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From 1929, he published [[Unit still photographer|stills photography]] in ''[[Cinémagazine]]'', then photographed for ''Art et Médecine'' (from 1931)<ref>{{Cite web|title=81-La Revue du Médecin n°5 - ArtetMedecine|url=https://collections.museeniepce.com/fr/app/collection/9/author/10069/view?idFilterThematic=0|access-date=2022-01-18|website=collections.museeniepce.com}}</ref> and reported for the theatrical review ''La Rampe'' (1932-1933) then in ''Paris magazine'', a magazine of erotica. His experience led him to be appointed under contract on July 1, 1933 (renewed in 1936) as the only official photographer for the magazine ''[[Vu (magazine)|VU]]'' for which he made more than 1,300 photos. His work was more widely recognized in 1936 with his participation in the International Exhibition of Contemporary Photography in Paris.<ref name=":0" /> Through the thirties, his subject matter included the music hall artists like [[Maurice Chevalier]] who he photographed performing at the [[Casino de Paris]], as well as strolling with the children of [[Belleville, Paris|Belleville]], and amongst the crowds of other 'Paris Zones'<ref>{{Cite book|last=Cannon|first=James|url=https://www.worldcat.org/title/the-paris-zone-a-cultural-history-1840-1944/oclc/7390553469|title=The Paris Zone A Cultural History, 1840-1944|date=2016|publisher=Routledge|isbn=978-1-315-55480-8|pages=XI, 145|language=English|oclc=7390553469}}</ref>
From 1929, he published [[Unit still photographer|stills photography]] in ''[[Cinémagazine]]'', then photographed for ''Art et Médecine'' (from 1931)<ref>{{Cite web|title=81-La Revue du Médecin n°5 - ArtetMedecine|url=https://collections.museeniepce.com/fr/app/collection/9/author/10069/view?idFilterThematic=0|access-date=2022-01-18|website=collections.museeniepce.com}}</ref> and reported for the theatrical review ''La Rampe'' (1932-1933) then in ''Paris magazine'', a magazine of erotica. His experience led him to be appointed under contract on July 1, 1933 (renewed in 1936) as the only official photographer for the magazine ''[[Vu (magazine)|VU]]'' for which he made more than 1,300 photos. His work was more widely recognized in 1936 with his participation in the International Exhibition of Contemporary Photography in Paris.<ref name=":0" /> Through the thirties, his subject matter included the music hall artists like [[Maurice Chevalier]] who he photographed performing at the [[Casino de Paris]], as well as strolling with the children of [[Belleville, Paris|Belleville]], and amongst the crowds of other 'Paris Zones'<ref>{{Cite book|last=Cannon|first=James|url=https://www.worldcat.org/title/the-paris-zone-a-cultural-history-1840-1944/oclc/7390553469|title=The Paris Zone A Cultural History, 1840-1944|date=2016|publisher=Routledge|isbn=978-1-315-55480-8|pages=XI, 145|language=English|oclc=7390553469}}</ref>


He mentored [[Willy Rizzo]], 25 years his younger, also a frequent photographer of celebrities and film stars.<ref>{{Cite web|title=musée Nicéphore Niépce - Willy Rizzo|url=https://en.museeniepce.com/index.php?/exposition-en/passees-2010-2013/Willy-Rizzo|access-date=2022-01-18|website=en.museeniepce.com}}</ref> In the course of his reportage Paris himself photographed many, including French painters André Dignimont and [[Yves Brayer]], engraver [[Albert Decaris]], French actors [[Max Dearly]], [[Josette Day]], [[Colette Darfeuil]], [[Brigitte Bardot]], [[Blanchette Brunoy]], [[Geneviève Cluny]], France Delahalle, [[Ginette Leclerc]], [[Christine Carère]], [[Véra Norman]], Anne Doat, [[Jean Chevrier]], and Pierrette Bruno; singers [[Édith Piaf|Edith Piaf]], [[André Claveau]] and Egyptian-born Reda Cairo; variety artists Charpini and Brancato; directors [[Henri-Georges Clouzot]], [[Christian-Jaque|Christian Jaque]] and [[Christian Matras (cinematographer)|Christian Matras]], students of [[Alberte Aveline|Alberta Aveline]]'s class at the [[Paris Opera Ballet|Paris Opera ballet school]]; and [[Jean Cocteau]] and [[Jean Marais]] in [[Les Parents terribles (1948 film)|''Les Parents terribles'']]; as well as politicians and military officers. By arrangement with [[Bibliothèque historique de la ville de Paris|Bibliothèque Historique de la Ville de Paris]], Roger-Viollet Agency holds those portraits amongst 15,000 of Gaston Paris' other negatives<ref name=":1" />
He mentored [[Willy Rizzo]], 25 years his younger, also a frequent photographer of celebrities and film stars.<ref>{{Cite web|title=musée Nicéphore Niépce - Willy Rizzo|url=https://en.museeniepce.com/index.php?/exposition-en/passees-2010-2013/Willy-Rizzo|access-date=2022-01-18|website=en.museeniepce.com}}</ref> In the course of his reportage Paris himself photographed many, including French painters André Dignimont and [[Yves Brayer]], engraver [[Albert Decaris]], French actors [[Max Dearly]], [[Josette Day]], [[Colette Darfeuil]], [[Brigitte Bardot]], [[Blanchette Brunoy]], [[Geneviève Cluny]], France Delahalle, [[Ginette Leclerc]], [[Christine Carère]], [[Véra Norman]], Anne Doat, [[Jean Chevrier]], and Pierrette Bruno; singers [[Édith Piaf|Edith Piaf]], [[André Claveau]] and Egyptian-born Reda Cairo; variety artists Charpini and Brancato; directors [[Henri-Georges Clouzot]], [[Christian-Jaque|Christian Jaque]] and [[Christian Matras (cinematographer)|Christian Matras]], students of [[Alberte Aveline|Alberta Aveline]]'s class at the [[Paris Opera Ballet|Paris Opera ballet school]]; writers [[Pierre Mac Orlan]] and [[Georges Simenon]]; and [[Jean Cocteau]] and [[Jean Marais]] in [[Les Parents terribles (1948 film)|''Les Parents terribles'']]; as well as politicians and military officers. By arrangement with [[Bibliothèque historique de la ville de Paris|Bibliothèque Historique de la Ville de Paris]], Roger-Viollet Agency holds those portraits amongst 15,000 of Gaston Paris' other negatives<ref name=":1" />


Paris joined the group of photographers Le Rectangle in 1937,<ref>{{Cite book|last=Sichel|first=Kim|url=https://www.worldcat.org/title/making-strange-the-modernist-photobook-in-france/oclc/1157343537|title=Making strange the modernist photobook in France|date=2020|isbn=978-0-300-24618-6|pages=137|language=English|oclc=1157343537}}</ref> and stopped working for ''VU'' in 1938. Until 1940 and the [[German-occupied Europe|German Occupation]] he worked for ''[[Paris Match]]''. In 1940, he worked as a freelancer, like other French photographers, for the magazine ''La Semaine'', controlled by the [[Vichy France|Vichy]] authorities. His 1944 photographs of the [[Liberation of Paris|Liberation]]<ref>Cadé, M. (2018). Le Front populaire au cinéma. Vingtième Siècle. Revue d'histoire, (138), 189-191</ref> were featured in [[Jacques de Lacretelle]]'s book ''Liberation of Paris'', 1945,<ref>{{Cite book|last=Lacretelle|first=Jacques de|url=https://www.worldcat.org/title/liberation-de-paris-150-photographies/oclc/407069891|title=La Libération de Paris: 150 photographies|date=1945|publisher=Ed. Fasquelle|location=Paris|language=French|oclc=407069891}}</ref><ref>{{Cite journal|last=Bishop|first=Cécile|date=2018-07-19|title=PHOTOGRAPHY, RACE AND INVISIBILITY|url=http://dx.doi.org/10.1080/17540763.2018.1457560|journal=photographies|volume=11|issue=2-3|pages=193–213|doi=10.1080/17540763.2018.1457560|issn=1754-0763}}</ref> and he visited Germany 1945–1946 with the French occupation troops to investigate the destruction of the country. His imagery appeared intermittently in ''Nuit et Jour'' (1946-1947) and in 1948 he photographed at the [[Fresnes Prison|Fresnes prison]] to illustrate ''Levée d'énuro'', by Georges Lupo.<ref>{{Cite book|last=Lupo|first=Georges|url=https://www.worldcat.org/title/levee-decrou/oclc/461479008|title=Levée d'Écrou|last2=Paris|first2=Gaston|date=1948|publisher=A. Bonne ; Impr. de Sceaux)|location=Paris; (Sceaux|language=French|oclc=461479008}}</ref>
Paris joined the group of photographers Le Rectangle in 1937,<ref>{{Cite book|last=Sichel|first=Kim|url=https://www.worldcat.org/title/making-strange-the-modernist-photobook-in-france/oclc/1157343537|title=Making strange the modernist photobook in France|date=2020|isbn=978-0-300-24618-6|pages=137|language=English|oclc=1157343537}}</ref> and stopped working for ''VU'' in 1938. Until 1940 and the [[German-occupied Europe|German Occupation]] he worked for ''[[Paris Match]]''. In 1940, he worked as a freelancer, like other French photographers, for the magazine ''La Semaine'', controlled by the [[Vichy France|Vichy]] authorities. His 1944 photographs of the [[Liberation of Paris|Liberation]]<ref>Cadé, M. (2018). Le Front populaire au cinéma. Vingtième Siècle. Revue d'histoire, (138), 189-191</ref> were featured in [[Jacques de Lacretelle]]'s book ''Liberation of Paris'', 1945,<ref>{{Cite book|last=Lacretelle|first=Jacques de|url=https://www.worldcat.org/title/liberation-de-paris-150-photographies/oclc/407069891|title=La Libération de Paris: 150 photographies|date=1945|publisher=Ed. Fasquelle|location=Paris|language=French|oclc=407069891}}</ref><ref>{{Cite journal|last=Bishop|first=Cécile|date=2018-07-19|title=PHOTOGRAPHY, RACE AND INVISIBILITY|url=http://dx.doi.org/10.1080/17540763.2018.1457560|journal=photographies|volume=11|issue=2-3|pages=193–213|doi=10.1080/17540763.2018.1457560|issn=1754-0763}}</ref> and he visited Germany 1945–1946 with the French occupation troops to investigate the destruction of the country. His imagery appeared intermittently in ''Nuit et Jour'' (1946-1947) and in 1948 he photographed at the [[Fresnes Prison|Fresnes prison]] to illustrate ''Levée d'énuro'', by Georges Lupo.<ref>{{Cite book|last=Lupo|first=Georges|url=https://www.worldcat.org/title/levee-decrou/oclc/461479008|title=Levée d'Écrou|last2=Paris|first2=Gaston|date=1948|publisher=A. Bonne ; Impr. de Sceaux)|location=Paris; (Sceaux|language=French|oclc=461479008}}</ref> He was photographer for ''Détective'' magazine from the late 1930s to the 1950s.


== Late career ==
== Late career ==
In his, and the century's, fifties Paris continued to work, undertaking a wide variety of commissions for film stills, celebrity portraits and photo-novels. He died in Paris in 1964.
In his, and the century's, fifties Paris continued to work, undertaking a wide variety of commissions for [[Film still|film stills]], celebrity portraits and photo-novels. He died in Paris in 1964.


==Exhibitions==
==Exhibitions==

Revision as of 04:38, 21 January 2022

Gaston Paris (1903 - 1964) was a frequently published autodidact photographer and journalist, notably for the magazine VU.

Early life

Born in Paris, around 1908 he was in foster care with a family in Alençon, before his military service in the Ruhr. Little is known about his personal life.[1]

Career

From 1929, he published stills photography in Cinémagazine, then photographed for Art et Médecine (from 1931)[2] and reported for the theatrical review La Rampe (1932-1933) then in Paris magazine, a magazine of erotica. His experience led him to be appointed under contract on July 1, 1933 (renewed in 1936) as the only official photographer for the magazine VU for which he made more than 1,300 photos. His work was more widely recognized in 1936 with his participation in the International Exhibition of Contemporary Photography in Paris.[3] Through the thirties, his subject matter included the music hall artists like Maurice Chevalier who he photographed performing at the Casino de Paris, as well as strolling with the children of Belleville, and amongst the crowds of other 'Paris Zones'[4]

He mentored Willy Rizzo, 25 years his younger, also a frequent photographer of celebrities and film stars.[5] In the course of his reportage Paris himself photographed many, including French painters André Dignimont and Yves Brayer, engraver Albert Decaris, French actors Max Dearly, Josette Day, Colette Darfeuil, Brigitte Bardot, Blanchette Brunoy, Geneviève Cluny, France Delahalle, Ginette Leclerc, Christine Carère, Véra Norman, Anne Doat, Jean Chevrier, and Pierrette Bruno; singers Edith Piaf, André Claveau and Egyptian-born Reda Cairo; variety artists Charpini and Brancato; directors Henri-Georges Clouzot, Christian Jaque and Christian Matras, students of Alberta Aveline's class at the Paris Opera ballet school; writers Pierre Mac Orlan and Georges Simenon; and Jean Cocteau and Jean Marais in Les Parents terribles; as well as politicians and military officers. By arrangement with Bibliothèque Historique de la Ville de Paris, Roger-Viollet Agency holds those portraits amongst 15,000 of Gaston Paris' other negatives[6]

Paris joined the group of photographers Le Rectangle in 1937,[7] and stopped working for VU in 1938. Until 1940 and the German Occupation he worked for Paris Match. In 1940, he worked as a freelancer, like other French photographers, for the magazine La Semaine, controlled by the Vichy authorities. His 1944 photographs of the Liberation[8] were featured in Jacques de Lacretelle's book Liberation of Paris, 1945,[9][10] and he visited Germany 1945–1946 with the French occupation troops to investigate the destruction of the country. His imagery appeared intermittently in Nuit et Jour (1946-1947) and in 1948 he photographed at the Fresnes prison to illustrate Levée d'énuro, by Georges Lupo.[11] He was photographer for Détective magazine from the late 1930s to the 1950s.

Late career

In his, and the century's, fifties Paris continued to work, undertaking a wide variety of commissions for film stills, celebrity portraits and photo-novels. He died in Paris in 1964.

Exhibitions

  • 1936: International Exhibition of Contemporary Photography, Paris
  • 1937: Exposition internationale des arts et des techniques dans la vie moderne. Paris; solo exhibition Gaston Paris, 27, boulevard des Italiens, Paris[3]
  • 1937 Exposition internationale des arts et des techniques dans la vie moderne. Paris; Présentation Photographique du Concours Scolaire; Photos by Gaston Paris[3]
  • 2012/13, 17 October – 14 Janurary: Here is Paris: photographic modernities, 1920-1950: the Christian Bouqueret collection. Pompidou Centre, Graphic Art Gallery and Museum Gallery[12]
  • 2019, 23 March – 30 June: Reiss-Engelhorn-Museen, Mannheim.[13]
  • 2022, 19 January–18 April: Gaston Paris, Reporter, Centre Pompidou, Paris[14]
  • 2022, 20 January – 23 April: Gaston Paris, the fantastic eye, Roger-Viollet Gallery, 6 Rue de Seine, 75006 Paris[6][15]

Collections

  • Roger-Viollet Agency[6]
  • Bibliothèque Historique de la Ville de Paris[6]

Publications about

  • Reiss-Engelhorn-Museen (Mannheim, Allemagne); et al. Gaston Paris : die unersättliche Kamera, Köln : Buchhandlung Walther König, 2019.

References

  1. ^ Leenaerts, Danielle (2010). Petite histoire du magazine Vu (1928-1940): entre photographie d'information et photographie d'art (in French). Bruxelles; New York: PIE Peter Lang. pp. 100, 182. ISBN 978-90-5201-585-9. OCLC 669631609.
  2. ^ "81-La Revue du Médecin n°5 - ArtetMedecine". collections.museeniepce.com. Retrieved 2022-01-18.
  3. ^ a b c Exposition internationale (24 December 1937). Exposition internationale des arts et des techniques dans la vie moderne. Paris, 1937 Vol.I List of Exhibitors official aatalogue. Volume II. Catalogue of venues. Paris: M. Déchaux : R. Stenger, 3, rue de Bruxelles, (S. M.).
  4. ^ Cannon, James (2016). The Paris Zone A Cultural History, 1840-1944. Routledge. pp. XI, 145. ISBN 978-1-315-55480-8. OCLC 7390553469.
  5. ^ "musée Nicéphore Niépce - Willy Rizzo". en.museeniepce.com. Retrieved 2022-01-18.
  6. ^ a b c d "Photography Exhibition - Roger-Viollet Gallery: Gaston Paris, The Fantastic Eye". The Eye of Photography Magazine. Retrieved 2022-01-18.
  7. ^ Sichel, Kim (2020). Making strange the modernist photobook in France. p. 137. ISBN 978-0-300-24618-6. OCLC 1157343537.
  8. ^ Cadé, M. (2018). Le Front populaire au cinéma. Vingtième Siècle. Revue d'histoire, (138), 189-191
  9. ^ Lacretelle, Jacques de (1945). La Libération de Paris: 150 photographies (in French). Paris: Ed. Fasquelle. OCLC 407069891.
  10. ^ Bishop, Cécile (2018-07-19). "PHOTOGRAPHY, RACE AND INVISIBILITY". photographies. 11 (2–3): 193–213. doi:10.1080/17540763.2018.1457560. ISSN 1754-0763.
  11. ^ Lupo, Georges; Paris, Gaston (1948). Levée d'Écrou (in French). Paris; (Sceaux: A. Bonne ; Impr. de Sceaux). OCLC 461479008.
  12. ^ Bajac, Quentin; Chéroux, Clément (2012). Voici Paris: modernités photographiques, 1920-1950 : la collection Christian Bouqueret : ouvrage publié à l'occasion de l'exposition présentée au Centre Pompidou, Galerie d'art graphique et Galerie du musée, du 17 octobre 2012 au 14 janvier 2013 (in French). Paris: Centre Pompidou. ISBN 978-2-84426-584-5. OCLC 852717277.
  13. ^ Reiss-Engelhorn-Museen (2019). Gaston Paris: die unersättliche Kamera (in German). Köln: Verlag der Buchhandlung Walther König. ISBN 978-3-96098-569-3. OCLC 1263196302.
  14. ^ "January highlights". Apollo: The International Magazine for Collectors. 195 (704): 16–17. January 2022.
  15. ^ Desveaux, Delphine (2018-10-15). "Constitution d'une collection, pratiques, circuit des tirages photographiques et conventionnement, le point de vue d'une agence photographique historique, Roger-Viollet (1938-2005)". In Situ. Revue des patrimoines (in French) (36). doi:10.4000/insitu.18093. ISSN 1630-7305.
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