《摄影大师-比尔·布兰德作品集》(Bill Brandt)[RAR]

本世纪最盛大的影展'人类一家'（Ｆａｍｉｌｙ ｏｆ Ｍａｎ）的筹备期间（１９４），主办人爱德华·史泰钦（Ｅ．Ｊ．ＳｔｅｉＣｈｅｎ，１８９７～１９７３）在挑选照 片时，曾被英国摄影家毕尔·布兰德（ＢｉｌｌＢｒａｎｄｔ， １９０４～１９８３）的影像大大触怒了。这位人道思想浓厚的摄影长辈，为纽约现代美术馆的摄影部主任，主宰着全世界的摄影走向，然而他对当时已颇有名气的市兰 德却颇不以为然，认为在那些刻意加工处理的高反差照片里有着极为强烈的主观偏见，不能平实反应对象本貌，与'人类一家'所要呈现的世界大同理想有着距离，不足以当成人性的影像表率。最后布兰德终于以一张伦敦街头位戏的孩童被选人展览里，但这 张实在非'布兰德式'的照片，等于不承认他对人性特殊的诠释方式，布兰德就像是'当代影像大家族'的外来客，只歇个脚就走出门槛继续流 浪下去。 这个事件最能代表市兰德的影像工作在那个年代里所受到的待遇。他从一九二九年就开始拍照，由于一向都不理会时尚的潮流，独自 走着一条孤独的小径；以至于到了五十年代还只受到'极有限的支持与认可'——尤其在自己的祖国。可是布兰德从来就不会理会在哪一座 影像殿堂里才能寻得的庇护。他只想拍会令自己感兴趣的主题，三十多年前他就这么说过。







"Brandt's pictures survive and enter the memory because they were constructed by an artist." David Hockney

The V&A celebrates the centenary of the birth of Bill Brandt (1904-1983), Britain's best-loved photographer of modern times, with a stunning retrospective. With over 150 mainly vintage, gelatin-silver prints from the Bill Brandt Archive, the exhibition displays the finest selection of his rare and famous prints to be seen in Britain for over thirty years.






Experimenting with the landscape form, Brandt travelled on wartime trains to photograph the landscapes of ‘Literary Britain’ and created evocative images of Hardy’s Wessex and the Brontë sisters’ Yorkshire Moors. The exhibition includes arresting images of the East End, the northern industrial heartlands and the moonlit streets of blacked-out London.

Following the war, Brandt returned to his interest in the surreal. In his outstanding series, Perspective of Nudes, he radically revised the genre by creating dramatic sculptural images of nudes merging with the landscape.