Items related to Proust in the Power Photography
One of the most original and memorable photographers of the twentieth century, Brassaļ was also a journalist, sculptor, and writer. He took great pride in his writing, and he loved literature and language-French most of all. When he arrived in Paris in 1924, Brassaļ began teaching himself French by reading Proust. Captured by the sensuality and visual strategies of Proust's writing, Brassaļ soon became convinced that he had discovered a kindred spirit. Brassaļ wrote: "In his battle against Time, that enemy of our precarious existence, ever on the offensive though never openly so, it was in photography, also born of an age-old longing to halt the moment, to wrest it from the flux of duration in order to 'fix' it forever in a semblance of eternity, that Proust found his best ally." He quoted Proust in his own writing, and from the annotated books in his library, we know that he spent a lifetime studying and dissecting Proust's prose, often line by line.
Drawing on his own experience as a photographer and author, Brassaļ discovers a neglected aspect of Proust's interests, offering us a fascinating study of the role of photography both in Proust's oeuvre and in early-twentieth-century culture. Brassaļ shows us how Proust was excessively interested in possessing portraits of his acquaintances and how the process by which he remembered and wrote was quite similar to the ways in which photographs register and reveal life's images. This book-beautifully translated by Richard Howard-features previously obscure photographs from Brassaļ's High Society series and offers a rare glimpse into two of France's most fascinating artistic minds.
Drawing on his own experience as a photographer and author, Brassaļ discovers a neglected aspect of Proust's interests, offering us a fascinating study of the role of photography both in Proust's oeuvre and in early-twentieth-century culture. Brassaļ shows us how Proust was excessively interested in possessing portraits of his acquaintances and how the process by which he remembered and wrote was quite similar to the ways in which photographs register and reveal life's images. This book-beautifully translated by Richard Howard-features previously obscure photographs from Brassaļ's High Society series and offers a rare glimpse into two of France's most fascinating artistic minds.
"synopsis" may belong to another edition of this title.
About the Author:
Brassai (born Gyula Halasz, 1899-1984) was a photographer, journalist, and author of photographic monographs and literary works, including "Letters to My Parents" and "Conversations with Picasso, " both published by the University of Chicago Press. Richard Howard, a professor at the School of the Arts at Columbia University, is an award-winning poet and translator. His translations include books by Gide, Cocteau, Giraudoux, De Beauvoir, Barthes, Cioran, and Proust, and Baudelaire's "Fleurs du Mal, " for which he received the American Book Award."
From the Inside Flap:
Translated by Richard Howard from "Marcel Proust sous l'emprise de la photographie." One of the most original and memorable photographers of the twentieth century, Brassai was also a journalist, sculptor, and writer. He took great pride in his writing, and he loved literature and language-French most of all. When he arrived in Paris in 1924, Brassai began teaching himself French by reading Proust. Captured by the sensuality and visual strategies of Proust's writing, Brassai soon became convinced that he had discovered a kindred spirit. Brassai wrote: "In his battle against Time, that enemy of our precarious existence, ever on the offensive though never openly so, it was in photography, also born of an age-old longing to halt the moment, to wrest it from the flux of 'duree' in order to 'fix' it forever in a semblance of eternity, that Proust found his best ally." He quoted Proust in his own writing, and from the annotated books in his library, we know that he spent a lifetime studying and dissecting Proust's prose, often line by line.
Drawing on his own experience as a photographer and author, Brassai discovers a neglected aspect of Proust's interests, offering us a fascinating study of the role of photography both in Proust's oeuvre and in early-twentieth-century culture. Brassai shows us how Proust was excessively interested in possessing portraits of his acquaintances and how the process by which he remembered and wrote was quite similar to the ways in which photographs register and reveal life's images. This book-beautifully translated by Richard Howard-features previously obscure photographs from Brassai's High Society series and offers a rare glimpse into two of France's most fascinating artistic minds."
Drawing on his own experience as a photographer and author, Brassai discovers a neglected aspect of Proust's interests, offering us a fascinating study of the role of photography both in Proust's oeuvre and in early-twentieth-century culture. Brassai shows us how Proust was excessively interested in possessing portraits of his acquaintances and how the process by which he remembered and wrote was quite similar to the ways in which photographs register and reveal life's images. This book-beautifully translated by Richard Howard-features previously obscure photographs from Brassai's High Society series and offers a rare glimpse into two of France's most fascinating artistic minds."
"About this title" may belong to another edition of this title.
- PublisherUniv of Chicago Pr
- Publication date2008
- ISBN 10 0226071456
- ISBN 13 9780226071459
- BindingPaperback
- Number of pages140
- Rating
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