Breathtaking autochrome images capture the beauty and wonder that nurtured Lartigue’s love of photography
An indisputably important figure in photography, Jacques-Henri Lartigue was fascinated by new inventions such as the automobile and telecommunications, and concurrently the new possibilities that the photographic medium offered. In 1912 he began taking photographs in a radically different way by using a surprising anachronistic technique: stereoscopic autochrome on glass plates. This process relied on meticulous technical preparation and a long, precise exposure time for his staged compositions. The end result is not a print but a double stereoscopic view that he projected onto a screen. Lartigue filled each frame with bright colors through a mix of sunny landscapes, dazzling flowers and playful scenes of his well-to-do family and friends at leisure. During the short time he produced these images—from 1912 to 1927—Lartigue made an important series of double-view autochromes, from which the 90 remaining pieces are presented here for the first time in their entirety and at full scale. In order to understand the effect this series has had in the history of color photography, the images in The Proof of Color are accompanied by a contextual commentary. Born to a prosperous family, Jacques-Henri Lartigue (1894–1986) was unknown as a photographer until 1963 when his work was shown for the first time at the Museum of Modern Art, New York. That same year, a spread published in Life magazine in an issue on John F. Kennedy’s death also introduced Lartigue’s work to a wider public.
Featured image is reproduced from 'Jacques-Henri Lartigue: The Proof of Color.'
PRAISE AND REVIEWS
The Eye of Photography
Jacques Henri Lartigue‘s 'L’épreuve de la couleur' sheds light on a little-known part of the famous photographer’s work: his fascination with stereoscopic Autochrome – one of the first color photography processes just introduced.
The Wall Street Journal
Angelina Torre
In contrast to his better-known snapshots of automobile races and sporting events, Lartigue’s autochromes are studies in patience.
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Detail is from Jacques-Henri Lartigue: The Proof of Color. A lovely hardcover with tipped-on cover image, this new release from Atelier EXB collects previously unpublished double-view autochromes by the early-twentieth-century French photographer Jacques-Henri Lartigue—beloved for his sporty portraits of friends and family enjoying moments of leisure at the beach, in the country and on the slopes of the French Alps. Much as we hate to imagine wearing them ourselves, how we love to see women skiing in long skirts! This particular photograph includes Lartigue himself, second from right in his iconic “tango” orange sweater, photographed with his own camera by Victor Folletête in Chamonix, January 21, 1914. continue to blog
FORMAT: Hbk, 6.75 x 8.75 in. / 160 pgs / 135 color. LIST PRICE: U.S. $55.00 LIST PRICE: CANADA $79 ISBN: 9782365114073 PUBLISHER: Atelier EXB AVAILABLE: 12/24/2024 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA
Published by Atelier EXB. Edited with text by Marion Perceval, Kevin Moore.
Breathtaking autochrome images capture the beauty and wonder that nurtured Lartigue’s love of photography
An indisputably important figure in photography, Jacques-Henri Lartigue was fascinated by new inventions such as the automobile and telecommunications, and concurrently the new possibilities that the photographic medium offered. In 1912 he began taking photographs in a radically different way by using a surprising anachronistic technique: stereoscopic autochrome on glass plates. This process relied on meticulous technical preparation and a long, precise exposure time for his staged compositions. The end result is not a print but a double stereoscopic view that he projected onto a screen. Lartigue filled each frame with bright colors through a mix of sunny landscapes, dazzling flowers and playful scenes of his well-to-do family and friends at leisure.
During the short time he produced these images—from 1912 to 1927—Lartigue made an important series of double-view autochromes, from which the 90 remaining pieces are presented here for the first time in their entirety and at full scale. In order to understand the effect this series has had in the history of color photography, the images in The Proof of Color are accompanied by a contextual commentary.
Born to a prosperous family, Jacques-Henri Lartigue (1894–1986) was unknown as a photographer until 1963 when his work was shown for the first time at the Museum of Modern Art, New York. That same year, a spread published in Life magazine in an issue on John F. Kennedy’s death also introduced Lartigue’s work to a wider public.
