Aise.it – ​​International Foreign Press Agency

ROME \ easy \ – The photograph of the young couple kissing, indifferent to the crowd of passers-by and the traffic in the Place de la Hôtel de Ville in Paris, is one of the best known photographs in the world. The author is Robert Doisneauthe great master of photography to whom the exhibition dedicated to 28 May is dedicated Rometo the Ara Pacis Museum.
The exhibition, curated by Gabriel Bauret, is promoted and produced by Cultura Roma, the Superintendencia del Patrimonio Cultural Capitolino, the Cassa di Risparmio di Padova and the Rovigo i Silvana Editoriale Foundation, with the organizational support of Zètema Progetto Cultura and the Silvana Editoriale catalog. . It will be installed in the spaces of the Ara Pacis until September 4.
Along with Henri Cartier-Bresson, Doisneau is considered one of the founding fathers of French humanist photography and street photojournalism. With his lens he captures the daily lives of the men and women who inhabit Paris and its suburbs, with all the emotions of the gestures and situations in which they are involved.
In Rome there are more than 130 black and white silver salt prints from the collectionRobert Doisneau Workshop a Montrouge. It is in this workshop that the photographer has been printing and archiving his images for over fifty years and it is there that he died in 1994, leaving a legacy of almost 450,000 negatives.
He Way is articulated in 11 sections: Concierges (1945-1953); Children (1934-1956); Occupation and Liberation (1940-1944); The Post-War (1945-1953); The World of Work (1935-1950); The Street Theater; Indoor Scenes (1943-1970); Fashion and Worldliness (1950-1952); Portraits (1942-1961); A certain idea of ​​happiness (1945-1961); and Bistrots (1948-1957).
Concierges (1945-1953) includes a series of plans dedicated to the goalkeepers of Paris because, as Doisneau states, “real Paris cannot be conceived without its goalkeepers”. Memorable portraits such as Concierge aux lunetes, Les Concierges de la Rue du Dragon and Madame Augustin were born.
In Enfances (1934-1956) the subjects photographed by Doisneau are often complicit in their intentions, particularly the children who populate and animate the suburban streets. The photographer feels comfortable in his company, as evidenced by the large number of shots that have seen them as protagonists since the mid-thirties.
Occupation et Libération (1940-1944): When Robert Doisneau finally achieved the status of freelance photographer, his momentum was broken by war and occupation. Everyday life and winters are hard, but the Liberation will offer you the opportunity to regain the effervescence that reigned in Paris at that time, as in the plan entitled Camouflage, [Libération de Paris].
In L’Apres-Guerre (1945-1953) the rebirth of the post-war period is portrayed in the uncertain step of a boy in Les Premiers Pas or in the girls disguised as Dimanche matin or in the smiles on the faces of Les Habitants de la Rue du Transvaal.
As Le Monde du travail (1935-1950) testifies, Doisneau worked for five years in the advertising department of the Renault workshops, which, he says, allowed him to “get to know the world of those who wake up early”. Some of the photos Doisneau took of workers in the Paris suburbs are shown.
Le Théâtre de la rue is the street school, much richer and more captivating than any other school, where Doisneau finds a beauty, a disorder and a splendor that seduce him. From the street vendor pictured in Les Oignons to the Pêcheur à la mouche sèche or the Père de famille, no one escapes Doisneau’s watchful eye.
Scènes d’intérieur (1943-1970), or interior scenes in which, quoting Jean-Claude Lemagny, the ridiculous side of situations is accepted above all by its victims. We don’t care if the models are aware that they are funny or touching “, like Créatures de rêve.
Mode et Mondanités (1950-1952): in 1950 Robert Doisneau met Edmonde Charles-Roux, a Vogue journalist, and became a chronicler of Parisian life and the artistic life of the time. This section therefore includes some photographs of Doisneau as a testament to the great dances and sumptuous post-war weddings.
Portraits (1942-1961): Perhaps a lesser-known part of Doisneau’s work is the numerous portraits, often commissioned. In front of his lens are painters, illustrators, writers, actors, filmmakers, actors, scientists such as Picasso, Dubuffet, Alberto Giacometti, Jean Cocteau and many others with whom the photographer establishes sincere friendships that will influence the fate of his photographs.
Une certaine idée du bonheur (1945-1961): “What I was trying to show was,” Doisneau recalls, “a world where I felt good, where people would be kind, where I would find the tenderness I hoped to receive. My photos were like proof that this world can exist. ” Whether it’s a makeshift street dance like La Dernière Valse du 14 juillet or wedding portraits or the iconic Le Baiser at the Hôtel de Ville.
Bistros (1948-1957): dragged by Robert Giraud, Doisneau discovers the atmosphere of the bistros and suburbs of Paris; the path thus gives way to the methodical exploration of the most unexpected universes where Doisneau will end up feeling at ease; memorable portraits like Mademoiselle Anita will be born.
Special attention was paid to this exhibition for accessibility: for the visually impaired, a dedicated itinerary was designed, in collaboration with the Homer State Tactile Museum, with embossed drawings and related audio descriptions. In addition to these supports, there will be a calendar of free tactile visits, guided by specialized operators. There will also be free guided tours of the exhibition for the deaf public: they will be accompanied by interpreters of Italian Sign Language – LIS, a service provided by the Department of Social Policy and Health – Department of Human Services of Rome Capitale and performed . by the Sign of the Integration Cooperative – Lazio.
Therefore, whether it is commissioned photographs or the result of his free walk through Paris, we see the emergence of a style imbued with a particular mentality, which also transcends his writings and the titles of the photographs; a style that mixes charm and fantasy, but also a freedom of expression not far from surrealism. The multitude of characters and stories that populate Doisneau’s work translate into an artistic attitude and a philosophy of life. If style is man, as Georges-Louis Leclerc de Buffon says, in the same way Doisneau’s photography identifies with some of his subjects to express a kind of uneasiness or melancholy. Doisneau’s work is, in fact, the expression of an empathetic look, which is even tenderly involved when photographing lovers and children.
“I like people for their weaknesses and flaws,” the photographer said. “I get along well with normal people. We talk. We start talking about time and little by little we move on to important things. When I photograph them it’s not like I’m there examining them with a magnifying glass, like a cold, scientific observer. It’s a very fraternal thing, and it’s wonderful to shed light on those people who are never in the spotlight. “And again, his technique should be like an animal function, he should act automatically ”.
Within the exhibition itinerary, excerpts from Clémentine Deroudille’s film “Robert Doisneau. Le Révolté du merveilleux ”and an interview with Commissioner Gabriel Bauret.
Robert Doisneau was born in 1912 in the Paris suburb of Gentilly. His training as a photographer begins with an apprenticeship in the laboratory of an advertising photographer. But soon his attention shifted to the popular neighborhoods of Paris and the suburbs, images that began to appear in magazines through the agency Rapho, of which he is one of the most important members. The war then pushes him to make himself available to the Resistance to give a new identity to the people sought. After the Liberation, here are some reports for “Vogue” and in 49 the book made in collaboration with his partner, the famous writer Blaise Cendrars, La Banlieue de Paris, the first synthesis of many stories in images he will dedicate to this world. Doisneau describes his daily life, composing a visual story that mixes a deep humanity and a note of humor, always present in his work. (easy)

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