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Saul Leiter, by Saul Leiter
Download PDF Saul Leiter, by Saul Leiter
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About the Author
Brigitte Woischnik is owner of the agency Foto Factory in Munich, Germany. She has co-curated important photo exhibitions like "Lillian Bassman and Paul Himmel" for the Museum Deichtorhallen Hamburg, Germany.Ingo Taubhorn is photographer and since 2006 curator at the House of Photography at Museum Deichtorhallen Hamburg, Germany.Saul Leiter (born 1923 in Pittsburg, PA) is an American photographer and painter whose early work in the 1940s and 1950s was an important contribution to what came to be recognized as The New York School of photographers.Vince Aletti (born 1945) is an American music journalist and photography critic. He was the art editor of the Village Voice from 1994 to 2005 and the paper’s photo critic for twenty years. Today he reviews photography exhibitions for The New Yorker’s "Goings on About Town" section.Adam Harrison Levy is a writer and freelance documentary film producer and director. For the past 15 years, he has worked on a wide range of historical and arts films, primarily for the BBC. He teaches at the School of Visual Arts in New York.
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Product details
Hardcover: 296 pages
Publisher: Kehrer Verlag; First Edition edition (August 21, 2012)
Language: German, English
ISBN-10: 3868282580
ISBN-13: 978-3868282580
Product Dimensions:
8.8 x 1.2 x 10.2 inches
Shipping Weight: 3 pounds
Average Customer Review:
4.8 out of 5 stars
25 customer reviews
Amazon Best Sellers Rank:
#975,507 in Books (See Top 100 in Books)
Why, oh why did it have to take so long? Had the Post-War Baby Boomer Generation been aware of Leiter in the sixties and seventies, when so many of us caught the fire, selected and clung to our photo-heros for decades, and started shooting, the history of photography would likely have looked rather different.The Steidl-published "Early Color" is a teaser compared to this, but a necessary volume, nonetheless. This magnificent volume, beautifully done, is comprehensive, covering Leiter's color and B&W photography and his painting art. Often the manner of Leiter's seeing in B&W and color and his use of color remind me of my number one photo-hero, Ernst Haas, but Leiter's way of seeing is also very different. Both created virtual oeuvres of modernist, expressionist abstracts with their cameras, but this reviewer's impression is that SL played with unfocus much more aggressively than EH, whose abstracts are either focused or smoothed using movement and slow shutter speeds. Both pioneered new ways of using the small format camera in the earliest days of 35mm color film. In their color work, both are or were colorists, and both used a lot of black in their private work. I wonder how much each knew of the other and each other's work. SL's use of color and tonal masses, often in the foreground, and of unexpected framing opportunities caught with exquisite timing are his alone but have come to be among the compositional staples of such as Costa Manos and Alex Webb now.The several essays summarize information from and about SL and his painting and photography and place him among the so-called "New York School" of photographers from the 30s to the 60s and, in some cases, until today. Thankfully, SL is still with us today.There is a "look" to both the painting and the photography apparent in masters' work from that era, even though each practitioner has/had their own contributions, that ties them to what was going on in the world of art in the early half of the century. The number of masters was finite enough that our generation could pick some favorites and follow their careers to the present day, in continuing work or posthumous publication and exhibition. It is a shame and a huge lost opportunity that our generation did not know much, if anything, about Saul LeiterHad SL's work been in the books and photographic magazines of the 60s and 70s, there is no doubt IMHO that he would have had major influences on people's taking up photography, informed how they began to see, and become one of the revered pioneers in modern monochrome and color photography. The exposure to examples of his painting art is also delightful, and reminds one of Cartier-Bresson's links of the drawing arts to his photography.All this reviewer can say is, "Late is at least better than never." Thank you, Saul Leiter, for finally allowing us to know something of the range of your work, and thank you, the publishers, for finally giving us a worthy introduction to his work.
Saul Leiter was never one of the big names in photography, not like Avedon or Sherman. That's a shame. He was a pioneer in the use of color and his unique view of life and the streets holds a humanity often lacking in street photography. He saw people, not just decisive moments.The book is a good overview of Leiter's work. The reproductions are good and the text gives some context.
I adore this book. Photographer Saul Leiter had a superb, ultra-hip 1950's bebop-flavored eye for high abstraction: he turned ordinary NYC street-scenes into dazzlingly stylish, poetic, elliptical, geometrically beautiful abstractions.... and all in striking, lean, novel color combinations, as spare and pared-down as a cool Miles Davis riff. Lovers of AbEx, NYC and Midcentury sensibilities simply mustn't miss this wonderful book... Leiter's photos from the 1950's and early 1960's look as hip and stylish as they did when they were first taken. Includes a number of his drawings for VOGUE magazine, which I confess I like less well than his street-scene photos. Dazzling and inspiring, this high-quality art book is very highly recommended.
I love these photos. It's hard to believe that they sat for years in a box undeveloped. This guy is in a tiny class of photographers that have made this level of beautiful color photographs. The only other photographer in Saul's class is Ernst Haas. The selection of photographs is excellent.For those that believe that only B&W can produce art, this book will change your mind.The book is very well made with a nice slide on cover. The binding is good and I recommend it anyone interested in beautiful, high quality artistic photographs.
My initial impression of the book was mixed. The images of his photos and his paintings are well done and offer a further glimpse into the artist's work. Much of the accompanying articles are in German - which was a bit disappointing, only because it was not mentioned in the book description on Amazon and I don't speak the language. However, delving just a bit deeper, reveals that English translations are include in the back of the book and make for a very fascinating read.Saul Leiter is one of my favorite photographers of the modern era and this book offers a great insight into the man as an artist, with his unique photographic compositions and lovely use of bold color, both photographically and in his paintings. The images are well presented for the most part, with reasonable quality for a book of this sort. There are some painting images inserted as smaller pieces in the middle of the book, which are interesting, but a bit close too the binding for my taste.One of the most interesting articles is the one by Margit Erb, who I believe may have known him better than many, having spent several years with Saul, organizing and cataloging his body of work. If you've seen any of the documentary film "In No Great Hurry" or any of the other videos of Saul, you've seen that his fondness for Margit was mutual. Her story adds further to the understanding of Saul as an artist, a man of great intellectual curiosity and knowledge of the visual arts. He will be missed, but his work can be celebrated by owning books such as this one. Very Highly recommended.
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