above all interested in obtaining a rendering like gouache placed on a canvas , creating a passage between two worlds, that of the interior and the exterior, by framing with verticality which is its credo, of this city which leaves little room for breathing, New Yorkers are plunged into solitude , like prisoners of the disorder of the street, caught in a vice. Constructing an image for Saul Leiter is about painting the real and the unreal at the same time, he adds colors in a universe where it is difficult to see the limits between the inside and the outside, making photographs almost abstract, in the middle of the New York urban jungle. A furtive moment which is in the spotlight, his eye is on the lookout for the slightest visual surprise, while searching for vaporous reflections, a dirty window, dirty snow, he deliberately blurs, defying classic photography, which What interests him above all is not reality at all, but the superposition of reality. “It seems to me that mysterious things can take place in familiar places. »Saul Leiter He is certainly one of the photographers from his camera capable of obtaining a painting, he aims his camera both at the street and at the inhabitants, who are nothing more than tiny silhouettes placed in total chaos. He does not photograph the streets of New York to illustrate the life of its inhabitants, he integrates into his images the urban landscape of the Big Apple as a playground and an immense source of creativity, fleeting scenes, original framing, plays with the developed by multiplying non-academic practices, cuts its subjects, provokes random balances, fullness and voids. He uses soft, dark colors in flat areas which balance each other, giving a photographic reading with expressionist accents, tending towards abstraction. He blurs the lines, through the glass, seeks reverberation, a play of mirrors where light and speed can be printed at the same time, erasing all limits, or everything is reversed. “I don't know how I took a particular photo at a particular moment or why. I don't know if I succeeded in doing what I wanted, I never knew what I wanted to do! »Saul Leiter Being a stranger moving through the belly of a city and not being seen is what the photographer captures. With his amused gaze, the most significant details of the urban movement, the result is a fresco of objects, advertising signs, street, building, roof, staircase, all in contradictory movements producing a rhythm of unexpected improvisations. Leiter with this photo finds his philosophy of the true street photographer, creating a particular universe, a unique style in photography, succeeding in painting using his camera. He treats human figures first as shapes, only then do we recognize a peddler, a passer-by, a sidewalk shopkeeper, a man on the telephone, a postman or even a part of the body. It is a universe of echoes and ricochets, captured from angles that put into perspective these diverse presences that animate urban space. “I have great respect for disorder, the most serious judgment I can have on my work is that it is unfinished and it is the unfinished that attracts me. »Saul Leiter He works in his photos, original and surprising framings using a lot of voids like blacks, where his photo is eaten up by reflections or plays of transparency, almost abstract. The succession of shots in his photos superimposes different stories generating mystery. He likes to play with the blur, the fog and the anonymity of passers-by. For him, color is a material, which he spreads over his images like solid areas in his canvases. Silhouettes in transit, shadows, mysterious and indirect visions between romanticism and film noir. In color, in New York, but also in Paris, Rome or Spain, the tones of his photographs are both lively and faded with an absence of strict contours, which make them plastic works in the spirit of the painters that he admires like Bonnard or Vuillard. Lover of cities and especially that of New York, is a pioneer of color and abstract street photography, is a poetic stroller who used the lens like a paintbrush, a brilliant chromatic magician with a prism offbeat, with streaming light and blurred silence. Walking the sidewalks, he looks for neon signs, illuminated windows or even passers-by who become abstract silhouettes. He mixes and clarifies for the viewer the sense of a vision of the city, a tangle of objects, a foggy, streaming glass, a reflection, a mirror, an artistic blur by adding a black and white which overlaps to the color. By its framing, his photo is an extraordinary composition, always remaining coherent and extremely sophisticated. The locations sometimes remain secret, the titles of his photographs are always in a barely visible detail, found in a tiny part of his framing. He knows how to capture a delicate in-between world a thousand miles from the urban jungle, a floating, misty world in an infinite succession of interplays. His images transform reality to create his own universe that is poetic, dreamlike and soothing. He is a modest man, who expresses himself in aphorisms and is ironic about his phlegm. His work surprises him and amuses him. He seeks to capture a deep feeling, randomly in the streets, without social or documentary inclination, stubborn in his approach, preferring to pursue his path rather than fit into a mold. His meeting in New York in 1946 with the painter Richard Pousette-Dart was decisive, as was his visit to the Henri Cartier-Bresson exhibition at MoMA in 1947. He very quickly understood that photography could be a form of art and borrowed a camera while continuing to paint and pastels. Close to abstract expressionism in his color photographs, the temptation of abstraction begins to express itself in his first black and white images. He has often been associated with the “New York School”, but his relationship with time, the deep intuition of the moment when we abandon ourselves, his taste for disorder, solitude and the transience of things make him an artist aside, not very concerned about situating oneself in a current. He is one of the pioneers of contemporary color photography at a time when only black and white was worthy of interest. Renowned as a fashion photographer, he was later recognized for the importance of his work as a photographer of the streets of the New York City that he loved so much. Its goal is not to illustrate city life, but to seek out fleeting moments and scenes. “Photographs are often considered pure reality, but in fact they are small fragments of memories of this unfinished world. »Saul Leiter Saul Leiter (1923-2013) American photographer born in Pittsburgh, Pennsylvania, he discovered art in the books of the public library. Son of a renowned rabbi, he was totally misunderstood by his father who had no respect for photography and art. On the contrary, his mother supported him and gave him a “Detrola” camera in 1935. In 1944 he exhibited his first paintings at the “Ten Thirty Gallery” in Cleveland, at the “Outlines Gallery” in Pittsburgh, and at the “Gump” department store in San Francisco. A brilliant theology student at the “Telshe Yeshiva Rabbinical College” in Cleveland, he decided at the age of 23 to abandon his studies and settle in New York in 1946 to devote himself to his first passion, painting. Under the influence of the abstract expressionist painter Richard Pousette-Dart. He will continue to exhibit alongside Philip Guston and Willem de Kooning and will meet Eugene Smith. In 1947 during an exhibition at MoMA by Henri Cartier-Bresson, he began to become interested in photography and decided to make it his profession. He exchanged a few prints by Eugene Smith for a Leica and set off to stroll the streets of New York, which he initially photographed in black and white. In 1948, he turned to color, while alternating between the two styles. In 1951, his black and white series “The Wedding as a Funeral” was published in LIFE Magazine. In 1953, Edward Steichen, chief curator of photography at MoMA, selected twenty-five of his black and white prints for the “Always the Young Stranger” exhibition. His photographs will be part of the “Contemporary Photography” exhibition at the Tokyo Museum of Modern Art. At the same time, he will open a photographic studio on Bleeker Street, where he will devote himself to portraiture, fashion and advertising. . In 1955 he held his first exhibition of color photographs at the “Artist’s Club”, a meeting place for abstract expressionist painters. Then in 1956 he exhibited personally at the “Tanager Gallery” in New York. In 1957 Edward Steichen again asked him for around twenty of his color photos in order to include them in a conference he gave at MoMA called “Experimental Photography in Color”. Legendary art director Henry Wolf will publish his photos for the first time in “Esquire” magazine and “Harper’s Bazaar”. He will then become one of the great photographers in the field and will work for the most prestigious fashion magazines on the planet. Her work will be published in “Elle”, “Life”, “Nova”, “Vogue” and “Queen”. In 1991 the “Victoria & Albert Museum” in London dedicated an exhibition to him “Appearences: Fashion Photography Since 1945”. In 1992, his black and white work was published in the book “The New York School: Photographs 1936-1963”, by Jane Livingstone. In 1993 his black & white works were exhibited at the “Howard Greenberg Gallery” in New York. In 2005 exhibition “Early Color” at the “Howard Greenberg Gallery”. Then in 2008, first exhibition of his personal work in France, at the HCB Foundation in Paris. He took his first photographs in the early 1940s in the streets of New York. For 20 years he continued to walk the streets, and his work was rediscovered much later, in the mid-1990s. For many years he distinguished himself as a fashion photographer, devoting the majority of his career , from his beginnings in 1953 in his Bleeker Street studio, until the mid-1980s. His street work, the most personal and artistic, would not be discovered until the end of the 1990s, thanks to the " Howard Geenberg Gallery” in New York who organized an exhibition of his black and white photographs in 1993, and to Martin Harrison, author in 2006 of Saul Leiter’s first work, “Early Color”. “I am a photographer backwards. »Saul Leiter Sale as is, no return. Also please a look my sales list thanks a lot to the following photographers Edward Weston Daido Moriyama Araki Josef Koudelka Saul Leiter Ray K Metzker Paolo Roversi Helmut Newton, Henri Cartier-Bresson Ernst Haas Harry Gruyaert Annie Leibovitz Peter Lindbergh Guy Bourdin Richard Avedon Herb Ritts, Ellen Von Unwerth Comme des Garçons Rei Kawakubo Irving Penn, Bruce Weber, Edward Steichen, George Hoyningen-Huene, Hiro, Erwin Blumenfeld Bruce Weber, Alex Webb Robert Frank Issey Miyake Robert Doisneau Steve Hiett Gueorgui Pinkhassov Andy Warhol Yayoi Kusama Magnum photos Harry Callahan Andre Kertesz Elliott Erwitt Bruce Davidson Guy Bourdin Steven Meisel,

Price: 795 USD

Location: New York, New York

End Time: 2024-12-04T21:04:16.000Z

Shipping Cost: 20 USD