Anna Faroua Livres

3929078554. Photographic legacy and biographical and critical information on Josef Sudek, Czech photographer.

Fotografie Zdeňka Tmeje podávají, umělecky i informativně, obrazovou výpověď o nacistické otrokářské praxi ve Vratislavi v letech 1942-1944. Knihu sestavila a původními autorovými komentáři a biografií doplnila Blanka Chocholová, dcera fotografa Václava Chocholy (1923 -2005). Autory textů jsou pak historička fotografie Anna Fárová a znalec novodobých německých dějin, historik Tomáš Jelínek. Souběžný anglický, německý a český text.

This survey of Iren Stehli's images from 1973 to 2001 captures Czech life over an intense three decades. The artist, born in Zurich in 1953, studied photography in Prague in the mid-70s. In the late 60s, her adopted country had begun to stir under the hand of communism--and been punished for it. By the middle of her career, in 1989, the embattled communist government resigned, passing power to playwright Vaclav Havel in the Velvet Revolution. The swift changes that followed have brought what is now the Czech Republic into the European Union. Stehli's human stories of that era alternate with conceptual series, both of which share a characteristic poetry and humor. The thematically arranged chapters of Iren Stehli offer a compact overview of her oeuvre, and subtle, compelling testimony to the last decades of Czechoslovakian socialism and the transformation into a free-market democracy. Her previous book is A Gypsy's Life in Prague.

In a career that spanned nearly seven decades, Josef Sudek, one of the masters of twentieth-century photography, created his own solitary world of shadow and light, of theme and variation. The more than 100 images in this monograph convey the spirit of Prague as well as the spirit of Sudek.

From the mid-1920s until his death in 1976, Czech photographer Joseph Sudek shot Gothic and Baroque architecture, street scenes and still lifes--usually leaving the frame free of people and capturing a poetic and highly individualistic glimpse of Prague. The still lifes are the best known aspect of his oeuvre; indeed, his graceful depictions of drinking-glasses and eggs are familiar to those who don't necessarily even know his name. Acceding to his reclusive nature, Sudek began The Window of My Studio series in the 1940s. It allowed him to capture street scenes without going outside and helped him discover a particular fondness for how glass refracts light. The still lifes emerged from the informal arrangements Sudek would make on his windowsill, and occupied him for a number of years. Depicting a range of quotidian objects with a marked artfulness--some were made in homage to favorite painters like Caravaggio--the series deserves a deeper look. This volume is the first in-depth study of Sudek's still lifes and also explores his creative use of carbon printing--a pigment process on rag paper not often used photographically--which lent so many of his images such extraordinary depth and warmth.

Fotografie Evy Davidové zaznamenávají životní situace československých Romů a zahrnují všechny námětové okruhy, které patří k této etnické menšině.

Torst's introduction to Josef Koudelka (born 1938) provides a selection from all the key phases of his work: his 1960s portraits of the gypsies of central Europe and the Balkans and the Soviet invasion of Czechoslovakia in August 1968; the travel photos of the 1970s and 1980s; and a concluding section of panoramas focused on industrialized landscapes.