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Die Fotografie ist nicht nur ein Medium. Sie ist eine künstlerische Disziplin. Hinter der Mechanik der Kamera steht der einfühlsame Blick des Meisters. Dafür lässt sich wohl kaum ein deutlicherer Ausdruck finden als Frank Horvats aktueller Bildband. Von 1979 bis 1986 bildete New York eine Art Refugium des Fotografen. Hier überließ er sich dem Treiben der Straßen und hielt ihr facettenreiches Leben fest. Zugleich reflektierte er in Tagebucheinträgen über seine persönliche Weise der Bildfindung und die Bedeutung der Fotografie selbst. Die Aufnahmen und Schriften entstanden als private Arbeiten zwischen seinen Aufträgen. Viele davon wurden bisher nicht veröffentlicht. Im vorliegenden Bildband werden sie erstmals und zusammen präsentiert. Die Texte Horvats auf dünnem Munken- und seine Aufnahmen auf tiefem Bilddruckpapier bilden die zwei Seiten eines Schaffens, aus dem wahre Fotokunst sich zusammensetzt.
Every single day in 1999 Horvat photographed - creating a personal diary of the last year of the century. The challenge was to produce at least one image of substance. But, beyond this, as a committed European, he also wished to include images from all the countries in the European Union. The result is a fascinating and revealing panorama of the vision of one of the world's great photographers - a self portrait in a way - but also a sweeping vista of a continent nurtured by centuries of strong tradition. Illustrated with 480 colour plates.
Frank Horvat (*1928 in Abbazia, today Opatija, Croatia), a pioneering fashion photographer and one of the first professional photographers to use Photoshop, can meanwhile look back at around seventy years of activity and a dazzling career. The grand seigneur now allows us very personal insight into his private life: the autobiography in pictures reveals personal moments from all phases of his life. We encounter the great themes of humankind, such as birth and death, are witness to his ability to play, and to handle animals, we see his family, his friends. They are everyday images like anyone could have assembled in an album. However, there is one slight difference: a master was clearly at work here early on, the quality of the photographs speaks for itself. In the appendix, Horvat comments, in most cases at length, on each of the chronologically ordered pictures.
A series of recollections that concern both the childhood and work of the writer John Fowles. For him, the tree is the best analogue of prose fiction, symbolising the wild side of our psyche, and he stresses the importance in art of the unpredictable, the unaccountable and the intuitive.
Zebras in the California desert; a crocodile in the Loire, a buffalo in the Alps. In Frank Horvat's computer-enhanced world, native habitats become irrelevant and animals appear in alien settings where they nevertheless seem to blend in comfortably. Taken in zoos and then digitally manipulated, the pictures in this collection explore boundaries. 46 color photos.
EDUCATION / Research
The classic Photofile series brings together the best work of the world's greatest photographers in an attractive format and at a reasonable price. Handsome and collectible, the books each contain reproductions in color and/or duotone, plus a critical introduction and a bibliography. Paris in the early 1920s saw the growth of a new art form called surrealism. Both a formal movement and a spiritual orientation, surrealism embraced ethics and politics as well as the arts. Surrealists sought to create a medium that liberated the subconscious mind, and many artists and photographers captured this revolution through photographic images. This new survey includes works by Max Ernst, Dora Maar, Lee Miller, René Magritte, Meret Oppenheim, and more.
The visionary and creative shots of day-to-day reality by a child of our time. Considered by many the most representative of Italian photographers, for almost fifty years Gianni Berengo Gardin has been a narrator attentive to everyday life in all its multiple aspects and in its evolution, having immortalized the story of Italy in over 1,250,000 pictures. For his work, he prefers black and white because "color distracts the photographer and the viewer." And the images are what counts. People, objects, close-ups, historical monuments. Images that are concrete, never abstract, but above all real images. It’s hard not to perceive the creative and visionary component of his snapshots, however much they are attentive to the day-to-day reality of humanity and its communities.