Photos - Fotos: Robert Doisneau - Part 1 - Data (Espanol-English) - 17 images - Links
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Robert Doisneau [ʁobeʁ' dwano'] (* Gentilly, cerca de París, 14 de abril de 1912 - París, 1 de abril de 1994) fue un fotógrafo francés.
Los inicios
Recibió la formación de grabador litográfico y tipógrafo en París. En 1929 comienza a realizar sus primeras fotografías aprendiendo de forma autodidacta y leyendo las instrucciones de las cajas de emulsión para revelar. Comenzó a trabajar en un estudio fotográfico que posteriormente compraría al morir su dueño. En 1931 comienza a trabajar con el artista André Vigneau gracias a sus conocimientos como grabador, éste le introduce en el mundo de la fotografía como arte. En una entrevista con El País Semanal en 1991 contaba "Cuando yo empecé, nadie conocía a nadie. No había revistas que difundieran la obra de los fotógrafos más interesantes. Por eso la única persona que me influyó fue Vigneau. Era formidable: escultor, pintor, fotógrafo". En esta época también descubriría a Man Ray.
Inicialmente trabajó como fotógrafo industrial y de publicidad en la factoría de Renault de Billancourt hasta ser despedido por sus repetidas ausencias, según sus palabras "desobedecer me parecía una función vital y no me privé de hacerlo". De los objetos inanimados pasó a las fotografías de gente en París y Gentilly. El 25 de septiembre de 1932, L'Excelsior publica su primera fotografía. La crisis de los años treinta le afectó, debiendo pasar una larga temporada sin encargos. Vivió en Montrouge desde 1937 hasta su muerte. El 25 de septiembre de 1993. Doisneau tomó su última foto. El 1 de abril de 1994, a la edad de 81 años, murió.
Guerra y posguerra
Participó como soldado en la Resistencia Francesa durante la II Guerra Mundial hasta que fue desmovilizado en 1940. Son tiempos penosos en los que realiza fotografías de científicos por encargo y no deja de retratar la ocupación y la liberación de París. Terminada la guerra, es contratado por la agencia ADEP y trabaja junto con Henri Cartier-Bresson y Robert Capa, reflejando la alegría y la jovialidad de la ciudad de París tras la desgracia. Desde 1945 colabora con Le Point y se integra de por vida en la agencia Rapho, retratando, entre otros, a Pablo Picasso. Todo su trabajo, fuera de los encomendados, siguió centrándose en la vida pública y situando a sus personajes en un ámbito cotidiano "Mi foto es la del mundo tal y como deseo que sea" [1].
El latido de París
Con Robert Giraud se abre a la vida nocturna de la capital: jazz, cafés y el arte alternativo. Recorre Montparnasse y Saint-Germain-des-Prés donde se encontrará con Jean Paul Sartre, Albert Camus y Jean Cocteau entre otros. Es su modo de escapar del mundo artificial de 'Vogue'.
En 1950, Doisneau buscaba material para cumplir con un encargo de la revista estadounidense America´s Life, interesada en los enamorados de París. De ahí saldrá la serie Besos y su obra más significativa: El beso. La fotografía muestra de forma misteriosa una pareja besándose frente al ayuntamiento de París.
Muchos pensaron que era una fotografía espontánea que el autor había tomado en las calles parisinas. Sin embargo, años después se supo que la pareja estaba formada por los estudiantes de arte dramático, Françoise Bornet y Jacques Carteaud de los Cursos Simon. El artista que les haría anónimamente famosos les descubrió en un café parisiense y ambos aceptaron posar delante de su objetivo dándose un apasionado beso en mitad del tumulto de la ciudad. La foto se convirtió en un icono reconocido en todo el planeta. El trabajo recorría toda Francia y Estados Unidos con gran éxito, y le abriría las puertas en el extranjero. En 1951 expone en el Museo de Arte Moderno de Nueva York. Es un beso que simbolizó una multitud de cosas: el amor, París como ciudad romántica y representó una época de exaltación del sentimiento. También se convirtió en objeto que aportó jugosas ganancias: aún hoy el famoso beso vende cientos de miles de copias anuales.
En 1953 abandona Vogue, sufriendo el eclipse de la fotografía y de los fotógrafos de la posguerra en la década de 1960.
No será hasta 1979 cuando Claude Nori rescate a Doisneau publicando una retrospectiva de su obra en Tres segundos de eternidad.
Rehabilitado para el mundo del arte, en la década de 1980 recorre Asia, con exposiciones multitudinarias en Pekín, Tokio y Kioto, además de en Roma y en el Museo de Arte Moderno de Oxford.
En 1993 "El Beso" fue llevado a juicio. Una pareja afirmaba haberse reconocido en la imagen y reclamaban su porción del pastel. Por aquel entonces, empezaron a aparecer mujeres y hombres asegurando ser los amantes de la obra y planteando demandas de derecho de imagen, aquella mentira que hacía creer que era una instantánea improvisada no pudo mantenerse. El fotógrafo ganó el juicio al presentar como prueba la serie completa de fotos tomadas en distintos puntos de París con la misma pareja. La había encontrado en un café cerca de la escuela de teatro y les había propuesto posar para la foto. Françoise Bornet, la protagonista real de la foto junto a su novio de entonces, Jacques Carteraud, decidió descubrir su secreto: quería un porcentaje de las ganancias. Otra vez Doisneau ganó en los estrados: pudo comprobar que había pagado el trabajo de Bornet y su compañero. La pareja vendió la copia de su foto que le regaló Doisneau a un coleccionista suizo que pagó por ella 155.000€ en 1992. M ás tarde, reconocería el propio autor: "No es una foto fea, pero se nota que es fruto de una puesta en escena, que se besan para mi cámara."
Al fotógrafo se le han dedicado más de un centenar de libros y varias películas. Del cartel de El beso se han vendido más de 500.000 ejemplares en todo el mundo y el 14 de abril de 2012, el sitio de búsquedas Google rindió homenaje con un significativo doodle.1
Publicaciones de obra gráfica
La Banlieue de Paris, 1949
Los parisinos tal como son, 1954
Instantáneas de París, 1956
Perros de París, 1956
Pour que Paris soit, 1956
Robert Doisneau, 1981
Filmografía
Películas dirigidas:
Les Visitants du Square, 1992.
Películas en las que fue director de fotografía:
El silencio es oro, 1947. (René Clair)
París 1900, 1947. (Nicole Védrès)
Disparad al pianista, 1960. (François Truffaut)
Un domingo en el campo, 1984. (Bertrand Tavernier)
Premios y galardones
Premio Kodak, 1947.
Premio Niepce, en 1956 y 1957.
Gran Premio Nacional de Fotografía en Francia, 1983.
Filmografía sobre Doisneau
Bonjour Monsieur Doisneau, 1992. De Jabine Azéma.
Doisneau des villes et Doisneau des champs, 1993. De Patrick Cazals.
Robert Doisneau tout simplement, 2000. De Patrick Jendy.
Complete en:
http://es.wikipedia.org/wiki/Robert_Doisneau
Los inicios
Recibió la formación de grabador litográfico y tipógrafo en París. En 1929 comienza a realizar sus primeras fotografías aprendiendo de forma autodidacta y leyendo las instrucciones de las cajas de emulsión para revelar. Comenzó a trabajar en un estudio fotográfico que posteriormente compraría al morir su dueño. En 1931 comienza a trabajar con el artista André Vigneau gracias a sus conocimientos como grabador, éste le introduce en el mundo de la fotografía como arte. En una entrevista con El País Semanal en 1991 contaba "Cuando yo empecé, nadie conocía a nadie. No había revistas que difundieran la obra de los fotógrafos más interesantes. Por eso la única persona que me influyó fue Vigneau. Era formidable: escultor, pintor, fotógrafo". En esta época también descubriría a Man Ray.
Inicialmente trabajó como fotógrafo industrial y de publicidad en la factoría de Renault de Billancourt hasta ser despedido por sus repetidas ausencias, según sus palabras "desobedecer me parecía una función vital y no me privé de hacerlo". De los objetos inanimados pasó a las fotografías de gente en París y Gentilly. El 25 de septiembre de 1932, L'Excelsior publica su primera fotografía. La crisis de los años treinta le afectó, debiendo pasar una larga temporada sin encargos. Vivió en Montrouge desde 1937 hasta su muerte. El 25 de septiembre de 1993. Doisneau tomó su última foto. El 1 de abril de 1994, a la edad de 81 años, murió.
Guerra y posguerra
Participó como soldado en la Resistencia Francesa durante la II Guerra Mundial hasta que fue desmovilizado en 1940. Son tiempos penosos en los que realiza fotografías de científicos por encargo y no deja de retratar la ocupación y la liberación de París. Terminada la guerra, es contratado por la agencia ADEP y trabaja junto con Henri Cartier-Bresson y Robert Capa, reflejando la alegría y la jovialidad de la ciudad de París tras la desgracia. Desde 1945 colabora con Le Point y se integra de por vida en la agencia Rapho, retratando, entre otros, a Pablo Picasso. Todo su trabajo, fuera de los encomendados, siguió centrándose en la vida pública y situando a sus personajes en un ámbito cotidiano "Mi foto es la del mundo tal y como deseo que sea" [1].
El latido de París
Con Robert Giraud se abre a la vida nocturna de la capital: jazz, cafés y el arte alternativo. Recorre Montparnasse y Saint-Germain-des-Prés donde se encontrará con Jean Paul Sartre, Albert Camus y Jean Cocteau entre otros. Es su modo de escapar del mundo artificial de 'Vogue'.
En 1950, Doisneau buscaba material para cumplir con un encargo de la revista estadounidense America´s Life, interesada en los enamorados de París. De ahí saldrá la serie Besos y su obra más significativa: El beso. La fotografía muestra de forma misteriosa una pareja besándose frente al ayuntamiento de París.
Muchos pensaron que era una fotografía espontánea que el autor había tomado en las calles parisinas. Sin embargo, años después se supo que la pareja estaba formada por los estudiantes de arte dramático, Françoise Bornet y Jacques Carteaud de los Cursos Simon. El artista que les haría anónimamente famosos les descubrió en un café parisiense y ambos aceptaron posar delante de su objetivo dándose un apasionado beso en mitad del tumulto de la ciudad. La foto se convirtió en un icono reconocido en todo el planeta. El trabajo recorría toda Francia y Estados Unidos con gran éxito, y le abriría las puertas en el extranjero. En 1951 expone en el Museo de Arte Moderno de Nueva York. Es un beso que simbolizó una multitud de cosas: el amor, París como ciudad romántica y representó una época de exaltación del sentimiento. También se convirtió en objeto que aportó jugosas ganancias: aún hoy el famoso beso vende cientos de miles de copias anuales.
En 1953 abandona Vogue, sufriendo el eclipse de la fotografía y de los fotógrafos de la posguerra en la década de 1960.
No será hasta 1979 cuando Claude Nori rescate a Doisneau publicando una retrospectiva de su obra en Tres segundos de eternidad.
Rehabilitado para el mundo del arte, en la década de 1980 recorre Asia, con exposiciones multitudinarias en Pekín, Tokio y Kioto, además de en Roma y en el Museo de Arte Moderno de Oxford.
En 1993 "El Beso" fue llevado a juicio. Una pareja afirmaba haberse reconocido en la imagen y reclamaban su porción del pastel. Por aquel entonces, empezaron a aparecer mujeres y hombres asegurando ser los amantes de la obra y planteando demandas de derecho de imagen, aquella mentira que hacía creer que era una instantánea improvisada no pudo mantenerse. El fotógrafo ganó el juicio al presentar como prueba la serie completa de fotos tomadas en distintos puntos de París con la misma pareja. La había encontrado en un café cerca de la escuela de teatro y les había propuesto posar para la foto. Françoise Bornet, la protagonista real de la foto junto a su novio de entonces, Jacques Carteraud, decidió descubrir su secreto: quería un porcentaje de las ganancias. Otra vez Doisneau ganó en los estrados: pudo comprobar que había pagado el trabajo de Bornet y su compañero. La pareja vendió la copia de su foto que le regaló Doisneau a un coleccionista suizo que pagó por ella 155.000€ en 1992. M ás tarde, reconocería el propio autor: "No es una foto fea, pero se nota que es fruto de una puesta en escena, que se besan para mi cámara."
Al fotógrafo se le han dedicado más de un centenar de libros y varias películas. Del cartel de El beso se han vendido más de 500.000 ejemplares en todo el mundo y el 14 de abril de 2012, el sitio de búsquedas Google rindió homenaje con un significativo doodle.1
Publicaciones de obra gráfica
La Banlieue de Paris, 1949
Los parisinos tal como son, 1954
Instantáneas de París, 1956
Perros de París, 1956
Pour que Paris soit, 1956
Robert Doisneau, 1981
Filmografía
Películas dirigidas:
Les Visitants du Square, 1992.
Películas en las que fue director de fotografía:
El silencio es oro, 1947. (René Clair)
París 1900, 1947. (Nicole Védrès)
Disparad al pianista, 1960. (François Truffaut)
Un domingo en el campo, 1984. (Bertrand Tavernier)
Premios y galardones
Premio Kodak, 1947.
Premio Niepce, en 1956 y 1957.
Gran Premio Nacional de Fotografía en Francia, 1983.
Filmografía sobre Doisneau
Bonjour Monsieur Doisneau, 1992. De Jabine Azéma.
Doisneau des villes et Doisneau des champs, 1993. De Patrick Cazals.
Robert Doisneau tout simplement, 2000. De Patrick Jendy.
Complete en:
http://es.wikipedia.org/wiki/Robert_Doisneau
Robert Doisneau (French: [ʁɔbɛʁ dwano]; 14 April 1912 – 1 April 1994)[1] was a French photographer. In the 1930s he used a Leica on the streets of Paris. He and Henri Cartier-Bresson were pioneers of photojournalism.[2] He is renowned for his 1950 image Le baiser de l'hôtel de ville (Kiss by the Town Hall), a photograph of a couple kissing in the busy streets of Paris. Doisneau was appointed a Chevalier (Knight) of the Legion of Honour in 1984.[1]
Photographic career
Doisneau was known for his modest, playful, and ironic images of amusing juxtapositions, mingling social classes, and eccentrics in contemporary Paris streets and cafes. Influenced by the work of André Kertész, Eugène Atget, and Henri Cartier-Bresson, in more than twenty books he presented a charming vision of human frailty and life as a series of quiet, incongruous moments.
“ The marvels of daily life are so exciting; no movie director can arrange the unexpected that you find in the street. – Robert Doisneau ”
Doisneau's work gives unusual prominence and dignity to children's street culture; returning again and again to the theme of children at play in the city, unfettered by parents. His work treats their play with seriousness and respect.[citation needed]
Early life
Doisneau's father, a plumber, died in active service in World War I when Robert was about four. His mother died when he was seven. He then was raised by an unloving aunt.[1][3]
At thirteen he enrolled at the École Estienne, a craft school from which he graduated in 1929 with diplomas in engraving and lithography. There he had his first contact with the arts, taking classes in figure drawing and still life.
When he was 16 he took up amateur photography, but was reportedly so shy that he started by photographing cobble-stones before progressing to children and then adults.[3]
At the end of the 1920s Doisneau found work as a draughtsman (lettering artist) in the advertising industry at Atelier Ullmann (Ullmann Studio), a creative graphics studio that specialised in the pharmaceutical industry. Here he took an opportunity to change career by also acting as camera assistant in the studio and then becoming a staff photographer.[3][4][5]
Photography in the 1930s
In 1931 he left both the studio and advertising, taking a job as an assistant with the modernist photographer André Vigneau.[3][4][5]
In 1932 he sold his first photographic story to Excelsior magazine.[1]
In 1934 he began working as an industrial advertising photographer for the Renault car factory at Boulogne-Billancourt.[3] Working at Renault increased Doisneau’s interest in working with photography and people. In 1991 he admitted that the years at the Renault car factory marked “the beginning of his career as a photographer and the end of his youth.” Five years later, in 1939, he was fired because he was constantly late. He was forced to try freelance advertising, engraving, and postcard photography to earn his living. At that time the French postcard industry was the largest in Europe, postcards served as greetings cards as well as vacation souvenirs.[6]
In 1939 he was hired by Charles Rado of the Rapho photographic agency and travelled throughout France in search of picture stories. This is where he took his first professional street photographs.
War service and resistance
Doisneau worked at the Rapho agency until the outbreak of World War II, whereupon he was drafted into the French army as both a soldier and photographer. He was in the army until 1940 and from then until the end of the war in 1945 used his draughtsmanship, lettering artistry, and engraving skills to forge passports and identification papers for the French Resistance.
Post-war photography
Doisneau (left) and André Kertész in 1975, by Wolfgang H. Wögerer, at Arles
Some of Doisneau's most memorable photographs were taken after the war. He returned to freelance photography and sold photographs to Life and other international magazines. He briefly joined the Alliance Photo Agency but rejoined the Rapho agency in 1946 and remained with them throughout his working life, despite receiving an invitation from Henri Cartier-Bresson to join Magnum Photos.[1][6]
His photographs never ridiculed the subjects; thus he refused to photograph women whose heads had been shaved as punishment for sleeping with Germans.[3]
“ I don't photograph life as it is, but life as I would like it to be. – Robert Doisneau[3] ”
In 1948 he was contracted by Vogue to work as a fashion photographer. The editors believed he would bring a fresh and more casual look the magazine but Doisneau didn’t enjoy photographing beautiful women in elegant surroundings; he preferred street photography. When he could escape from the studio, he photographed ever more in the streets of Paris.
Group XV was established in 1946 in Paris to promote photography as art and drawing attention to the preservation of French photographic heritage. Doisneau joined the Group in 1950 and participated alongside Rene-Jacques, Willy Ronis, and Pierre Jahan.
The 1950s were Doisneau's peak, but the 1960s were his wilderness years. In the 1970s Europe began to change and editors looked for new reportage that would show the sense of a new social era. All over Europe, the old-style picture magazines were closing as television received the public's attention. Doisneau continued to work, producing children's books, advertising photography, and celebrity portraits including Alberto Giacometti, Jean Cocteau, Fernand Léger, Georges Braque, and Pablo Picasso.
Doisneau worked with writers and poets such as Blaise Cendrars and Jacques Prévert, and he credited Prevert with giving him the confidence to photograph the everyday street scenes that most people simply ignored.[1]
Le baiser de l'hôtel de ville (The Kiss)
In 1950 Doisneau created his most recognizable work for Life – Le baiser de l'hôtel de ville (Kiss by the Hôtel de Ville), a photograph of a couple kissing in the busy streets of Paris,[7] which became an internationally recognised symbol of young love in Paris. The identity of the couple remained a mystery until 1992.[8]
Jean and Denise Lavergne erroneously believed themselves to be the couple in The Kiss, and when Robert and Annette Doisneau (his older daughter and also his assistant at the time) met them for lunch in the 1980s he "did not want to shatter their dream" so he said nothing. This resulted in them taking him to court for "taking their picture without their knowledge", because under French law an individual owns the rights to their own likeness. The court action forced Doisneau to reveal that he posed the shot using Françoise Delbart and Jacques Carteaud, lovers whom he had just seen kissing, but had not photographed initially because of his natural reserve; he approached them and asked if they would repeat the kiss. He won the court case against the Lavergnes.[1][3][9][10] Doisneau said in 1992, "I would never have dared to photograph people like that. Lovers kissing in the street, those couples are rarely legitimate."[8][9]
The couple in Le baiser were Françoise Delbart, 20, and Jacques Carteaud, 23, both aspiring actors. In 2005 Françoise Bornet (née Delbart) stated that, "He told us we were charming, and asked if we could kiss again for the camera. We didn't mind. We were used to kissing. We were doing it all the time then, it was delicious. Monsieur Doisneau was adorable, very low key, very relaxed." They posed at the Place de la Concorde, the Rue de Rivoli and finally the Hôtel de Ville. The photograph was published in the 12 June 1950, issue of Life.[10] The relationship between Delbart and Carteaud only lasted for nine months.[9] Delbart continued her acting career, but Carteaud gave up acting to become a wine producer.[8]
In 1950 Françoise Bornet was given an original print of the photograph, bearing Doisneau's signature and stamp, as part of the payment for her "work". In April 2005 she sold the print at auction for €155,000 to an unidentified Swiss collector via the Paris auctioneers Artcurial Briest-Poulain-Le Fur.[3][8][11]
Personal life
In 1936 Doisneau married Pierrette Chaumaison whom he had met in 1934 when she was cycling through a village where he was on holiday. They had two daughters, Annette (b. 1942) and Francine (b. 1947). From 1979 until his death, Annette worked as his assistant.[3]
His wife died in 1993 suffering from Alzheimer's disease and Parkinson's disease. Doisneau died six months later in 1994, having had a triple heart bypass and suffering from acute pancreatitis. Annette said "We won in the courts (re: The Kiss), but my father was deeply shocked. He discovered a world of lies, and it hurt him. 'The Kiss' ruined the last years of his life. Add that to my mother suffering from Alzheimer's and Parkinson's, and I think it's fair to say he died of sadness."[3]
Doisneau was in many ways a shy and humble man, similar to his photography, still delivering his own work at the height of his fame. He chastised Francine for charging an "indecent" daily fee of £2,000 for his work on a beer advertising campaign – he wanted only the rate of an "artisan photographer".[3]
“ Maybe if I were 20, success would change me. But now I'm a dinosaur of photography. – Robert Doisneau[3] ”
He lived in southern Paris (Gentilly, Val-de-Marne, Montrouge, and the 13th arrondissement) throughout his life. He is buried in the cemetery at Raizeux beside his wife.
Awards and commemoration
Collège Robert Doisneau, chemin de la Vieille Montagne de Clichy, Paris
Lycée Robert Doisneau de Corbeil-Essonnes (91)
Robert Doisneau was appointed a Chevalier of the Order of the Legion of Honour in 1984.[1]
He won several awards throughout his life, including:
the Balzac Prize in 1986 (Honoré de Balzac)
the Grand Prix National de la Photographie in 1983
the Niépce Prize in 1956 (Nicéphore Niépce)
the Kodak Prize in 1947
A short film, "Le Paris de Robert Doisneau", was made in 1973.
In 1991 The Royal Photographic Society awarded Doisneau an Honorary Fellowship (HonFRPS) which is given to distinguished persons having, from their position or attainments, an intimate connection with the science or fine art of photography of The Society.[12]
In 1992 the French actress and producer Sabine Azéma made the film Bonjour Monsieur Doisneau.
The Maison de la photographie Robert Doisneau in Gentilly, Val-de-Marne, is a photographic gallery named in his honour.
Several Ecole Primaire (primary schools) are named after him.[citation needed] 'Ecole élémentaire Robert Doisneau is at Véretz (Indre-et-Loire).[13]
The photography of Doisneau has had a revival since his death in 1994. Many of his portraits and photographs of Paris from the end of World War II through the 1950s have been turned into calendars and postcards, and have become icons of French life.
The Allée Robert Doisneau is named in his honour at the 'Parc de Billancourt' on the site of the old Renault factory at Boulogne-Billancourt where he didn't work.
Exhibitions
1947 Salon de la Photo, Bibliothèque, Paris [14]
1951 Exhibition with Brassaї, Willy Ronis, and Izis, Museum of Modern Art, New York [15]
1960 Solo Exhibition, Museum of Modern Art, Chicago.[14]
1965 Exhibition with Daniel Frasnay, Jean Lattès, Jeanine Niépce, Roger Pic, and Willy Ronis, Six Photographes et Paris, Musée des Arts Decoratifs, Paris; Exhibition with Henri Cartier-Bresson and André Vigneau, Musée Réattu, Arles; Solo Exhibition, Bibliothèque Nationale, Paris; Exhibition with D. Brihat, J. P. Sudre, and L. Clergue, Musée Cantini de Marseilles
1972 Solo Exhibition, International Museum of Photography at George Eastman House, Rochester, New York [16]
1972 Exhibition with Edouard Boubat, Brassaї, Henri Cartier-Bresson, Izis, and Willy Ronis, French Embassy, Moscow
1974 Solo Exhibition, University of California at Davis. Solo exhibition, Galerie du Château d’Eau, Toulouse
1975 Solo Exhibition, Witkin Gallery, New York; Musée Réattu Arts Décoratifs, Nantes; Musée Réattu, Arles
1975 Solo exhibition, Galerie et Fils, Brussels. Solo exhibition, fnac, Lyons; Group exhibition, Expression de l’humor, Boulogne Billancourt; Solo exhibition, Galerie Neugebauer, Basel
1976 Exhibition with Brassaї, Cartier-Bresson, Jean-Philippe Charbonnier, Izis, and Marc Riboud, Kraków
1977 Solo Exhibition, Brussels; Exhibition with Guy la Querrec, Carlos Freire, Claude Raimond-Dityvon, Bernard Descamps, and Jean Lattès, Six Photographes en quête de banlieue, Centre Georges Pompidou, Paris
1978 Solo Exhibition, Ne Bougeons plus, Galerie Agathe Gaillard, Paris; Solo exhibition, Witkin Gallery, New York; Solo exhibition, Musée Nicéphore Niépce, Charlon-sur-Saône
1979 Solo Exhibition, Paris, les passants qui passent, Musée d’Art Moderne de la Ville de Paris
1980 Solo Exhibition, Amsterdam
1981 Solo Exhibition, Witkin Gallery, New York [17]
1982 Solo Exhibition, Portraits, Foundation Nationale de la Photopraphie, Lyons; Solo exhibition, French Embassy, New York; Solo exhibition, Robert Doisneau, Photographe de banlieue, Town Hall, Gentilly
1982 Solo exhibition of 120 photographs, Palace of Fine Arts, Beijing, Exhibition of portraits, Tokyo; Solo exhibition, Robert Doisneau, Photographie du dimanche, Institut Lumière, Lyon
1986 Group Exhibition, De Vogue à femme, Rencontres Internationales de la Photographie d’Arles
1987 Solo Exhibition, St.-Denis, Musée de St.-Denis; Solo exhibition, The National Museum of Modern Art, Kyoto
1988 Solo Exhibition, A Homage to Robert Doisneau, Villa Medicis, Rome
1989 Solo Exhibition, Doisneau-Renault, Grande Halle de la Villette, Paris
1990 Solo Exhibition, La Science de Doisneau, Jardin des Plantes, Paris
1992 Solo Exhibition, Robert Doisneau: A Retrospective, Modern Art Oxford
1993 The Summerlee Heritage Trust, Coatbridge, Scotland; Royal Festival Hall, London; Manchester City Art Gallery; O Mes da Fotografie Festival, Convento do Beato, Lisbon, Portugal; Musée Carnavalet, Paris
1994 "Hommage à Robert Doisneau", festival des Rencontres d'Arles, France
1994 Musée d’Art Contemporain de Montréal, Canada; Galway Arts Centre, Ireland; Solo exhibition, A Homage to Robert Doisneau, Galerie du Château d’Eau à Toulouse; Solo exhibition, Doisneau 40/44, Centre d’Histoire de la Résistance et de la Déportation de Lyon, Lyon, France; Solo exhibition, Robert Doisneau ou la désobéissance, Ecomusée de Fresnais
1995 Museum of Modern Art, Oxford, England; Aberdeen Art Gallery, Scotland; The Mead Gallery, Warwick Arts Centre, Coventry
1996 Solo Exhibition, Montpellier Photo-Visions, Galerie Municipale de la Photographie; Isetan Museum of Art, Tokyo; Daimaru Museum, Osaka, Japan
2000 Exhibition, Gravités, Paris
2000 Exhibition, Galerie Claude Bernard, Paris [18]
2002 Exhibition, Museo Nacional de Bellas Artes, Santiago, Chile [19]
2003 Exhibition, Budapest, Hungary; Exhibition, Bucarest, Romania
2003 Exhibition, Galerie Claude Bernard, Paris [18]
2005 Solo Exhibition, Robert Doisneau from the Fictional to the Real, Bruce Silverstein Gallery, New York [20]
2005 Solo Exhibition, Robert Doisneau, Galerie Claude Bernard, Paris [21]
2010 Solo Exhibitions, Robert Doisneau, Du metier a l'oeuvre, Fondation Henri Cartier-Bresson, 2, Impasse Lebouis, 75014 Paris [22]
2010 Group Exhibition, Discoveries, Robert Doisneau, Bruce Silverstein Gallery, New York [23]
2010 Solo Exhibition, Robert Doisneau, the fisherman of images, the Space for Art of Caja Madrid Zaragoza, Aranjuez, Madrid [24]
2011 Group exhibition: Night, Robert Doisneau Bruce Silverstein Gallery, New York [25]
2014 exhibition : The moments that he loved, sangsangmadang, Seoul [26]
Publications
Paris délivré par son peuple. (From the People of Paris) – Paris: Braun: c.1944.
La Banlieue de Paris. (The Suburbs of Paris) – text by Blaise Cendrars. Paris: Éditions Pierre Seghers, 1949.
L'Enfant de Paris. (The Children of Paris) – text by Claude Roy. Neuchâtel: La Baconnière, 1951.
Sortilèges de Paris. (The magic of Paris) – text by François Cali. Paris: Arthaud, 1952.
Les Parisiens tels qu’ils sont. (The Parisians as they are.) – text by Robert Giraud and Michel Ragon. Paris: Delpire, 1954.
Instantanés de Paris. (Snapshots of Paris) – preface by Blaise Cendrars. Paris: Arthaud, 1955.
1, 2, 3, 4, 5, Compter en s’amusant. (Fun Counting) – Lausanne: La Guilde du Livre, 1955.
1, 2, 3, 4, 5. – text by Arthur Gregor. Philadelphia: Lippincott, 1956.
1, 2, 3, 4, 5. – text by Elsie May Harris. London: Nelson, 1962.
Pour que Paris soit. (This is Paris) – text by Elsa Triolet. Paris: Éditions Cercle d’Art, 1956.
Gosses de Paris. (Children of Paris) – text by Jean Dongués. Paris: Éditions Jeheber, 1956.
Robert Doisneau's Paris: 148 Photographs – text by Blaise Cendrars. New York: Simon & Schuster, 1956.
Paris Parade: 148 Photographs – London: Thames & Hudson, 1956.
Le ballet contre l'opéra. (The Ballet and The Opera) – Souillac, Lot: Mulhouse, 1956.
A.B.C. du dépannage. – N.p.: Société des pétroles Shell Berre, 1958.
Bistrots. (Bistros) – text by Robert Giraud. Le Point: Revue artistique et littéraire, 57. Souillac, Lot: Mulhouse, 1960.
Arabie, carrefour des siècles: Album. (Arabia, crossroads of the centuries. An album) – text by Jacques Benoist-Méchin. Lausanne: La Guilde du livre, 1961.
Nicolas Schöffer. – text by Guy Habasque and Jacques Ménétrier. Neuchâtel: Éditions du Griffon, 1962.
Cognac. – text by Georges Vial. Cognac: Rémy Martin, 1960 (?). (English)
Cognac. – text by Louise de Vilmorin. Paris: Rémy Martin, 1962. (French)
Marius, le forestier. (Marius, the forester. The working men) – text by Dominique Halévy. Les hommes travaillent. Paris: Éditions Fernand Nathan, 1964.
Henri Cartier-Bresson, Robert Doisneau, André Vigneau: Trois photographes français – Arles: Musée Réattu, 1965.
Catalogue of an exhibition at Musée Réattu of Doisneau, Henri Cartier-Bresson, and André Vigneau.
Épouvantables Épouvantails. (Appalling Scarecrows) – Paris: Éditions Hors Mesure, 1965.
Le Royaume d’argot. (The Kingdom of slang) – text by Robert Giraud. Paris: Denoël, 1966.
Catherine la danseuse. (Catherine – the dancer) – text by Michèle Manceaux. Paris: Éditions Fernand Nathan, 1966.
L'École polytechnique. (The Polytechnic) – Loos-lez-Lille: L. Danel, 1967.
L'Oeil objectif. (The eye is a lens) – Marseille: Musée Cantini, 1968.
Catalogue of an exhibition at Musée Cantini by Doisneau, Denis Brihat, Lucien Clergue, and Jean-Pierre Sudre.
Le Royaume secret du milieu. (The secret of the middle kingdom) – text by Robert Giraud. Paris: Éditions Planète, 1969.
My Paris – text by Chevalier, Maurice. Macmillan Publishers. New York. 1972
Le Paris de Robert Doisneau et Max-Pol Fouchet – Les éditeurs français réunis. France. 1974
L’Enfant à la Colombe. (The Child of the Dove) – text by Sage, James. Editions of the Oak. Paris. La Loire. Denoël. Paris. 1978
Le Mal de Paris. (The Evil of Paris) – text by Lépidis, Clément. Arthaud Publications. Paris. Trois Secondes d’éternité. Contrejour. Paris. 1979
Ballade pour Violoncelle et Chambre Noir. (A Song for a Cello and a dark room) – co-author: Baquet, Maurice. Herscher Editions. Paris. 1980
Robert Doisneau – text by Chevrier, Jean-François. Belfond Editions. Paris. 1981
Passages et Galeries du 19ème Siècle. (Passages and Galleries of the 19th Century) – text by Delvaille, Bernard. Éditions Baslland. Paris. 1982
Doisneau – Photopoche, Centre National de la Photographie. France. 1983
Paysages, Photographies. (Landscapes) – (mission photography for DATAR) Éditions Hazan. Paris. 1985
Un Certain Robert Doisneau – Editions of the Oak. Paris. 1986
Pour saluer Cendrars. (In honour of Cendrars) – text by Camilly, J. Actes Sud. Arles, France. 1987
60 portraits d/artists. (60 portraits of artists) – text by Petit, Jean. Hans Grieshaber Publications. Zürich. 1988
Doisneau. Quotations by Doisneau collected by Maisonneuve Andre – Éditions Hazan. Paris, France. 1988
Bonjour Monsieur Le Corbusier. (Hello Mr Le Corbusier) – text by Petit, Jean. Hans Grieshaber Publications. Zürich. 1988
A l’imparfait de l’objectif. (The imperfect object) – Belfond Editions. Paris. 1989
Les Doigts Pleins d’encre. (Fingers full of ink) – text by Cavanna. Hoëbeke Editions. Paris. 1989
La Science de Doisneau. (The Science of Robert Doisneau) – Hoëbeke Editions. Paris. 1990
Les Auvergnats. (People of the Auvergne) – (with Dubois, Jaques) Nathan Images. Paris. 1990
Lettres à un Aveugle sur des Photographies de Robert Doisneau. (Letters to a blind man about the Photographs of Robert Doisneau) – text by Roumette, Sylvain. 1990
Le Tout sur le tout/Le Temps qu’il fait. (All about the weather) – Paris. 1990
Le Vin des rues – text by Robert Giraud. Paris: Denoël, 1990.
Rue Jacques Prévert – Hoëbeke Editions. Paris, France. 1991
La Compagnie des Zincs – text by Carradec, François Carradec. Seghers. Paris. 1991
Les Grandes Vacances. (Summer vacation) – text by Pennac, Daniel. Hoëbeke Editions. Paris. 1992
Mes gens de Plume – Writings by Doisneau collected by Dubois, Y. Éditions La Martinière. France. 1992
Les Enfants de Germinal. (The children of Germinal) – text by Cavanna. Hoëbeke Editions. Paris. 1993 (See also Germinal (month) – the downfall)
Doisneau 40/44 – text by Ory, Pascal. Hoëbeke Editions. Paris. 1994
La Vie de Famille. (Family life) – text by Ory, Pascal. Hoëbeke Editions. Paris. 1994
Robert Doisneau ou la Vie d’un photographie. (Robert Doisneau – the life of a photographer – text by Hamilton, Peter. Hoëbeke Editions. Paris. 1995
Mes Parisiens. (My Parisians) – Nathan Publications. Paris. 1997
Palm Springs 1960. Paris: Flammarion. 2010. ISBN 978-2-08-030129-1. LCCN 2010442384. OCLC 491896174. (with forward by Jean-Paul Dubois)
Robert Doisneau, comme un barbare - text by André Pozner. Paris: Lux Editions, 2012. ISBN 978-2895961475.
Complete in:
http://en.wikipedia.org/wiki/Robert_Doisneau
Photographic career
Doisneau was known for his modest, playful, and ironic images of amusing juxtapositions, mingling social classes, and eccentrics in contemporary Paris streets and cafes. Influenced by the work of André Kertész, Eugène Atget, and Henri Cartier-Bresson, in more than twenty books he presented a charming vision of human frailty and life as a series of quiet, incongruous moments.
“ The marvels of daily life are so exciting; no movie director can arrange the unexpected that you find in the street. – Robert Doisneau ”
Doisneau's work gives unusual prominence and dignity to children's street culture; returning again and again to the theme of children at play in the city, unfettered by parents. His work treats their play with seriousness and respect.[citation needed]
Early life
Doisneau's father, a plumber, died in active service in World War I when Robert was about four. His mother died when he was seven. He then was raised by an unloving aunt.[1][3]
At thirteen he enrolled at the École Estienne, a craft school from which he graduated in 1929 with diplomas in engraving and lithography. There he had his first contact with the arts, taking classes in figure drawing and still life.
When he was 16 he took up amateur photography, but was reportedly so shy that he started by photographing cobble-stones before progressing to children and then adults.[3]
At the end of the 1920s Doisneau found work as a draughtsman (lettering artist) in the advertising industry at Atelier Ullmann (Ullmann Studio), a creative graphics studio that specialised in the pharmaceutical industry. Here he took an opportunity to change career by also acting as camera assistant in the studio and then becoming a staff photographer.[3][4][5]
Photography in the 1930s
In 1931 he left both the studio and advertising, taking a job as an assistant with the modernist photographer André Vigneau.[3][4][5]
In 1932 he sold his first photographic story to Excelsior magazine.[1]
In 1934 he began working as an industrial advertising photographer for the Renault car factory at Boulogne-Billancourt.[3] Working at Renault increased Doisneau’s interest in working with photography and people. In 1991 he admitted that the years at the Renault car factory marked “the beginning of his career as a photographer and the end of his youth.” Five years later, in 1939, he was fired because he was constantly late. He was forced to try freelance advertising, engraving, and postcard photography to earn his living. At that time the French postcard industry was the largest in Europe, postcards served as greetings cards as well as vacation souvenirs.[6]
In 1939 he was hired by Charles Rado of the Rapho photographic agency and travelled throughout France in search of picture stories. This is where he took his first professional street photographs.
War service and resistance
Doisneau worked at the Rapho agency until the outbreak of World War II, whereupon he was drafted into the French army as both a soldier and photographer. He was in the army until 1940 and from then until the end of the war in 1945 used his draughtsmanship, lettering artistry, and engraving skills to forge passports and identification papers for the French Resistance.
Post-war photography
Doisneau (left) and André Kertész in 1975, by Wolfgang H. Wögerer, at Arles
Some of Doisneau's most memorable photographs were taken after the war. He returned to freelance photography and sold photographs to Life and other international magazines. He briefly joined the Alliance Photo Agency but rejoined the Rapho agency in 1946 and remained with them throughout his working life, despite receiving an invitation from Henri Cartier-Bresson to join Magnum Photos.[1][6]
His photographs never ridiculed the subjects; thus he refused to photograph women whose heads had been shaved as punishment for sleeping with Germans.[3]
“ I don't photograph life as it is, but life as I would like it to be. – Robert Doisneau[3] ”
In 1948 he was contracted by Vogue to work as a fashion photographer. The editors believed he would bring a fresh and more casual look the magazine but Doisneau didn’t enjoy photographing beautiful women in elegant surroundings; he preferred street photography. When he could escape from the studio, he photographed ever more in the streets of Paris.
Group XV was established in 1946 in Paris to promote photography as art and drawing attention to the preservation of French photographic heritage. Doisneau joined the Group in 1950 and participated alongside Rene-Jacques, Willy Ronis, and Pierre Jahan.
The 1950s were Doisneau's peak, but the 1960s were his wilderness years. In the 1970s Europe began to change and editors looked for new reportage that would show the sense of a new social era. All over Europe, the old-style picture magazines were closing as television received the public's attention. Doisneau continued to work, producing children's books, advertising photography, and celebrity portraits including Alberto Giacometti, Jean Cocteau, Fernand Léger, Georges Braque, and Pablo Picasso.
Doisneau worked with writers and poets such as Blaise Cendrars and Jacques Prévert, and he credited Prevert with giving him the confidence to photograph the everyday street scenes that most people simply ignored.[1]
Le baiser de l'hôtel de ville (The Kiss)
In 1950 Doisneau created his most recognizable work for Life – Le baiser de l'hôtel de ville (Kiss by the Hôtel de Ville), a photograph of a couple kissing in the busy streets of Paris,[7] which became an internationally recognised symbol of young love in Paris. The identity of the couple remained a mystery until 1992.[8]
Jean and Denise Lavergne erroneously believed themselves to be the couple in The Kiss, and when Robert and Annette Doisneau (his older daughter and also his assistant at the time) met them for lunch in the 1980s he "did not want to shatter their dream" so he said nothing. This resulted in them taking him to court for "taking their picture without their knowledge", because under French law an individual owns the rights to their own likeness. The court action forced Doisneau to reveal that he posed the shot using Françoise Delbart and Jacques Carteaud, lovers whom he had just seen kissing, but had not photographed initially because of his natural reserve; he approached them and asked if they would repeat the kiss. He won the court case against the Lavergnes.[1][3][9][10] Doisneau said in 1992, "I would never have dared to photograph people like that. Lovers kissing in the street, those couples are rarely legitimate."[8][9]
The couple in Le baiser were Françoise Delbart, 20, and Jacques Carteaud, 23, both aspiring actors. In 2005 Françoise Bornet (née Delbart) stated that, "He told us we were charming, and asked if we could kiss again for the camera. We didn't mind. We were used to kissing. We were doing it all the time then, it was delicious. Monsieur Doisneau was adorable, very low key, very relaxed." They posed at the Place de la Concorde, the Rue de Rivoli and finally the Hôtel de Ville. The photograph was published in the 12 June 1950, issue of Life.[10] The relationship between Delbart and Carteaud only lasted for nine months.[9] Delbart continued her acting career, but Carteaud gave up acting to become a wine producer.[8]
In 1950 Françoise Bornet was given an original print of the photograph, bearing Doisneau's signature and stamp, as part of the payment for her "work". In April 2005 she sold the print at auction for €155,000 to an unidentified Swiss collector via the Paris auctioneers Artcurial Briest-Poulain-Le Fur.[3][8][11]
Personal life
In 1936 Doisneau married Pierrette Chaumaison whom he had met in 1934 when she was cycling through a village where he was on holiday. They had two daughters, Annette (b. 1942) and Francine (b. 1947). From 1979 until his death, Annette worked as his assistant.[3]
His wife died in 1993 suffering from Alzheimer's disease and Parkinson's disease. Doisneau died six months later in 1994, having had a triple heart bypass and suffering from acute pancreatitis. Annette said "We won in the courts (re: The Kiss), but my father was deeply shocked. He discovered a world of lies, and it hurt him. 'The Kiss' ruined the last years of his life. Add that to my mother suffering from Alzheimer's and Parkinson's, and I think it's fair to say he died of sadness."[3]
Doisneau was in many ways a shy and humble man, similar to his photography, still delivering his own work at the height of his fame. He chastised Francine for charging an "indecent" daily fee of £2,000 for his work on a beer advertising campaign – he wanted only the rate of an "artisan photographer".[3]
“ Maybe if I were 20, success would change me. But now I'm a dinosaur of photography. – Robert Doisneau[3] ”
He lived in southern Paris (Gentilly, Val-de-Marne, Montrouge, and the 13th arrondissement) throughout his life. He is buried in the cemetery at Raizeux beside his wife.
Awards and commemoration
Collège Robert Doisneau, chemin de la Vieille Montagne de Clichy, Paris
Lycée Robert Doisneau de Corbeil-Essonnes (91)
Robert Doisneau was appointed a Chevalier of the Order of the Legion of Honour in 1984.[1]
He won several awards throughout his life, including:
the Balzac Prize in 1986 (Honoré de Balzac)
the Grand Prix National de la Photographie in 1983
the Niépce Prize in 1956 (Nicéphore Niépce)
the Kodak Prize in 1947
A short film, "Le Paris de Robert Doisneau", was made in 1973.
In 1991 The Royal Photographic Society awarded Doisneau an Honorary Fellowship (HonFRPS) which is given to distinguished persons having, from their position or attainments, an intimate connection with the science or fine art of photography of The Society.[12]
In 1992 the French actress and producer Sabine Azéma made the film Bonjour Monsieur Doisneau.
The Maison de la photographie Robert Doisneau in Gentilly, Val-de-Marne, is a photographic gallery named in his honour.
Several Ecole Primaire (primary schools) are named after him.[citation needed] 'Ecole élémentaire Robert Doisneau is at Véretz (Indre-et-Loire).[13]
The photography of Doisneau has had a revival since his death in 1994. Many of his portraits and photographs of Paris from the end of World War II through the 1950s have been turned into calendars and postcards, and have become icons of French life.
The Allée Robert Doisneau is named in his honour at the 'Parc de Billancourt' on the site of the old Renault factory at Boulogne-Billancourt where he didn't work.
Exhibitions
1947 Salon de la Photo, Bibliothèque, Paris [14]
1951 Exhibition with Brassaї, Willy Ronis, and Izis, Museum of Modern Art, New York [15]
1960 Solo Exhibition, Museum of Modern Art, Chicago.[14]
1965 Exhibition with Daniel Frasnay, Jean Lattès, Jeanine Niépce, Roger Pic, and Willy Ronis, Six Photographes et Paris, Musée des Arts Decoratifs, Paris; Exhibition with Henri Cartier-Bresson and André Vigneau, Musée Réattu, Arles; Solo Exhibition, Bibliothèque Nationale, Paris; Exhibition with D. Brihat, J. P. Sudre, and L. Clergue, Musée Cantini de Marseilles
1972 Solo Exhibition, International Museum of Photography at George Eastman House, Rochester, New York [16]
1972 Exhibition with Edouard Boubat, Brassaї, Henri Cartier-Bresson, Izis, and Willy Ronis, French Embassy, Moscow
1974 Solo Exhibition, University of California at Davis. Solo exhibition, Galerie du Château d’Eau, Toulouse
1975 Solo Exhibition, Witkin Gallery, New York; Musée Réattu Arts Décoratifs, Nantes; Musée Réattu, Arles
1975 Solo exhibition, Galerie et Fils, Brussels. Solo exhibition, fnac, Lyons; Group exhibition, Expression de l’humor, Boulogne Billancourt; Solo exhibition, Galerie Neugebauer, Basel
1976 Exhibition with Brassaї, Cartier-Bresson, Jean-Philippe Charbonnier, Izis, and Marc Riboud, Kraków
1977 Solo Exhibition, Brussels; Exhibition with Guy la Querrec, Carlos Freire, Claude Raimond-Dityvon, Bernard Descamps, and Jean Lattès, Six Photographes en quête de banlieue, Centre Georges Pompidou, Paris
1978 Solo Exhibition, Ne Bougeons plus, Galerie Agathe Gaillard, Paris; Solo exhibition, Witkin Gallery, New York; Solo exhibition, Musée Nicéphore Niépce, Charlon-sur-Saône
1979 Solo Exhibition, Paris, les passants qui passent, Musée d’Art Moderne de la Ville de Paris
1980 Solo Exhibition, Amsterdam
1981 Solo Exhibition, Witkin Gallery, New York [17]
1982 Solo Exhibition, Portraits, Foundation Nationale de la Photopraphie, Lyons; Solo exhibition, French Embassy, New York; Solo exhibition, Robert Doisneau, Photographe de banlieue, Town Hall, Gentilly
1982 Solo exhibition of 120 photographs, Palace of Fine Arts, Beijing, Exhibition of portraits, Tokyo; Solo exhibition, Robert Doisneau, Photographie du dimanche, Institut Lumière, Lyon
1986 Group Exhibition, De Vogue à femme, Rencontres Internationales de la Photographie d’Arles
1987 Solo Exhibition, St.-Denis, Musée de St.-Denis; Solo exhibition, The National Museum of Modern Art, Kyoto
1988 Solo Exhibition, A Homage to Robert Doisneau, Villa Medicis, Rome
1989 Solo Exhibition, Doisneau-Renault, Grande Halle de la Villette, Paris
1990 Solo Exhibition, La Science de Doisneau, Jardin des Plantes, Paris
1992 Solo Exhibition, Robert Doisneau: A Retrospective, Modern Art Oxford
1993 The Summerlee Heritage Trust, Coatbridge, Scotland; Royal Festival Hall, London; Manchester City Art Gallery; O Mes da Fotografie Festival, Convento do Beato, Lisbon, Portugal; Musée Carnavalet, Paris
1994 "Hommage à Robert Doisneau", festival des Rencontres d'Arles, France
1994 Musée d’Art Contemporain de Montréal, Canada; Galway Arts Centre, Ireland; Solo exhibition, A Homage to Robert Doisneau, Galerie du Château d’Eau à Toulouse; Solo exhibition, Doisneau 40/44, Centre d’Histoire de la Résistance et de la Déportation de Lyon, Lyon, France; Solo exhibition, Robert Doisneau ou la désobéissance, Ecomusée de Fresnais
1995 Museum of Modern Art, Oxford, England; Aberdeen Art Gallery, Scotland; The Mead Gallery, Warwick Arts Centre, Coventry
1996 Solo Exhibition, Montpellier Photo-Visions, Galerie Municipale de la Photographie; Isetan Museum of Art, Tokyo; Daimaru Museum, Osaka, Japan
2000 Exhibition, Gravités, Paris
2000 Exhibition, Galerie Claude Bernard, Paris [18]
2002 Exhibition, Museo Nacional de Bellas Artes, Santiago, Chile [19]
2003 Exhibition, Budapest, Hungary; Exhibition, Bucarest, Romania
2003 Exhibition, Galerie Claude Bernard, Paris [18]
2005 Solo Exhibition, Robert Doisneau from the Fictional to the Real, Bruce Silverstein Gallery, New York [20]
2005 Solo Exhibition, Robert Doisneau, Galerie Claude Bernard, Paris [21]
2010 Solo Exhibitions, Robert Doisneau, Du metier a l'oeuvre, Fondation Henri Cartier-Bresson, 2, Impasse Lebouis, 75014 Paris [22]
2010 Group Exhibition, Discoveries, Robert Doisneau, Bruce Silverstein Gallery, New York [23]
2010 Solo Exhibition, Robert Doisneau, the fisherman of images, the Space for Art of Caja Madrid Zaragoza, Aranjuez, Madrid [24]
2011 Group exhibition: Night, Robert Doisneau Bruce Silverstein Gallery, New York [25]
2014 exhibition : The moments that he loved, sangsangmadang, Seoul [26]
Publications
Paris délivré par son peuple. (From the People of Paris) – Paris: Braun: c.1944.
La Banlieue de Paris. (The Suburbs of Paris) – text by Blaise Cendrars. Paris: Éditions Pierre Seghers, 1949.
L'Enfant de Paris. (The Children of Paris) – text by Claude Roy. Neuchâtel: La Baconnière, 1951.
Sortilèges de Paris. (The magic of Paris) – text by François Cali. Paris: Arthaud, 1952.
Les Parisiens tels qu’ils sont. (The Parisians as they are.) – text by Robert Giraud and Michel Ragon. Paris: Delpire, 1954.
Instantanés de Paris. (Snapshots of Paris) – preface by Blaise Cendrars. Paris: Arthaud, 1955.
1, 2, 3, 4, 5, Compter en s’amusant. (Fun Counting) – Lausanne: La Guilde du Livre, 1955.
1, 2, 3, 4, 5. – text by Arthur Gregor. Philadelphia: Lippincott, 1956.
1, 2, 3, 4, 5. – text by Elsie May Harris. London: Nelson, 1962.
Pour que Paris soit. (This is Paris) – text by Elsa Triolet. Paris: Éditions Cercle d’Art, 1956.
Gosses de Paris. (Children of Paris) – text by Jean Dongués. Paris: Éditions Jeheber, 1956.
Robert Doisneau's Paris: 148 Photographs – text by Blaise Cendrars. New York: Simon & Schuster, 1956.
Paris Parade: 148 Photographs – London: Thames & Hudson, 1956.
Le ballet contre l'opéra. (The Ballet and The Opera) – Souillac, Lot: Mulhouse, 1956.
A.B.C. du dépannage. – N.p.: Société des pétroles Shell Berre, 1958.
Bistrots. (Bistros) – text by Robert Giraud. Le Point: Revue artistique et littéraire, 57. Souillac, Lot: Mulhouse, 1960.
Arabie, carrefour des siècles: Album. (Arabia, crossroads of the centuries. An album) – text by Jacques Benoist-Méchin. Lausanne: La Guilde du livre, 1961.
Nicolas Schöffer. – text by Guy Habasque and Jacques Ménétrier. Neuchâtel: Éditions du Griffon, 1962.
Cognac. – text by Georges Vial. Cognac: Rémy Martin, 1960 (?). (English)
Cognac. – text by Louise de Vilmorin. Paris: Rémy Martin, 1962. (French)
Marius, le forestier. (Marius, the forester. The working men) – text by Dominique Halévy. Les hommes travaillent. Paris: Éditions Fernand Nathan, 1964.
Henri Cartier-Bresson, Robert Doisneau, André Vigneau: Trois photographes français – Arles: Musée Réattu, 1965.
Catalogue of an exhibition at Musée Réattu of Doisneau, Henri Cartier-Bresson, and André Vigneau.
Épouvantables Épouvantails. (Appalling Scarecrows) – Paris: Éditions Hors Mesure, 1965.
Le Royaume d’argot. (The Kingdom of slang) – text by Robert Giraud. Paris: Denoël, 1966.
Catherine la danseuse. (Catherine – the dancer) – text by Michèle Manceaux. Paris: Éditions Fernand Nathan, 1966.
L'École polytechnique. (The Polytechnic) – Loos-lez-Lille: L. Danel, 1967.
L'Oeil objectif. (The eye is a lens) – Marseille: Musée Cantini, 1968.
Catalogue of an exhibition at Musée Cantini by Doisneau, Denis Brihat, Lucien Clergue, and Jean-Pierre Sudre.
Le Royaume secret du milieu. (The secret of the middle kingdom) – text by Robert Giraud. Paris: Éditions Planète, 1969.
My Paris – text by Chevalier, Maurice. Macmillan Publishers. New York. 1972
Le Paris de Robert Doisneau et Max-Pol Fouchet – Les éditeurs français réunis. France. 1974
L’Enfant à la Colombe. (The Child of the Dove) – text by Sage, James. Editions of the Oak. Paris. La Loire. Denoël. Paris. 1978
Le Mal de Paris. (The Evil of Paris) – text by Lépidis, Clément. Arthaud Publications. Paris. Trois Secondes d’éternité. Contrejour. Paris. 1979
Ballade pour Violoncelle et Chambre Noir. (A Song for a Cello and a dark room) – co-author: Baquet, Maurice. Herscher Editions. Paris. 1980
Robert Doisneau – text by Chevrier, Jean-François. Belfond Editions. Paris. 1981
Passages et Galeries du 19ème Siècle. (Passages and Galleries of the 19th Century) – text by Delvaille, Bernard. Éditions Baslland. Paris. 1982
Doisneau – Photopoche, Centre National de la Photographie. France. 1983
Paysages, Photographies. (Landscapes) – (mission photography for DATAR) Éditions Hazan. Paris. 1985
Un Certain Robert Doisneau – Editions of the Oak. Paris. 1986
Pour saluer Cendrars. (In honour of Cendrars) – text by Camilly, J. Actes Sud. Arles, France. 1987
60 portraits d/artists. (60 portraits of artists) – text by Petit, Jean. Hans Grieshaber Publications. Zürich. 1988
Doisneau. Quotations by Doisneau collected by Maisonneuve Andre – Éditions Hazan. Paris, France. 1988
Bonjour Monsieur Le Corbusier. (Hello Mr Le Corbusier) – text by Petit, Jean. Hans Grieshaber Publications. Zürich. 1988
A l’imparfait de l’objectif. (The imperfect object) – Belfond Editions. Paris. 1989
Les Doigts Pleins d’encre. (Fingers full of ink) – text by Cavanna. Hoëbeke Editions. Paris. 1989
La Science de Doisneau. (The Science of Robert Doisneau) – Hoëbeke Editions. Paris. 1990
Les Auvergnats. (People of the Auvergne) – (with Dubois, Jaques) Nathan Images. Paris. 1990
Lettres à un Aveugle sur des Photographies de Robert Doisneau. (Letters to a blind man about the Photographs of Robert Doisneau) – text by Roumette, Sylvain. 1990
Le Tout sur le tout/Le Temps qu’il fait. (All about the weather) – Paris. 1990
Le Vin des rues – text by Robert Giraud. Paris: Denoël, 1990.
Rue Jacques Prévert – Hoëbeke Editions. Paris, France. 1991
La Compagnie des Zincs – text by Carradec, François Carradec. Seghers. Paris. 1991
Les Grandes Vacances. (Summer vacation) – text by Pennac, Daniel. Hoëbeke Editions. Paris. 1992
Mes gens de Plume – Writings by Doisneau collected by Dubois, Y. Éditions La Martinière. France. 1992
Les Enfants de Germinal. (The children of Germinal) – text by Cavanna. Hoëbeke Editions. Paris. 1993 (See also Germinal (month) – the downfall)
Doisneau 40/44 – text by Ory, Pascal. Hoëbeke Editions. Paris. 1994
La Vie de Famille. (Family life) – text by Ory, Pascal. Hoëbeke Editions. Paris. 1994
Robert Doisneau ou la Vie d’un photographie. (Robert Doisneau – the life of a photographer – text by Hamilton, Peter. Hoëbeke Editions. Paris. 1995
Mes Parisiens. (My Parisians) – Nathan Publications. Paris. 1997
Palm Springs 1960. Paris: Flammarion. 2010. ISBN 978-2-08-030129-1. LCCN 2010442384. OCLC 491896174. (with forward by Jean-Paul Dubois)
Robert Doisneau, comme un barbare - text by André Pozner. Paris: Lux Editions, 2012. ISBN 978-2895961475.
Complete in:
http://en.wikipedia.org/wiki/Robert_Doisneau
Robert Doisneau – The Band
Robert Doisneau – The bouquet of daffodils, Paris, 1950
Photos - Fotos: Robert Doisneau - Part 1 - Data (Espanol-English) - 17 images - Links
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Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.
Gracias :)
Muy interesante, me ha gustado mucho, yo una auténtica desconocida del arte de la fotografia y del artísta!!
saludos!!