🎈Robert FRANK - Parade Hoboken 1955 Old Authentic Original Drawing Offset Print

Description: Sale!!! Super RARE! Unique!!!! Robert FRANK - Parade Hoboken, New Jersey, 1955 Old Authentic Original Drawing Offset Print Size: 21.3 x 13.8 cm This is a print that the printer had archived as a reference model and laminated to a support so that it can be preserved over time. A wonderful testimony to traditional art printing which has completely disappeared today. Remarkable print, luminous, contrasted, with very beautiful density tones. Its rendering as well as its definition with its sharp details, and its shine, are absolutely magnificent. Print made in 1999 by a former art printer - Archival model Printer two-tone printing enhanced with a glossy varnish This unpublished print was found deep in an assembly workshop in the archive lockers of a former art printing house, carefully preserved flat and protected from light in an envelope. Although it is old with its 25 years of age, it remains in a good state of conservation. Presence of traces of dirt and marks on the back due to manipulations by the printer. However, the front is intact, in perfect condition and of remarkable shine. This copy was kept by the printer to serve as references for its calibration and coloring on the machine during reprints. A new vision of America seen by Robert Frank in 1955, the sun hits the brick wall of a building, on the left, through a window, a woman, her face buried in shadow, on the other next to another woman whose head is cut off by the American Star-Spangled Banner which flies, to the sound of a parade which takes place below on a street in Hoboken in New Jersey. “I always make the same images. I always look outside to try to look inside, to try to find something true but maybe nothing is ever true. »Robert Frank In 1955, he decided to change direction, in search of a new lease of life, he obtained a grant from the Guggenheim foundation for two years, during which time, with his small second-hand camera, he left New York aboard a an old Ford, heading to Detroit, with the idea of crossing the United States from end to end, from one coast to the other, from North to South, in order to embrace all its diversity. He visits small and large ones, he observes the crowds and solitary passers-by, the village squares and their statue panels, the train carriages with their motionless travelers. “I was looking at the landscape. I knew I was in America. I asked myself: what am I doing here? There was no response. The landscape gave me no answer. There was no response. »Robert Frank He invents a new way of photographing, free, frontal, moving, close to a certain abstract expressionism. He does so at the peril of his person and at the peril of the current dogmas for street photography. Without empathy, coldly, a bit like the cinema of Robert Bresson, he learns to scrutinize, undoubtedly often speaking about himself, he deeply trusts in the unknown, and often discovers the image taken only during development. In his photographs, he chooses different perspectives, overhead views, very deep angles or takes shots over the shoulder of a passerby, which gives a strong presence to the motif while placing the viewer at the heart of the image, images which present themselves in a visual narrative, not as a story, but as a multitude of snapshots which are rich in emotional impact and reflect reality. In its long journey we read a narration of humanity, a series on the deep folds of the American people, not magnifying the apotheosis of the "American way of life", of this American happiness given as hope and as pasture to the world, but segregation, the little people, the roads going immensely into the void, the everyday disorders in the thousand cobwebs of everyday life where human beings are dehumanized. With his Leica marked by the dust of the roads, he creates expressive photography and brings photography into modernity, the man of the roads of the 50s, knows how to open the road to a new photography. Modern photography owes him almost everything, following Walker Evans, his friend, he lays the foundations of “Street Photography”, street photography, taking it to an unsurpassable level, unlike Henri Cartier-Bresson, Frank n he doesn't wait for the sacred moment when he has to trigger, what he waits for is the truth, and when he takes a photo, he cares neither about the framing, nor the blur, nor the architecture of the lines , it is the truth that must burst forth on paper, like so many self-portraits, of inner feelings between anguish and hope. “He produced a feeling per image. »Walker Evans Streets, motels, roads, bars, burial ceremonies, plunges into the racist South, New York, allow him not to fix frozen moments, but to reveal a whole symphony of distress. He traveled across the forty-eight continental states, taking crazy risks in places where, at the time, a photographer was an enemy. Reporters, by definition, report facts to testify, Robert Frank does not show, he shows himself and all his images are self-portraits. Robert Frank, discreet, armed with his small camera which he always uses with one hand, succeeds in transcribing a deep America and freezing it on his film. His report gave birth to a cult work “The Americans” which, almost 60 years after its publication, still haunts people's consciences, only 83 of the 27,000 photos appear in the book. “Kerouac embodied what I hoped to find in America, he was interested in the underdogs. He wasn't interested in walking in the middle of the road. »Robert Frank Robert Frank (1924-2019) American photographer of Swiss origin, born into a Jewish family in Zurich. Son of Hermann Frank, decorator of German origin, and Régina Zucker, daughter of an industrialist. From the age of twelve he became interested in photography, in 1941, at the age of 17, he began an apprenticeship as a photo retoucher with Hermann Segesser who introduced him to modern art and in particular the work of Paul Klee. From 1942 to 1944, he continued his training in the studio of Michael Wolgensinger, a former assistant to Hans Finsler, who passed on his ideas on photography to him. Influenced by Arnold Kübler, magazine director, Robert Frank began to develop a passion for photojournalism. In 1946, he and his family obtained Swiss nationality. His formative years ended in 1946 with a spiral-bound portfolio of 40 Photos, featuring views of his country and candid street photographs. At the end of the war, Robert Frank discovered Paris, Milan and Brussels, where he photographed the traces of the conflict with a Rolleiflex, initiating a process of social exploration which he later deepened with the Leica in South America and Europe. In March 1947, Robert Frank emigrated to the United States to escape the narrow world of his country and find in his eyes the symbol of freedom. In New York, he showed his portfolio of his 40 Photos to Alexey Brodovitch who hired him within the magazine "Harper's Bazaar", he began by working as a fashion photographer within the magazine, then collaborated with the magazines " Fortune”, “Life” and “Look”. But very quickly he becomes disillusioned with this universe based on the frenzied accumulation of money and becomes aware of the heavy loneliness that weighs on people, the inequalities, the poverty, the indifference. From 1948, he wandered around the world, shuttling between the two continents, traveling to Peru and Colombia, resulting in a work entitled “Indians Not Dead” in collaboration with the photographer Werner Bischof. From 1950 to 1953, he settled in France with his family, traveling to Spain and England to record the atmosphere of the Old World. In 1950, he took a series of photos of Paris, the authentic Paris, showing the secret side of a city with its alleys full of mists and humidity, deserted public gardens, small merchants. Having sufficiently felt the scars of the war in Europe, he returned to the United States to New York in 1954 and married Mary Lockpeiser with whom he had two children Pablo and Andrea. It was in 1955 that he decided to change his register, in search of a new lease of life, he refused commissioning work for journals, at the risk of no longer having any income, and sent a request for a grant to the foundation. Guggenheim, thanks to the support of photographers Walker Evans and Edward Steichen, he obtained it for two years, which made him the first European artist to acquire it. He bought an old Leica and traveled the United States through more than 40 states from 1955 to 1956, with his second-hand camera slung over his shoulder, often alone and sometimes with his wife and children, at the wheel of a old used Ford car, visits small and large towns, takes all the roads and that of the legendary Route 66, observing the crowds, the solitary passers-by, the village squares and their statue panels, the train carriages of motionless travelers, as if posing for him. This crossing of Robert Frank contributes to the “Beat movement”, Jack Kerouac is one of his traveling companions and a friend. In 1958, during a trip to Florida, in an incredible ride, he took thousands of photos, but only took 83 for his book "The Americans" which he published the same year, a work which became legendary and gives him notoriety, he describes his wanderings in the American territory, from New York to California, capturing the true face of deep America. “I put my Leica in the closet. I'm tired of waiting, searching, and sometimes capturing the essence of black and white, the science of God's presence. I make films. Now I talk to people through the viewfinder. It’s not easy and it doesn’t work every time. »Robert Frank In 1969, he moved to the seaside with a new partner and completely distanced himself from photography. In 1975, he taught in California and in his free moments he tried new photographic experiences. In the 1970s, his approach led him to a reflexive dialogue between texts and images. The tragedies that Robert Frank went through with the deaths of his two children, Andrea, his daughter, in 1974 and Pablo, his son, in 1994, transformed the detachment of his beginnings into a constant desire to lay bare and introspect. He recurrently searches for the truth and explores in his work two universes, the one that surrounds him and the one that constitutes it. “I always make the same images. I always look outside to try to look inside, to try to find something true but maybe nothing is ever true. »Robert Frank In 1987 he released a new film that remained famous "Candy Mountain", a road movie, shot between New York and Cape Breton in Nova Scotia, played by many artists, the musicians Joe Strummer, Tom Waits, the actress Bulle Ogier and actor Kevin J. O'Connor. In 1996 he received the international prize from the “Hasselblad Foundation”. Robert Franck has had numerous personal exhibitions since 1951 and is very often exhibited all over the world, notably at the “Museum of Modern Art” in New York, or even more recently in Paris at the “Jeu de Paume” in 2009. “I try to forget about easy photos to try to bring out something from within. And time passes and never stops. »Robert Frank 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, Martin Munkacsi Mario Giacomelli Bruce Gilden Sebastiao Salgado Sarah Moon

Price: 1445 USD

Location: New York, New York

End Time: 2024-11-09T15:28:21.000Z

Shipping Cost: 20 USD