Morath once spoke about the challenges she encountered: “Being one of the then rather rare women photographers… was often difficult for the simple reason that nobody felt one was serious… I certainly do not think that I got the same forceful male brotherhood support the men got.” But, according to her daughter, “she just got on with it… She never felt sorry for herself,” says Miller. “She was aware that there were always people who had it harder than she did.”

Fortunately, the once widespread miner‘s disease has become much rarer. But this doesn’t erase the memories seeing elderly individuals, sitting by the open window, gasping for breath. If the cancer killed one of them, he was gone from the window– that‘s where the German phrase comes from. Magazines may have wanted colour images, but colour was not seen as an art form, as Jinx remembers. ‘The idea of photography being “art” is a much more recent concept,’ she says. ‘The purpose of photography was to document, to show the world what the world was about. It was expensive to make a good colour print and while Inge loved using colour, like other photographers of the period she wasn’t overly concerned about making colour prints’. As many of the images, and indeed Morath’s remembrances, attest – the photographers and the actors enjoyed a degree of camaraderie in spite of the film’s widely reported troubled production – one aspect of which was the deteriorating marriage between Miller and Monroe that came to an end that summer.Morath's first encounter with avant-garde art was the Entartete Kunst ( Degenerate Art) exhibition organized by the Nazi Party in 1937, which sought to inflame public opinion against modern art. "I found a number of these paintings exciting and fell in love with Franz Marc's Blue Horse", Morath later wrote. "Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts." [6] After re-locating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America. a b „Inge Morath, Photographer With a Poetic Touch, Dies at 78”. New York Times. 31 ianuarie 2002. Inge Morath, a photographer who brought a whimsical, lyrical touch to her images from travelogues to reportage to portraits, died yesterday at New York Hospital in Manhattan. She was 78 and lived in Roxbury, Connecticut. Arthur Miller, her husband, said the cause of death was lymphoma. "She made poetry out of people and their places over half a century," Mr. Miller said. |access-date= necesită |url= ( ajutor) Chinese Encounters: Photographs by Inge Morath, Pingyao International Photography Festival, Pingyao

Inge and Henri must have spoken about photography, but I don’t think they would have discussed colour film specifically,’ says John. ‘Henri’s opinions on colour photography had an impact on all the photographers at Magnum. He had a passion for surrealism, and both he and Inge were interested in the world and how art and photography fitted into it. That is most likely how they influenced each other.’ Inge was, to some extent, influenced by Ernst and his experiments in colour, but she didn’t work in an abstract way like he did,’ says Jinx. ‘I think she felt if you photographed in colour you could faithfully show how the scene looked at the time. She worked hard to make sure the colours were genuine.’ Originally from the Midwest, Alex has been based in Yemen for several years working as an emergency nurse while pursuing her in-depth photography project, Once a Nation. She says: Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera." Prestel is an internationally recognized illustrated book publisher with an enviable list of monographs and themed volumes on all periods of art history, architecture, photography and design. Prestel has co-published exhibition catalogues with some of the world’s leading museums such as The Barbican Art Gallery, LACMA, Neue Galerie, Legion of Honor, Whitney Museum, and in everything it does Prestel emphasizes quality in both content and design. Prestel is proud to be the publisher of choice for art lovers, photographers and those with an eye for beauty the world over. ABOUT THE MAGNUM LEGACY SERIESDavid ‘Chim’ Seymour’s image, above, is now available – for the first time ever – as a limited edition 8×10″ Magnum stamped print here, on the Magnum Shop. Bring Forth the Children: A Journey to the Forgotten People of Europe and the Middle East. McGraw-Hill, USA. Inge Morath (1923–2002) was born in Graz, Austria. Her parents were scientists whose work took them to different laboratories and universities in Europe during her childhood. Educated in French-speaking schools, Morath and her family relocated to Darmstadt in the 1930s, and then to Berlin. Because Morath devoted much of her enthusiasm to encouraging women photographers, her colleagues at Magnum Photos established the Inge Morath Award in her honor. And to Cecil Beaton, who photographed her again and again, it was this innate sadness, above and beyond any gamine quality of her appearance, that made her such a rich character to capture on film. “She is a wistful child of a war-chided era, and the shadow thrown across her youth underlines even more its precious evanescence. But if she can reflect sorrow, she also seems to enjoy the happiness life provides for her with such bounty,” he wrote in Vogue, in November 1954.

Jinx Rodger, widow of founding Magnum member George Rodger, knew Inge well and worked with her in Paris in the early 1950s. ‘Inge was a busy lady and travelled a lot,’ she says. ‘She was very bubbly and enthusiastic. People warmed to her. When she was an assistant, I remember her saying how she wanted to do something on her own, away from other photographers.’The present selection of images are part of my project called Ben’n Yalhalhj which means from Zapotec Language “I’m from Yalalag”. It is a universe of images collected and sometimes intervened over the last 8 years. Founding Magnum photographer Robert Capa is reported to have said that the first rule was ‘lots of colour where colour is’ and Inge herself believed ‘colour has to be there’ to photograph it. ‘Inge used colour very skilfully,’ says John. ‘In her early images she sought out colourful subjects in the urban landscape. By the later images – those taken on her trips to Iran, for example – colour became an intrinsic part of the scene, integrated into her entire photographic process.’

New York, Galerie Fotohof, Salzburg; Europäische Wochen, Passau; ESWE Forum, Wiesbaden; Esther Woerdehoff, Paris; Amerikahaus, Tübingen I took up a period of apprenticeship with Simon Guttmann, who had the reputation of a querulous genius of the picture magazine world; he had played a role in the early days of the Berliner Illustrierte under the Ullsteins. Somewhere along the way, Robert Capa had been one of his apprentices, too. Now Simon Guttmann worked as an adviser to Picture Post. I bought a used Leica, worked incessantly and, as I was known as the only non-photographing person in this milieu and knew I would not be taken seriously if I suddenly showed up with photographs, I turned my name around and, as Egni Tharom, started sending my picture stories to any magazine I thought might be interested. Sometimes I sold something, sometimes I got letters praising my eye but deploring my technique. I spent nights in the darkrooms of professionals, learning a lot as a free assistant. For Mr. Guttmann I stood in front of theatres to take pictures of arriving luminaries, and covered catastrophes like floods and fires. Andrews, Suzanna (September 2007). "Arthur Miller's Missing Act". Vanity Fair . Retrieved 26 December 2010. Spain in the fifties, Museo de Arte Contemporaneo, Madrid, Spain; Museo de Navarra,Pamplona, Spain. Kurt Kaindl, "Inge Morath: A Photographer's Biography," in Inge Morath: Fotografien 1952–1992. Salzburg: Edition Fotohof, p. 27For some reason, she held the violets over her head as she ran down the street, as if they were going to protect her from the bombs that were falling,” says Miller. “To me, that is so classic of my mother, because they were something that was beautiful, that might protect her… She thought of art as a protection from violence and ugliness.” Morath’s achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the element of playful surrealism that characterizes Morath’s work from this period. It was motivated by a fundamental humanism, shaped as much by the experience of war as by its lingering shadow over post-war Europe. This motivation grows, in Morath’s mature work, into a motif as she documents the endurance of the human spirit under situations of extreme duress as well as its manifestations of ecstasy and joy. Morath was born in Graz, Austria, to Mathilde (Wiesler) and Edgar Morath, scientists whose work took them to different laboratories and universities in Europe during her childhood. Her parents had converted from Catholicism to Protestanism. First educated in French-speaking schools, Morath relocated in the 1930s with her family to Darmstadt, a German intellectual center, and then to Berlin, where Morath's father directed a laboratory specializing in wood chemistry. Morath was registered at the Luisenschule near Bahnhof Friedrichstraße. A murit de cancer în 2002, la vârsta de 78 de ani. [13] Monografii (selectiv) [ modificare | modificare sursă ]