Jane Evelyn Atwood | Paris

Posted: September 3rd, 2012 | Author: | Filed under: Film, Photography

L’Institut départemental des aveugles, Saint-Mandé, 1980 © Jane Evelyn Atwood

L’Institut départemental des aveugles, Saint-Mandé, 1980 © Jane Evelyn Atwood

Maison d’arrêt de femmes, Dijon, 1991 © Jane Evelyn Atwood

Maison d’arrêt de femmes, Dijon, 1991 © Jane Evelyn Atwood

James Baldwin et son frère David, St. Germain des Prés, Paris, 1981 © Jane Evelyn Atwood

James Baldwin et son frère David, St. Germain des Prés, Paris, 1981 © Jane Evelyn Atwood

Jean-Louis, Paris, 1987 © Jane Evelyn Atwood

Jean-Louis, Paris, 1987 © Jane Evelyn Atwood

La Rue des Lombards, Paris, 1976-1977 © Jane Evelyn Atwood

La Rue des Lombards, Paris, 1976-1977 © Jane Evelyn Atwood

Rue des Lombards 1976-1977 © Jane Evelyn Atwood

Rue des Lombards 1976-1977 © Jane Evelyn Atwood

Rue des Lombards 1976-1977 © Jane Evelyn Atwood

Rue des Lombards 1976-1977 © Jane Evelyn Atwood

Rue des Lombards 1976-1977 © Jane Evelyn Atwood

Rue des Lombards 1976-1977 © Jane Evelyn Atwood

Rue des Lombards 1976-1977 © Jane Evelyn Atwood

Rue des Lombards 1976-1977 © Jane Evelyn Atwood


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Xavier Lambours | Serge Gainsbourg

Posted: September 1st, 2012 | Author: | Filed under: Cinema, Film, Photography

Serge Gainsbourg, Festival de Cannes, 1982 © Xavier Lambours

Serge Gainsbourg, Festival de Cannes, 1982 © Xavier Lambours


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Yan Morvan | Bikers

Posted: August 20th, 2012 | Author: | Filed under: Film, Photography, Quotes

I think the very first photo I took was in 1967 at the Monaco Grand Prix. I was 13 and photographed race cars with my dad. That was the year that Lorenzo Bandini crashed and burned, and I took photos of it with my Kodak camera.

- Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan


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André Kertész | Chagall Family, Paris, 1933

Posted: August 18th, 2012 | Author: | Filed under: Books, Film, Painting, Photography, Quotes

Chagall Family, Paris, 1933 © André Kertész

Chagall Family, Paris, 1933 © André Kertész

Everything is a subject. Every subject has a rhythm. To feel it is the raison d’être. The photograph is a fixed moment of such a raison d’être, which lives on in itself.

- Andre Kertesz

If I create from the heart, nearly everything works; if from the head, almost nothing.

- Marc Chagall


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Eugene Atget | La Villette, rue Asselin, 1921

Posted: August 12th, 2012 | Author: | Filed under: Film, Photography, Quotes

La Villette, rue Asselin © Eugene Atget, 1921

La Villette, rue Asselin © Eugene Atget, 1921

Atget’s importance is unquestioned. If I started out to criticize, it was from disappointment. I had expected a flame, and found but a warm glow. What I admire most of all is the man’s simple honesty. He has no bag of tricks. He makes me feel ashamed in recalling certain prints — most all destroyed now — in which I found myself trying to call attention with cleverness, or shall I say by a forced viewpoint — for I hope I have never been cheaply clever!

And recalling the usual “Photo Salon” of pretty trees, romantic nudes, sentimental postures, Atget stands out, so very far apart, in extraordinary dignity.

- Edward Weston


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Morocco | Mehfiz

Posted: March 25th, 2012 | Author: | Filed under: dougKIM photography, Film, Leica, Morocco

Stumbled across, and almost into, a group of young men in Mehfiz, somewhat near Khamlia in the Sahara. These guys were at an open crevasse, mining for coal and quartz by hand. They did have some heavy machinery near by but almost all of their work was performed manually. Parts of the opening in the ground led to a pitch black emptiness.

This part of the Sahara was covered with hardscrabble consisting of sharp black obsidian and even sea shells, carpeting the desert floor. Nearby were the ruins of a fort and barracks for the French army from the turn of the century. This area as is true of a good part of Morocco is rich in minerals. The King of Morocco has been patient and careful in exploiting these resources.

Coal and quartz mining in Mehfiz, Sahara, Morocco; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Coal and quartz mining in Mehfiz, Sahara, Morocco; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Coal and quartz mining in Mehfiz, Sahara, Morocco; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Coal and quartz mining in Mehfiz, Sahara, Morocco; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Coal and quartz mining in Mehfiz, Sahara, Morocco; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Coal and quartz mining in Mehfiz, Sahara, Morocco; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Coal and quartz mining in Mehfiz, Sahara, Morocco; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Coal and quartz mining in Mehfiz, Sahara, Morocco; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim


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Robert Doisneau | 1912 – 1994

Posted: January 13th, 2012 | Author: | Filed under: Film, Painting, Photography, Quotes

La poule en laisse © Robert Doisneau

La poule en laisse © Robert Doisneau

Danse © Robert Doisneau

Danse © Robert Doisneau

When I was photographing fashion for Vogue, against a white background, I was only acting a part. Watching a fashion show never gave me any particular emotion, never made me think : “I must absolutely photograph that woman, in that dress”. Besides, models weren’t as friendly as they are now, they always seemed to look down on the little man at the other side of the camera, who was only trying to get his photo.

- Robert Doisneau

 

Le ruban de la mariée, 1951 © Robert Doisneau

Le ruban de la mariée, 1951 © Robert Doisneau

Les animaux superieurs, 1954 © Robert Doisneau

Les animaux superieurs, 1954 © Robert Doisneau

I’ve made every possible mistake. Because I don’t like to obey orders and I always question what I’m told. So I have to try out everything for myself, and that has lead me into many dead ends.

- Robert Doisneau

 

Les frères, rue du Docteur Lecène, Paris 1934 © Robert Doisneau

Les frères, rue du Docteur Lecène, Paris 1934 © Robert Doisneau

Yes, the expectation of a miracle. It’s very childish, but at the same time it’s almost like an act of faith. We find a backdrop and wait for the miracle. I remember a backdrop that never worked for me, possibly because I didn’t wait long enough, or didn’t return to it often enough. In the foreground you can see the steps of Saint Paul’s church, the background is a perfect faubourg, as you imagine them from literature or movies. I frame it in my viewfinder, from rue de Turenne to a shop called Le Gant d’Or, and wait there for an hour, sometimes two, thinking, “my God, something is bound to happen”. I imagine events I would like to photograph, one wilder than the other. But nothing happens, nothing. Or if it does – bang – it’s so different from what I expected that I miss it. The miracle did take place, but I wasted it, because I didn’t pay the right kind of attention. When you are tired, you become unable to react, your emotion is no longer available.

- Robert Doisneau

 

Bois Bouloigne ©  Robert Doisneau

Bois Bouloigne © Robert Doisneau

Plenty. I couldn’t count all my hours of mad hope, while expecting the miracle to happen. Hardly a week goes by without at least one day of photography. But sometimes I have the feeling that I’m hounded by a curse. It took me five years to get sacked by Renault – though I had done all I could to that purpose – and three months later war was declared and my freedom was lost again. Now, that I don’t have to waste my time with advertising photos, or with complying to the demands of magazines, my wife’s illness has fallen on me. For the last ten years, this has detained me from using my time as I wanted. It’s like a fatality. Still, I believe that constraint, and the feeling of exasperation that comes with it, can also become a stimulus to create.

- Robert Doisneau

 

Concours du plus beau tatouage 1950 © Robert Doisneau

Concours du plus beau tatouage 1950 © Robert Doisneau

The advantage we have, compared to painters and writers, is that we never lose contact with the rough side of life. It is a lesson in humility and it keeps us from some pitfalls. But above all it nourishes us. Other people’s vitality nourishes us, without their knowledge. It has done me good to work on this project in Saint-Denis, to find myself in the streets again, face to face with people. Though I must say that I found them less friendly than twenty years ago, possibly because of today’s photographers, who hold their cameras like weapons – so of course the rabbit on the other side doesn’t feel too good. I wouldn’t dare shoot as they do, I don’t have William Klein’s nerve. Sometimes the camera pulls me along, but once I’ve got my photo I wonder, “How am I going to cope with this now, how can I explain it to these people?”

- Robert Doisneau

 

Mademoiselle Anita 1951 © Robert Doisneau

Mademoiselle Anita 1951 © Robert Doisneau

Paris © Robert Doisneau

Paris © Robert Doisneau

[Using a Rollei] You ended up bowing before the subject, as if in prayer. Whereas with a 35mm camera, you put him straight in your line of fire – that is in your line of sight, so as to shoot right into his face. And if you aren’t quick enough, this may annoy him and he will agress you. I understand it now, as more and more often people tend to photograph me, it’s like the attractiveness of old ruins, you become picturesque without wanting to. So I realise what it feels to have such a machine pointed at you : if you stick your finger up your nose – click – your fellow photographer won’t miss it.

- Robert Doisneau

 

Trépidante Wanda 1953 © Robert Doisneau

Trépidante Wanda 1953 © Robert Doisneau

Sunday morning in Arcueil 1945 © Robert Doisneau

Sunday morning in Arcueil 1945 © Robert Doisneau

A memory from my youth comes back to me. You go into the woods on a bike, with a girl. There is the smell of heather, you can hear the wind in the fir trees, you don’t dare tell her about your love, but you feel happy, as if you were floating above the ground. Then you look at the clouds beyond the trees and they are fleeting. And you know that within an hour you’ll have to go home, that tomorrow will be a working day. You wish you could stop that moment for ever, but you can’t, it is bound to end. So you take a photo, as if to challenge time. Maybe the girl will move to another town and you will never see her again, or you will see her changed, tired, humiliated by her everyday life, working as a salesgirl in some shop, with a boss always shouting at her. To me, this desire to preserve the moment seems justified, in spite of that German priest mentioned by Gisèle Freund, who pretends that the photographic image is a sacrilege.

- Robert Doisneau

 

Paris © Robert Doisneau

Paris © Robert Doisneau

I had a few problems with the law. It appears that people have rights about their own image, and this often prevents me from catching their spontaneity. So I must stop them and say, “I noticed you while passing by, would you mind kissing again?” That’s what happened with the “Hôtel de Ville lovers”, they re-enacted their kiss. Those with the grocer were a couple I hired.

- Robert Doisneau

 

Le Baiser de l'Hôtel de Ville 1950 © Robert Doisneau

Le Baiser de l'Hôtel de Ville 1950 © Robert Doisneau

The “Hôtel de Ville lovers” were part of a series, on which I had already worked for a week and which I had to complete with two or three photos of that kind. But the fact that they were set up never bothered me. After all, nothing is more subjective than l’objectif (the French word for “lens”), we never show things as they “really”are. The world I was trying to present was one where I would feel good, where people would be friendly, where I could find the tenderness I longed for. My photos were like a proof that such a world could exist.

- Robert Doisneau

 

Créatures de Rêves, 1952 © Robert Doisneau

Créatures de Rêves, 1952 © Robert Doisneau

L'enfant Papillon 1945 © Robert Doisneau

L'enfant Papillon 1945 © Robert Doisneau

Les écoliers de la rue Damesme, Paris 1956 © Robert Doisneau

Les écoliers de la rue Damesme, Paris 1956 © Robert Doisneau

My photographs show the world as I would like it to be.

- Robert Doisneau

 

Montbéliard © Robert Doisneau

Montbéliard © Robert Doisneau

Picasso et Françoise Gilot, 1952 © Robert Doisneau

Picasso et Françoise Gilot, 1952 © Robert Doisneau

Les Enfants de la Place Herbert, 1957 © Robert Doisneau

Les Enfants de la Place Herbert, 1957 © Robert Doisneau

We must always remember that a picture is also made up of the person who looks at it. This is very, very important. Maybe this is the reason behind those pictures that haunt me and that haunt many people as well. It is about that walk that one takes with the picture when experiencing it. I think that this is what counts. One must let the viewer extricate himself, free himself for the journey. You offer the seed and then the viewer grows it inside himself. For a long time I thought that I had to give the entire story to my audience. I was wrong.

- Robert Doisneau

 

Georges Braque a Varengeville Normandy, 1953 © Robert Doisneau

Georges Braque a Varengeville Normandy, 1953 © Robert Doisneau

La dent, Paris 1956 © Robert Doisneau

La dent, Paris 1956 © Robert Doisneau

Le cadran scolaire, Paris 1956 © Robert Doisneau

Le cadran scolaire, Paris 1956 © Robert Doisneau

I’m not sure that total freedom is such a good thing. When you have to rely on yourself for living, you accept all kinds of assignments. But you cannot help glancing to the right or to the left, as if playing some game with the working hours that you owe your employer – and in the end the photos worth preserving are the ones you stole from his time.

- Robert Doisneau

 

La voiture fondue,1944 © Robert Doisneau

La voiture fondue,1944 © Robert Doisneau

Georges Braque a Varangeville, 1953 © Robert Doisneau

Georges Braque a Varangeville, 1953 © Robert Doisneau

La poterne des peupliers,1932 © Robert Doisneau

La poterne des peupliers,1932 © Robert Doisneau

The world I was trying to present was one where I would feel good, where people would be friendly, where I could find the tenderness I longed for. My photos were like a proof that such a world could exist.

- Robert Doisneau

 

Fernand Leger dans ses oeuvres © Robert Doisneau

Fernand Leger dans ses oeuvres © Robert Doisneau


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Hans Silvester | Tsiganes et Gitans

Posted: January 7th, 2012 | Author: | Filed under: Film, Photography

LE GUITARISTE MANITAS DE PLATA VERS 1970 © Hans Silvester, Tsiganes et Gitans

LE GUITARISTE MANITAS DE PLATA VERS 1970 © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MERLE © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MERLE © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-ME R© Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-ME R© Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

GITANS PENDANT LES VENDANGES © Hans Silvester, Tsiganes et Gitans

GITANS PENDANT LES VENDANGES © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans

FRANCE, SAINTES-MARIES-DE-LA-MER © Hans Silvester, Tsiganes et Gitans


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Josef Koudelka | Perpignan, France

Posted: December 25th, 2011 | Author: | Filed under: Film, Photography

PERPIGNAN, France—A homeless person in front of a charitable organization serving hot meals, 1993. © Josef Koudelka / Magnum Photos

PERPIGNAN, France—A homeless person in front of a charitable organization serving hot meals, 1993. © Josef Koudelka / Magnum Photos


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Magnum Photos | The Mexican Suitcase

Posted: December 17th, 2011 | Author: | Filed under: Film, History, Photography

In December 2007, three boxes filled with rolls of film containing 4,500 35mm negatives of the Spanish Civil War (1936-39) taken by Robert Capa, Gerda Taro, and David Seymour (aka “Chim”)—which had been considered lost since 1939—arrived at the International Center of Photography. These three photographers, who lived in Paris, worked in Spain, and published internationally, laid the foundation for modern war photography. Their work has long been considered some of the most innovative and passionate coverage of the Spanish Civil War. An exhibition of Mexican Suitcase images is on view at the ICP from Sept. 24, 2010, to Jan. 9, 2011.

 

The Mexican Suitcase

The Mexican Suitcase

 

Many of the contact sheets made from the negatives are on view as part of the exhibition, which looks closely at some of the major stories covered by Capa, Taro, and Chim, as interpreted through the individual frames. These images can be seen alongside the magazines of the period in which they were published and with the photographers’ own contact notebooks.

The complete story is available on the ICP site.

 

E BARCARÈS, France—Exiled Republicans being marched on the beach from one internment camp to another area by a French policeman, March 1939.

E BARCARÈS, France—Exiled Republicans being marched on the beach from one internment camp to another area by a French policeman, March 1939.

MADRID—A Republican officer and Gerda Taro in University City, February 1937.

MADRID—A Republican officer and Gerda Taro in University City, February 1937.

TERUEL, Spain—A man carrying a wounded boy, December 1937. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

TERUEL, Spain—A man carrying a wounded boy, December 1937. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

TERUEL, Spain—Ernest Hemingway (third from left), New York Times journalist Herbert Matthews (second from left), and two Republican soldiers, late December 1937. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

TERUEL, Spain—Ernest Hemingway (third from left), New York Times journalist Herbert Matthews (second from left), and two Republican soldiers, late December 1937. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

SPAIN—An outdoor mass for Republican soldiers, near Lekeitio, in the Basque region, January/February 1937. © David Seymour / Magnum Photos

SPAIN—An outdoor mass for Republican soldiers, near Lekeitio, in the Basque region, January/February 1937. © David Seymour / Magnum Photos

MADRID—Dolores Ibárruri (La Pasionaria), spring/summer 1936. © David Seymour / Magnum Photos

MADRID—Dolores Ibárruri (La Pasionaria), spring/summer 1936. © David Seymour / Magnum Photos

SPAIN—A mother nursing a baby while listening to a political speech near Badajoz, Extremadura, late April/early May 1936. © David Seymour / Magnum Photos

SPAIN—A mother nursing a baby while listening to a political speech near Badajoz, Extremadura, late April/early May 1936. © David Seymour / Magnum Photos

MADRID—Two Republican soldiers carrying a crucifix, October/November 1936. © David Seymour / Magnum Photos

MADRID—Two Republican soldiers carrying a crucifix, October/November 1936. © David Seymour / Magnum Photos

VALENCIA, Spain—Training of the New People’s Army, March 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

VALENCIA, Spain—Training of the New People’s Army, March 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

VALENCIA, Spain—A crowd at the gate of a morgue after an air raid, May 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

VALENCIA, Spain—A crowd at the gate of a morgue after an air raid, May 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

MADRID—Workers fortifying the Plaza de Cibeles, spring 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

MADRID—Workers fortifying the Plaza de Cibeles, spring 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

SPAIN—A Republican soldier on a motorcycle at the Segovia front, in Navacerrada Pass, late May/early June 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

SPAIN—A Republican soldier on a motorcycle at the Segovia front, in Navacerrada Pass, late May/early June 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

MADRID—A woman taking inventory of the paintings in the collection of Las Descalzas Reales with two Republican soldiers, October/November 1936. © David Seymour / Magnum Photos

MADRID—A woman taking inventory of the paintings in the collection of Las Descalzas Reales with two Republican soldiers, October/November 1936. © David Seymour / Magnum Photos

SPAIN—Republican soldiers on the Segovia front in Navacerrada Pass, May/June 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

SPAIN—Republican soldiers on the Segovia front in Navacerrada Pass, May/June 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

TERUEL, Spain—Republican soldiers in a destroyed building on the lookout for Nationalist soldiers, December 1937. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

TERUEL, Spain—Republican soldiers in a destroyed building on the lookout for Nationalist soldiers, December 1937. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

AMOREBIETA, Spain—Republican soldiers running in the Basque region, 1937. © David Seymour / Magnum Photos

AMOREBIETA, Spain—Republican soldiers running in the Basque region, 1937. © David Seymour / Magnum Photos

VALENCIA, Spain—Air-raid victims in the morgue, May 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

VALENCIA, Spain—Air-raid victims in the morgue, May 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

SPAIN—Two Republican soldiers with another on a stretcher, in Navacerrada Pass, May/June 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

SPAIN—Two Republican soldiers with another on a stretcher, in Navacerrada Pass, May/June 1937. © Gerda Taro © 2002 by International Center of Photography/Magnum Photos / Magnum Photos

SPAIN—Republican soldiers storming forward in jumps, at Rio Segre, on the Aragon front, near Fraga, Nov. 7, 1938. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

SPAIN—Republican soldiers storming forward in jumps, at Rio Segre, on the Aragon front, near Fraga, Nov. 7, 1938. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

SPAIN—A Republican machine-gunner behind stones, Nov. 7, 1938. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

SPAIN—A Republican machine-gunner behind stones, Nov. 7, 1938. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

SPAIN—Bottles and glasses on a table in the Basque region, January 1937. © David Seymour / Magnum Photos

SPAIN—Bottles and glasses on a table in the Basque region, January 1937. © David Seymour / Magnum Photos

BRAM, France—A line of men receiving food in an internment camp for Republican exiles, March 1939. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

BRAM, France—A line of men receiving food in an internment camp for Republican exiles, March 1939. © ROBERT CAPA © 2001 By Cornell Capa / Magnum Photos

PARIS—Photographers Gerda Taro and Robert Capa at the Café du Dôme in Montparnasse, early 1936. © Fred Stein / Magnum Photos

PARIS—Photographers Gerda Taro and Robert Capa at the Café du Dôme in Montparnasse, early 1936. © Fred Stein / Magnum Photos


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