 Vu (magazine) N°77 featuring Adelaide Hall | |
| Editor | Desfossés - Néogravure1 |
|---|---|
| Categories | Photojournalism |
| Frequency | Weekly |
| Founder | Lucien Vogel |
| Founded | 1928 |
| Final issue | 1940 |
| Based in | Paris, France |
| Language | French |
Vu, stylized as VU, was a weekly French pictorial magazine, created and directed by Lucien Vogel, which was published from 21 March 1928 to 29 May 1940; it ran for 638 issues. [1]
Vu was the first large weekly to systematically feature photographs in essay form, and as such was an important precursor to, and proponent of, the magazine format of photojournalism (which came to prominence a decade after its print run in magazines such as Life and Look ).
Although inspired in part by the German magazine Berliner Illustrirte Zeitung , [2] [3] VU featured a constructivist aesthetic and was innovative in its layouts, especially in its double-page spreads, [4] in which the layout artists were assisted by rotogravure from film positives of both type and halftone images which could be easily cut and arranged on a light box, rather than using less flexible and more expensive metal halftone blocks.
Notable contributing photographers included Cartier-Bresson, Man Ray, Brassaï, and André Kertész, [5] but the sole staff photographer was the now lesser-known Gaston Paris 1933-38 who made around 1,300 photos for the magazine. [6] VU was particularly advanced in its use of the picture essay format. [7] Vu encouraged photographers to use the newly available smaller cameras, the medium-format Rolleiflex and 35mm Leica, with faster lenses, high-speed (100 ASA in 1931) roll-film in high-capacity magazines, and rapid operation, facilitated them in producing striking imagery. [1]
The magazine published special issues on the Soviet Union (VU au pays des Soviets, 18 November 1931), [8] which was illustrated by Vogel, himself a keen photographer, [1] on Germany (L'énigme allemande, 1932), the ascent of technology (Fin d'une civilisation, 1933), China (Interrogatoire de la Chine, 1934), and Spain (VU en Espagne, 1936). [1]
In 1931, Vogel founded a companion magazine named Lu (read), a survey of the foreign press translated into French; this merged with Vu in March 1937. [8]
A major retrospective was hosted by the Maison Européenne de la Photographie (MEP) in late 2006/early 2007. [1]
André Kertész, born Andor Kertész, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of 20th century photography.
James Harvey Robinson was an American scholar of history who, with Charles Austin Beard, founded New History, a disciplinary approach that attempts to use history to understand contemporary problems, which greatly broadened the scope of historical scholarship in relation to the social sciences.
Jean-Philippe Charbonnier was a French photographer whose works typify the humanist impulse in that medium in his homeland of the period after World War II.
Marie-Claude Vaillant-Couturier was a French Resistance member in World War II as well as a photojournalist, deported to Auschwitz in 1943. She survived the war and became a Communist politician, elected to Parliament under the Fourth and Fifth Republic.
Henri Béraud, also known as Tristan Audebert, was a French novelist and journalist. He was sentenced to death in 1945, which was later commuted to life imprisonment, for collaboration with Germany.
Ergy or Erzsy Landau (1896–1967) was a Hungarian-French humanist photographer.
Frank Horvat was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat's photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture.
Agence Vu' is a photography agency established in 1986 that has headquarters on Rue Saint-Lazare in Paris. It works with both photojournalists and art photographers, not specialising in one field of photography. It sells photographs, produces books, exhibitions and has a gallery called Gallery Vu. Xavier Soule is its president and director.
Le Jardin des Modes was a French language women's fashion magazine published monthly in France between 1922 and 1997.
Nora Dumas was a Hungarian photographer who worked mainly in Paris in the Humanist genre.
Humanist Photography, also known as the School of Humanist Photography, manifests the Enlightenment philosophical system in social documentary practice based on a perception of social change. It emerged in the mid-twentieth-century and is associated most strongly with Europe, particularly France, where the upheavals of the two world wars originated, though it was a worldwide movement. It can be distinguished from photojournalism, with which it forms a sub-class of reportage, as it is concerned more broadly with everyday human experience, to witness mannerisms and customs, than with newsworthy events, though practitioners are conscious of conveying particular conditions and social trends, often, but not exclusively, concentrating on the underclasses or those disadvantaged by conflict, economic hardship or prejudice. Humanist photography "affirms the idea of a universal underlying human nature". Jean Claude Gautrand describes humanist photography as:
a lyrical trend, warm, fervent, and responsive to the sufferings of humanity [which] began to assert itself during the 1950s in Europe, particularly in France ... photographers dreamed of a world of mutual succour and compassion, encapsulated ideally in a solicitous vision.
François Tuefferd was a French photographer, active from the 1930s to the 1950s. He also ran a darkroom and gallery in Paris, Le Chasseur d'Images, where he printed and exhibited the works of his contemporaries. His best-known imagery features the French circus.
European Photography, based in Berlin, is an independent art magazine for international contemporary photography and new media. It was founded in 1980 and is published by the German artist Andreas Müller-Pohle.
Isaac Kitrosser (1899–1984) was a Moldovan-born, French fine art photographer, photojournalist, chemical engineer, and inventor of photographic processes.
Queens Directories – of New York City – were, before 1898, an assortment of village directories, Queens County directories, Long Island Directories, and add-ins or partial inclusions to New York City directories. In 1898, 30% of the western part of the old Queens County was absorbed into New York City. Before 1898, Nassau County covered the eastern 70% of the old Queens County. The older, larger Queens County was mostly agricultural, and within it were several towns, villages, and hamlets. In the mid- to late-19th century, cemeteries constituted one of the larger industries in Queens, Kings (Brooklyn), and Westchester Counties. As of 1898, Queens County, New York, and the Borough of Queens, New York City, geographically, have been the same. Both Queens and Brooklyn are on Long Island.
Jean-Jacques Naudet is a French journalist and iconographer, publication director of L'Œil de la photographie, an online journal dedicated to photography.
Gaston Paris (1903–1964) was a frequently published autodidactic photographer and journalist, notably for the magazine Vu.
Le Rectangle was a professional association of French illustration and advertising photographers created in 1937 and disbanded in 1946 to be replaced by Le Groupe des XV.
André Steiner' was a French photographer.
Christian Caujolle, born February 26, 1953, in Sissonne, is a French journalist, photo agent, curator and photographer. He was one of the founders and the artistic director of the Agence VU, as well as the artistic director of the Galerie VU created in 1998. He is the artistic director of the Photo Phnom Penh festival (Cambodia), and of the Château d'Eau gallery in Toulouse.
{{cite book}}: External link in |type={{cite web}}: CS1 maint: multiple names: authors list (link) CS1 maint: postscript (link) ISBN 978-2-7324-3751-4, 2-7324-3751-4 (2009 exhibition book); OCLC 644622672(all editions) (2009 exhibition book).{{cite book}}: CS1 maint: postscript (link) LCCN 99-42995; ISBN 1-5811-5035-0; OCLC 883592407(all editions).{{cite book}}: CS1 maint: postscript (link) LCCN 201200428 201-200428; ISBN 1-5971-1199-6, 978-1-5971-1199-7; OCLC 818622087(all editions).{{cite book}}: CS1 maint: multiple names: editors list (link) ISBN 978-9-0420-2618-6 (hardback); ISBN 978-9-0420-2619-3 (e-book); OCLC 897034082(all editions).Reiss-Engelhorn-Museen (2019). Gaston Paris: die unersättliche Kamera (in German). Köln: Verlag der Buchhandlung Walther König. ISBN 978-3-96098-569-3. OCLC 1263196302.