Jean-Philippe Charbonnier: Difference between revisions
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On return to France in 1944, Charbonnier photographed the execution of a Nazi collaborator. In 1948, he became the chief typesetter for ''Liberation'', and went on to work for such magazines as [[France Dimanche]] and Point de Vue. In 1950, he was appointed reporter for the magazine [[Réalités (French magazine)|Réalités]],<ref>Mondenard, Anne de & Guerrin, Michel & Maison européenne de la photographie (Paris, France) (2008). ''Réalités : un mensuel français illustré (1946-1978)''. Actes sud ; Paris : Maison européenne de la photographie, Arles</ref> specializing in stories of French everyday life, but also travelling the world for the magazine. He photographed in China as early as 1955, then in Moscow during the [[Cold War]], as well as [[Kuwait]], the former French Equatorial Africa, and Alaska. He decided to leave the magazine Realities in 1974 to concentrate on his Paris neighborhood of Notre-Dame de Paris and produced extended essays on its precinct. |
On return to France in 1944, Charbonnier photographed the execution of a Nazi collaborator. In 1948, he became the chief typesetter for ''Liberation'', and went on to work for such magazines as [[France Dimanche]] and Point de Vue. In 1950, he was appointed reporter for the magazine [[Réalités (French magazine)|Réalités]],<ref>Mondenard, Anne de & Guerrin, Michel & Maison européenne de la photographie (Paris, France) (2008). ''Réalités : un mensuel français illustré (1946-1978)''. Actes sud ; Paris : Maison européenne de la photographie, Arles</ref> specializing in stories of French everyday life, but also travelling the world for the magazine. He photographed in China as early as 1955, then in Moscow during the [[Cold War]], as well as [[Kuwait]], the former French Equatorial Africa, and Alaska. He decided to leave the magazine Realities in 1974 to concentrate on his Paris neighborhood of Notre-Dame de Paris and produced extended essays on its precinct. |
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Like [[Walker Evans]] in the US, his [[Humanism|humanist]] images are 'straight', or [[realism|realist]]. This quality in his work was recognised with inclusion amongst Edith Gérin, Janine Niépce and [[Sabine Weiss]], Marcel Bovis, René-Jacques, Jean Dieuzaide, Jean Marquis, Leon Herschtritt, Jean-Louis Swiners, Eric Schwab, and André Papillon in the exhibition 'Humanist photography, 1945-1968 at the National Library of France October 31, 2006 to January 28, 2007. Humanist photography, as it became known in France, though never a formal group or movement, was a post-war movement that helped build a French national identity and iconography, both its picturesque places and its social clichés, but also denounced the harsh realities of the period; the move to the cities and growth of the urban working class, poverty, lack of housing and the fear of the Cold War. Like his colleagues, Charbonnier identified closely with the ''classe populaire'' and focused on the worker, as exemplified by his image ''Miner being washed by his wife'', 1954.<ref>Hall, Stuart (1997) ''Representation: Cultural Representations and Signifying Practices''. SAGE, pps.137-140</ref> |
Like [[Walker Evans]] in the US, his [[Humanism|humanist]] images are 'straight', or [[realism|realist]]. This quality in his work was recognised with inclusion amongst Edith Gérin, Janine Niépce and [[Sabine Weiss]], Marcel Bovis, René-Jacques, Jean Dieuzaide, Jean Marquis, Leon Herschtritt, Jean-Louis Swiners, Eric Schwab, and André Papillon in the exhibition 'Humanist photography, 1945-1968 at the National Library of France October 31, 2006 to January 28, 2007. Humanist photography, as it became known in France, though never a formal group or movement, was a post-war movement that helped build a French national identity and iconography, both its picturesque places and its social clichés, but also denounced the harsh realities of the period; the move to the cities and growth of the urban working class, poverty, lack of housing and the fear of the Cold War. Like his colleagues, Charbonnier identified closely with the ''classe populaire'' and focused on the worker, as exemplified by his image ''Miner being washed by his wife'', 1954.<ref>Hall, Stuart (1997) ''Representation: Cultural Representations and Signifying Practices''. SAGE, pps.137-140</ref> One of his stories for Réalités in which he employed an objective point of view exposed conditions in a mental hospital that are a valuable document today in gauging the progress of psychiatric treatment.<ref>"This photograph of Jean-Philippe Charbonnier is part of a report made on psychiatric hospitals for the Realities magazine in 1954. This document illustrates vividly the situation of people hospitalized for mental problems at that time and captures the progress since." Jeffrey S. Nevid, Spencer Rathus, Beverly Greene (2009) ''Psychopathologie'' Pearson Education France, 28 Aug 2009</ref> |
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==Commercial Photography== |
==Commercial Photography== |
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Revision as of 07:53, 23 June 2015
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Jean-Philippe Charbonnier (August 28, 1921 – May 28, 2004) was a French photographer.
Early life
Jean-Philippe Charbonnier was born into a family of artists and intellectuals. His mother, Annette Vaillant was a writer and daughter of d'Alfred Natanson a.k.a. Alfred Athis, a founder of the Revue Blanche, and actress Martha Mellot; his father, Pierre Charbonnier, was a painter. In 1939, when he was studying German, Jean-Philippe received a camera and, inspired to become a photographer, he discontinued his studies to work in the movie star portrait studio of Sam Levin. He left his hometown to go to Lyon, Marseille and Toulon, then went into exile in neutral Switzerland during the Second World War, where he met with Jean Manevy who instructed him in the art of typography and journalism.
Photojournalism
On return to France in 1944, Charbonnier photographed the execution of a Nazi collaborator. In 1948, he became the chief typesetter for Liberation, and went on to work for such magazines as France Dimanche and Point de Vue. In 1950, he was appointed reporter for the magazine Réalités,[1] specializing in stories of French everyday life, but also travelling the world for the magazine. He photographed in China as early as 1955, then in Moscow during the Cold War, as well as Kuwait, the former French Equatorial Africa, and Alaska. He decided to leave the magazine Realities in 1974 to concentrate on his Paris neighborhood of Notre-Dame de Paris and produced extended essays on its precinct.
Like Walker Evans in the US, his humanist images are 'straight', or realist. This quality in his work was recognised with inclusion amongst Edith Gérin, Janine Niépce and Sabine Weiss, Marcel Bovis, René-Jacques, Jean Dieuzaide, Jean Marquis, Leon Herschtritt, Jean-Louis Swiners, Eric Schwab, and André Papillon in the exhibition 'Humanist photography, 1945-1968 at the National Library of France October 31, 2006 to January 28, 2007. Humanist photography, as it became known in France, though never a formal group or movement, was a post-war movement that helped build a French national identity and iconography, both its picturesque places and its social clichés, but also denounced the harsh realities of the period; the move to the cities and growth of the urban working class, poverty, lack of housing and the fear of the Cold War. Like his colleagues, Charbonnier identified closely with the classe populaire and focused on the worker, as exemplified by his image Miner being washed by his wife, 1954.[2] One of his stories for Réalités in which he employed an objective point of view exposed conditions in a mental hospital that are a valuable document today in gauging the progress of psychiatric treatment.[3]
Commercial Photography
In the 1960s, he turned to commercial photography, working for large companies such as Carrefour and Renault, freelancing for the Ministry of Labour and the World Health Organisation. He taught at the ESAG and in England.
Recognition and legacy
Today Charbonnier's photographs are historical documents showing us the transformation of French society between 1945 and 2004.
In 1970, at the invitation of Michel Tournier, Charbonnier participated in the first Rencontres d'Arles as a guest of honor, and was included in the exhibition Brihat Denis, Jean-Philippe Charbonnier, Jean-Pierre Sudre curated by Tournier.
Jean-Philippe Charbonnier married Agathe Gaillard, and in 1975 they open the first photography gallery in Paris,[citation needed] the Agathe Gaillard Gallery. Today, the gallery still exists.
Charbonnier died in Grasse on May 28, 2004.
References
- ^ Mondenard, Anne de & Guerrin, Michel & Maison européenne de la photographie (Paris, France) (2008). Réalités : un mensuel français illustré (1946-1978). Actes sud ; Paris : Maison européenne de la photographie, Arles
- ^ Hall, Stuart (1997) Representation: Cultural Representations and Signifying Practices. SAGE, pps.137-140
- ^ "This photograph of Jean-Philippe Charbonnier is part of a report made on psychiatric hospitals for the Realities magazine in 1954. This document illustrates vividly the situation of people hospitalized for mental problems at that time and captures the progress since." Jeffrey S. Nevid, Spencer Rathus, Beverly Greene (2009) Psychopathologie Pearson Education France, 28 Aug 2009
References
- www.luminous-lint.com
- Photosapiens Template:Fr icon
- Reporters sans Frontieres Template:Fr icon
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