"Proust: In The Power Of Photography" 2001 Brassai

"Proust: In The Power Of Photography" 2001 BrassaiBrassai[140] pp. The University of Chicago Press20017 3 4" x 6 3 8" Fine Fine Scroll Down for (11) Additional Scans: Includes a group of 16 black and white photographs by Brassai. Translated by Richard Howard One of the most original and memorable photographers of the twentieth century, Brassa 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

Brassai

[140] pp.

The University of Chicago Press

2001

7 3/4" x 6 3/8"

Fine/ Fine

Scroll Down for (11) Additional Scans:

Includes a group of 16 black and white photographs by Brassai.

Translated by Richard Howard

One of the most original and memorable photographers of the twentieth century, Brassaï 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, Brassaï began teaching himself French by reading Proust. Captured by the sensuality and visual strategies of Proust’s writing, Brassaï soon became convinced that he had discovered a kindred spirit. Brassaï 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, Brassaï 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. Brassaï 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 Brassaï’s High Society series and offers a rare glimpse into two of France’s most fascinating artistic minds.