Author: Harrison, Martin
Number Of Pages: 160
Release Date: 26-06-2006
Details: Product Description This is a reprint of the immensely successful Early Color (2006), which presented Leiter’s remarkable body of colour work to the public for the first time in book form. Although Edward Steichen had exhibited some of Leiter’s colour photography at the Museum of Modern Art in 1953, it remained virtually unknown to the world thereafter. Leiter moved to New York in 1946 to become a painter, yet through his friendship with Richard Pousette-Dart he quickly recognized the creative potential of photography. Leiter continued to paint, exhibiting with Philip Guston and Willem de Kooning, but the camera remained his ever-present means of recording life in the metropolis. None of Leiter’s contemporaries, with the partial exception of Helen Levitt, assembled a comparable body of work: subtle, often abstract compositions of lyrical, eloquent colour. Review Nothing short of spectacular...every image presented here is a mesmerizing masterpiece of light, shape, color, and form.--Miss Rosen "Feature Shoot " Leiter's color photography offers its own version of chance: an attunement to the visual masterpieces that can be found in almost every urban instant.--Michael Greenberg "The New York Review of Books " Synopsis Although Edward Steichen exhibited some of Saul Leiter's color photographs at the Museum of Modern Art in 1953, for forty years after wards they remained virtually unknown to the art world. "Saul Leiter: Early Color" provides the first opportunity to see a comprehensive presentation of images by one of photography's great originals. Leiter moved to New York in 1946 intending to be a painter and through his friendship with the abstract expressionist Richard Pousette-Dart he quickly recognized the creative potential of photography. Though he continued to paint, exhibiting alongside Philip Guston and Willem de Kooning, Leiter's camera became - like an extension of his arm and mind - an ever-present interpreter of life in the metropolis. The semi-mythical notion of the 'New York street photographer' was born at the same time, in the late-1940s. But Leiter's sensibility - comparable to the European intimism of Bonnard, a painter he greatly admires - placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternative way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances. None of Leiter's contemporaries, with the single and partial exception of Helen Levitt, assembled a comparable body of work in color. The lyricism and intensity of his vision come into fullest play in his eloquent handling of color: to the rapid recording of the spontaneous unfolding of life on the street, Leiter adds an unconventional sense of form and a brilliantly improvisational, and frequently almost abstract, use of found colors and tones. Leiter's visual language of fragmentation, ambiguity and contingency is evoked in "Saul Leiter: Early Color" by one hundred subtle, painterly images that stretched the boundaries of photography in the second half of the twentieth-century.
Package Dimensions: 8.2 x 8.2 x 0.8 inches