Brassaï

 Brassaï (1936) (photo by Emiel van Moerkerken), via Wikipedia.

Who was Brassaï?

Brassaï, born Gyula Halász on September 9, 1899, and passed away on July 8, 1984, was a photographer, sculptor, medalist, writer, and filmmaker. He gained international recognition in France during the 20th century. Brassaï was originally from Hungary but found success and belonging among the thriving community of Hungarian artists in Paris between the two world wars.

In the early years of the 21st century, researchers and scholars came across a remarkable collection of over 200 letters, along with numerous drawings and various other items dating from 1940 to 1984. This newfound material has offered valuable insights into Brassaï's later life and career.

Life and photography

Brassaï, originally named Gyula Halász and born in Brassó, Transylvania (now Romania), inherited his father's name. He grew up as the eldest of three sons in a young, upper-middle-class family. His mother, Mathilde Verzar, was of Armenian descent and Catholic, while his father was an elegant and cultured Hungarian intellectual who supported the family as a teacher of French literature. Brassaï held cherished memories of living in Paris during his father's sabbatical, where they resided in the enchanting era of Belle Époque. As his father pursued his studies at the Sorbonne and the Collège de France, Gyula and his brother Kálmán enjoyed their time playing in the Luxembourg Gardens. The young Gyula found himself captivated by the allure of the bustling city. He recalled fondly: "At the Champ de Mars, I witnessed Buffalo Bill and his grand circus with cowboys, Indians, buffaloes, and Hungarian Csikos. At the Theatre du Chatelet, I was enthralled by a spectacular show called 'Tom Pitt,' and I attended the ceremony welcoming Alfonso XIII to Paris."

Upon their return to Brassó, Gyula began his schooling and demonstrated a keen interest in his studies, particularly excelling in Hungarian, German, and French. He also displayed remarkable creativity and talent in drawing. However, when World War I erupted, Gyula was merely fifteen years old. Since Romania was at war with Germany and Austria-Hungary, the Halász family fled Brassó as Romanian troops advanced over the Transylvanian border. Along with other Transylvanian refugees, they sought refuge in Budapest, where Gyula completed his education and graduated. In the autumn of 1917, Gyula joined the Austro-Hungarian cavalry regiment, but due to a sprained knee and an extended period of recuperation in a military hospital, he did not participate in combat. After his military service ended, despite ongoing hostilities, Gyula pursued studies in painting and sculpture at the Hungarian Academy of Fine Arts in Budapest. He shared an apartment with János Mattis-Teutsch, his tutor and mentor, who was a renowned painter. Mattis-Teutsch belonged to a prominent group of Hungarian and international avant-garde artists, and through their friendship, Gyula became immersed in Budapest's avant-garde community.

Shortly after the signing of the Armistice in November 1918, Gyula enlisted in the Hungarian Red Army to support the short-lived Hungarian Soviet Republic, which lasted a mere 133 days. As a conservative government replaced the Communist regime in 1920, he fled Budapest. Following his father's advice, twenty-year-old Gyula embarked on a journey to Berlin. Fluent in German and having been a former citizen of the Austro-Hungarian Empire, he found a welcoming environment in the city. While attending the Academy of Fine Arts in Berlin-Charlottenburg, he worked as a journalist for Hungarian newspapers Keleti and Napkelet. During this period, he deepened his knowledge of painting, theater, and music, and also explored prose and poetry. In Berlin, he established connections with established Hungarian artists and writers, including painters Lajos Tihanyi and Bertalan Pór, and writer György Bölöni, with whom he would later form a close circle of friends in Paris. However, after completing only his first semester, Gyula decided to leave Berlin and his studies behind, returning home to prepare for his upcoming journey back to Paris.

In 1924, Montparnasse emerged as the epicenter of avant-garde activity. Gyula Halász, who arrived in February of that year, sought out his acquaintances from Berlin. He enhanced his French language skills by immersing himself in the works of Proust, and he earned a living as a journalist for German and Hungarian newspapers. Occasionally, Gyula would complement his interviews and articles with drawn caricatures or photographs, sourcing them from secondhand shops and booksellers along the banks of the Seine. The publishing industry had a high demand for photographic imagery, which led Gyula to join the German picture agency Mauritius Verlag in December 1925.

André Kertész arrived in Montparnasse in 1925. Despite not speaking French, Kertész, an experienced photographer and photojournalist, collaborated with Gyula on several articles for Lucien Vogel's French pictorial publication, VU. It was Kertész who introduced Gyula to the art of night photography and fostered within him an appreciation for the artistic possibilities of the medium.

By 1926, Gyula had started sourcing images for the German press and began producing his own photographs by the end of the decade. Starting from 1931, his photographs started appearing regularly in magazines such as Paris Magazine, Pour lire à deux, Scandale, Vu, Voilá, and Regards, often featuring crime and sexuality themes. Gyula's photographs were in high demand, and he sold the reproduction rights to various magazines and books, providing him with sufficient income during the years of the Great Depression. Despite nurturing his dream of becoming a painter, Gyula used pseudonyms for many of his journalistic articles, reserving his real name for his true art. One of his well-known pseudonyms was Jean d'Erleich. As for his own photographs, Gyula chose the pseudonym "Brassaï," derived from his hometown. It was Gyula's friend, the art dealer Zborowski, who introduced him to the work of Eugène Atget, the esteemed Parisian street photographer who became a significant influence on Brassaï's own style.

Gyula, with his love for Paris and French culture, effortlessly navigated both aristocratic circles, introduced to him by his lover Madame Delaunay-Bellville, and the bohemian world of prostitutes and pimps in Montparnasse. This dual presence in high society and the Montparnasse nightlife served as an inspiration for his art. The breakthrough in Brassaï's photographic career came after he presented 100 mounted prints to Carlo Rim, the editor, and Lucien Vogel, the publisher, of VU magazine. Vogel, who was also involved with the monthly Arts et Métiers graphiques, advised Brassaï to showcase a smaller selection of 20 night photographs to its publisher, Charles Peignot. Brassaï signed a contract with Peignot for the publication of his iconic photo book, "Paris de nuit" (Paris by Night), which was launched on December 2, 1932. From that point on, Gyula Halász became forever known as Brassaï in the world of photography.

Brassaï became immersed in the social circles of influential artists and writers residing in Paris during the 1930s, including Pablo Picasso, Alberto Giacometti, Jaques Prévert, and Jean Genet. It was his friend and writer, Henry Miller, who bestowed upon him the famous nickname, the "eye of Paris." Miller later expressed, "Meeting and befriending the most extraordinary artists of the century was worth a trip to the moon!"

At the age of 33, Brassaï's name became synonymous with the nocturnal lights of the city, brothels, circuses, and the criminal underworld. The success of "Paris by Night" led to contracts for further books and commissions for portraits of artists and writers. He captured portraits of notable figures such as Oskar Kokoschka, Georges Braque, and André Derain, augmenting his regular income. Brassaï was invited by art critic E. Tériade to photograph Pablo Picasso's studios in rue La Boétie and Boisgeloup, outside of Paris. These photographs were featured in the deluxe art magazine Minotaure, published by the young Swiss publisher Albert Skira, starting from June 1933. Brassaï continued to contribute to Minotaure and through the magazine, he became acquainted with Surrealist luminaries including Man Ray, Salvador Dalí, Paul Eluard, and André Breton.

In 1933, Brassaï became one of the founding members of the prestigious Rapho agency, established in Paris by fellow Hungarian immigrant Charles Rado. It was not until 1935 that Brassaï followed up "Paris by Night" with the publication of his second picture book, "Voluptés de Paris" (Pleasures of Paris). This book focused on street prostitutes, gay balls, the Portuguese community known as guinches, Kiki de Montparnasse, and the Casino de Paris, among other urban meeting places. However, Brassaï was deeply disappointed with the supporting text, which encouraged a salacious and voyeuristic interpretation of his photographs, approved by the publisher. Brassaï disassociated himself from the book but learned from the experience, ensuring greater control over all aspects of future book publications.

By the mid-1930s, Brassaï had achieved international renown. Although he could navigate between street and artistic photography, he chose to focus more on high society. He contributed images to monthly arts and culture publications such as Liliput and Coronet, and starting from 1935, he began working for the prestigious American magazine, Harper's Bazaar. The Americans allowed Brassaï artistic freedom, and while his photography career was lucrative, he could not resist engaging in traditional arts. In the spring of 1937, he made the decision to resign from his position at the magazine Coiffure de Paris to dedicate his energy to painting and sculpture. However, his plans were disrupted by the German invasion of France in the summer of 1940. Except for a brief period in the South of France, Brassaï remained in Paris throughout the occupation. He obtained false Romanian papers and relied on a clandestine commission from his friend Picasso in 1943 to photograph sculptures for a planned book. Although Brassaï had previously taken several portraits of Picasso during the 1930s, it was after this commission that the two artists began to regularly spend time together.

In the forties, Brassaï expanded his creative endeavors beyond photography. Encouraged by Picasso to return to drawing, the renowned artist remarked, "You own a gold mine, and you're exploiting a salt mine." As a result, Picasso arranged and attended the opening of an exhibition featuring Brassaï's drawings at the prestigious Galerie Renou & Colle in June 1945. The following year, those same drawings were published in a volume titled "Trente dessins" (Thirty drawings), accompanied by poetry from Jacques Prévert.

By the end of the forties, Brassaï had reached middle age. He was happily married to Gilberte-Mercédès Boyer, who was twenty years younger than him, and he acquired French citizenship in November 1949. In the postwar era, Brassaï revisited some themes and styles from his earlier works. He resumed his collaboration with Harper's Bazaar, which generously commissioned him to travel around the world. Additionally, he began to explore writing, filmmaking, and theater during this period.

Brassaï authored approximately 17 short stories, biographies, and photo books throughout his lifetime, including "The Story of Maria" (1948), "Henry Miller: The Paris Years" (1975), and "Artists of My Life" (1982). He also found success in filmmaking, winning the award for Most Original Film at the Cannes Film Festival in 1956 for his movie "Tant qu'il y aura des bêtes" (As Long as There Are Animals). His photographic achievements received prestigious recognition and lifetime achievement awards, such as the Gold Medal for Photography at the Venice Biennale in 1957, followed by the honors of Chevalier des Arts et des Lettres in 1974 and Chevalier de l'Ordre de la Légion d'honneur in 1976 in France.

In the late 1950s, Brassaï purchased a Leica camera and ventured into color photography for the first time. He also had the opportunity to travel to the United States in 1957, accepting an invitation from Holiday magazine. His trip included stops in New York, Chicago, and Louisiana. Reflecting on his relationship with America, Brassaï said, "I'm the opposite of Christopher Columbus... this time it's America who has just discovered me." As the sixties unfolded, Brassaï rediscovered his early works, creating new prints and revised editions of his early photo books. His collection of photographs featuring graffiti, captured over three decades starting in 1933, was published in the photo book titled "Graffiti" in 1961. These images of inanimate and often abstract wall markings symbolically and mystically captured the essence of Paris. In 1964, Brassaï published his memoir, "Conversations with Picasso," which was praised by Picasso himself who commented, "If you really want to know me, read this book." Brassaï ceased taking new photographs in 1962, a decision that seemed to coincide with the passing of Carmel Snow, the New York editor of Harper's Bazaar that same year.

Brassaï lived a long life until the age of eighty-four, passing away on July 8, 1984, in Beaulieu-sur-Mer, Alpes-Maritimes in the south of France. He was laid to rest in the Montparnasse Cemetery in Paris, where his artistic journey had begun six decades earlier.

Legacy

Through his profound fascination with the dynamics of urban nightlife in both high society and the streets of Paris, Brassaï expanded the scope of photography. His ability to seamlessly navigate different social circles, coupled with his aptitude for expressing himself across various artistic mediums, exemplifies his polymathic nature. Throughout his prolific career, Brassaï produced an impressive body of work, comprising over 35,000 photographic images. He skillfully employed different stylistic approaches such as Straight Photography, Street Photography, and Documentary Photography. In addition to his photographic endeavors, he also ventured into drawing, filmmaking, and writing.

While Brassaï's multifaceted artistic output is noteworthy, he is primarily celebrated as a photographer, revered for the ethereal quality he brought to his images—an attribute highly admired by Surrealist artists. Alongside Henri Cartier-Bresson, Brassaï holds a prominent position as one of the most influential photographers of 1930s Europe. John Szarkowski, former director of the Museum of Modern Art in New York, succinctly described Brassaï as the artist who skillfully captured the essence of the peculiar and eccentric. Brassaï's fascination with individuals from the Parisian underworld left a lasting impact on subsequent generations of photographers, notably Diane Arbus and Nan Goldin, who also sought to portray marginalized figures. Furthermore, Brassaï's urban landscapes continue to embody the romanticized notion of Paris as a bohemian metropolis.

His exceptional mastery of night photography paved the way for other photographers to explore the mystique of iconic cities after dark. Notably, Bill Brandt paid overt homage to Brassaï in his collection "A Night in London" (1936), which served as a launching pad for Brandt's own highly successful career.

Key concepts: 

Brassaï expressed his desire to "freeze motion" (in his own words), as opposed to capturing the energetic rhythm of the city through movement. Similar to Eugène Atget, Brassaï explored the streets of Paris, delving into unfamiliar territories. Like Atget, he possessed the ability to discover beauty in the ordinary, the disregarded, and the forgotten aspects of urban life.

Brassaï portrayed the diverse individuals he encountered as distinct "archetypes." Employing his camera as a tool, he documented the hidden aspects of human conduct, capturing everything from clandestine rendezvous and secretive gatherings to criminal activities, law enforcement, vagabonds, and the tired workers emerging from nocturnal labor. While spontaneity was evident in Brassaï's work, he was also unafraid to orchestrate or arrange his photographs when necessary to fulfill his commissioned projects.

Graham Clarke, a photo-historian, characterized Brassaï's Paris by Night photographs as a captivating "psychological realm of imagination." This unique "realm" intricately intertwined with the obscure and mysterious corners of the city. Brassaï's nocturnal world vividly depicted brothels, hotels, bars, and nightclubs, rather than focusing on grand architectural structures. Simultaneously, Brassaï found delight in capturing the intricate details of unconventional symbols of urban existence, including scribbled graffiti, weathered billboards, and decaying stonework.

Brassaï's approach leaned towards capturing moments with unfiltered authenticity, demonstrating a keen appreciation for the inherent beauty found in objects, locations, and human beings. Henry Miller, a close friend of Brassaï, encapsulated his worldview with a thought-provoking question: "Could Brassaï's intense desire to observe and depict objects as they are, without interference, be rooted in a deep sense of humility, respect, and reverence for the essence of the subject itself?"

Summary

Gyula Halász, known by his widely recognized pseudonym Brassaï, has garnered significant acclaim for his iconic photographs capturing the vibrant nightlife of Paris. His notable work, the book "Paris by Night," has become synonymous with his artistic legacy. However, Brassaï's artistic repertoire extends beyond this seminal collection. As a versatile freelance photographer and photojournalist, he made significant contributions to the concept of vernacular photography. Thanks in part to the influence of the Surrealists, Brassaï blurred the boundaries between street photography and fine art, eliminating any clear distinction. What truly motivated him was his profound curiosity for the lived experiences within the urbanization of the twentieth century, with Paris being his primary muse. It was this fascination that directed his lens towards captivating subjects and scenes that encapsulated the essence of the city.