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Willy Ronis

 
Oxford Grove Art:

Willy Ronis

(b Paris, 14 Aug 1910). French photographer and writer. He worked as a meteorologist in the French air force. In 1936 Ronis became a freelance photographer, winning the Kodak National Prize in 1947 and the Gold Medal at the Venice Bienniale in 1957, among other prizes. His work centres on human relationships and environments, displaying a harmonious world and a faith in mankind; he stated that 'to transform chaos into harmony is the constant quest of the seekers of images' (Eveno, 1983, p. 177). In 1951 he participated in the exhibition Five French Photographers: Brassa?, Cartier-Bresson, Doisneau, Izis, Ronis at MOMA, New York. He wrote two books on photography, Photo reportage et chasse aux images (1951) and Sur le fil du hasard (1980).

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Ronis, Willy (b. 1910), French photographer, born in Paris and a leading figure in French humanism, active well into his nineties. A lifelong passion for music can be detected in many of his pictures, their careful and elegant composition evoking the tripartite structure of a Bach fugue. His fascination with the street, and with the muted tonality of Parisian light, also attests to an early encounter with Dutch painting of the 16th and 17th centuries, with Brueghel his acknowledged master.

Working freelance for the press from 1936, Ronis was briefly associated with his friend Robert Capa's pre-war attempts to create a photo agency; his pictures were then credited to ‘Roness’. He joined Emmanuel Sougez's Groupe du Rectangle, a sort of Group f.64 à la française, and belonged, with Cartier-Bresson and others, to the communist Association d'Écrivains et Artistes Revolutionnaires. Much of his social reportage was informed by left-wing sympathies, reinforced after the Second World War by his marriage to the painter Marie-Anne Lansiaux (1910-91), a French Communist Party militant. Her son Vincent was the subject of many of Ronis's best-known pictures.

Exhibited with Brassaï, Cartier-Bresson, Doisneau, and Izis at MoMA, New York, in 1951, Ronis had become an internationally recognized photographer, and a key member of the Rapho agency and the Parisian Groupe du XV. His reputation was increased by the huge success of Nu provençal (1949), a portrait of his wife at her toilette on a hot day in the south. (Ronis was to live in Provence from the 1960s to the 1980s, and made an impressive body of work there.) Like so much of his work, it is a slice of everyday life, taken ‘by chance’ when the opportunity presented itself. His many nude studies share a delicacy and beauty that pay homage to the female form. Fashion work for Jardin des modes and Vogue displays this interest in a natural beauty, in which clothes are part of everyday life, rather than exotic plumage.

Ronis's strong character and personal integrity may have limited his opportunities in the press during the 1960s and 1970s. He resigned for political reasons from Rapho in 1955, after one of his pictures of a strike was used, without his knowledge, with an anti-communist caption in the New York Times (he rejoined in 1980).

The photographer of Paris par excellence, his work on the working-class area of Belleville-Ménilmontant (begun in 1947, first published as a book in 1954, but continued ever since) is among the great achievements of humanist photography. As Pierre Mac Orlan told him, his work is a ‘poetry of the street’, brilliant and sympathetic evocations of a way of life.

— Peter Hamilton

Bibliography

  • Hamilton, P., Willy Ronis: Photographs 1926-1995 (1995)
Wikipedia on Answers.com:

Willy Ronis

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Willy Ronis
Born August 14, 1910(1910-08-14)
Paris, France
Died September 12, 2009(2009-09-12) (aged 99)
Paris, France
Occupation Photographer

Willy Ronis (August 14, 1910 – September 12, 2009[1]) was a French photographer, the best-known of whose work shows life in post-war Paris and Provence.

Contents

Early life

Ronis was born in Paris; his father was a Jewish refugee from Odessa, and his mother was a refugee from Lithuania, both escaped from the pogroms. His father opened a photography studio in Montmartre, and his mother gave piano lessons.[citation needed] The boy's early interest was music and he hoped to become a composer. Returning from compulsory military service in 1932, his violin studies were put on hold because his father's cancer required Ronis to take over the family portrait business; Ronis' passion for music has been observed in his photographs.[2] His father died in 1936, whereupon the business collapsed and Ronis went freelance, his first photographs being published in Regards.[3] In 1937 he met David Szymin and Robert Capa, and did his first work for Plaisir de France; in 1938–39 he reported on a strike at Citroën and traveled in the Balkans.[3] With Cartier-Bresson, Ronis belonged to Association des Écrivains et Artistes Révolutionnaires, and remained a man of the left.[2]

Photography career

The work of photographers, Alfred Stieglitz and Ansel Adams inspired Ronis to begin exploring photography.[citation needed] After his father's death, in 1936, Ronis closed the studio and joined the photo agency Rapho, with Brassaï, Robert Doisneau and Ergy Landau.[citation needed]

Ronis became the first French photographer to work for Life.[citation needed] In 1953, Edward Steichen included Ronis, Henri Cartier-Bresson, Robert Doisneau, Izis, and Brassaï in an exhibition at the Museum of Modern Art titled Five French Photographers.[3] In 1955, Ronis was included in the Family of Man exhibition. The Venice Biennale awarded him its Gold Medal in 1957.[3] Ronis began teaching in the 1950s, and taught at the School of Fine Arts in Avignon, Aix-en-Provence and Saint Charles, Marseilles. In 1979 he was awarded the Grand Prix des Arts et Lettres for Photography by the Minister for Culture.[3] Ronis won the Prix Nadar in 1981 for his photobook, Sur le fil du hasard.[3]

Provençal Nude by Willy Ronis, 1949.

Ronis' wife, the Communist militant painter Marie-Anne Lansiaux (1910–91),[2] was the subject of his well-known 1936 photograph, Nu provençal (Provençal nude). The photograph, taken in a house that he and Anne Marie had just bought in Gordes,[4] showed Marie-Anne washing at a basin with a water pitcher on the floor and an open window through which the viewer can see a garden, this is noted for its ability to convey an easy feeling of Provençal life. The photograph was a "huge success";[2] Ronis would comment, "The destiny of this image, published constantly around the world, still astonishes me."[4] Ronis lived in Provence from the 1960s to the 1980s.[2]

Late in her life, Ronis photographed Marie-Anne suffering from Alzheimer's disease, sitting alone in a park surrounded by autumn trees.[5]

Ronis' nudes and fashion work (for Vogue and Le Jardin des modes) show his appreciation for natural beauty;[2] meanwhile, he remained a principled news photographer, resigning from Rapho for a twenty-five year period when he objected to the hostile captioning by the New York Times to his photograph of a strike.[2]

Despite stiff competition from Robert Doisneau and others, the Oxford Companion to the Photograph terms Ronis "the photographer of Paris par excellence".[2]

Ronis continued to live and work in Paris, although he stopped photography in 2001, since he required a cane to walk and could not move around with his camera. He also worked on books for the Taschen publishing company.[citation needed]

In 2005-2006 the City of Paris presented "Willy Ronis in Paris", a big retrospective show of his work, that had a huge success with over than 500.000 visitors.[6]

Exhibition at Rencontres d'Arles festival (France) in 2009.

Ronis died at age 99, on September 12, 2009.

Bibliography

  • Photo-reportage et chasse aux images. Paris: Publications Photo-Cinéma Paul Montel, 1951.
  • Belleville-Ménilmontant. Grenoble: Arthaud, 1954. Paris: Arthaud, 1984. ISBN 2-7003-0486-1. Paris: Arthaud, 1989. Paris: Hoëbeke, 1999. ISBN 2-84230-081-5.
  • Îles de Paris. [N.p.]: Arthaud, 1957.
  • Paris. [Paris]: Arthaud, 1962.
  • Paris in Colour. London: Allen & Unwin, 1964.
  • Paris in Color. Chicago: Rand McNally, 1964.
  • Sur le fil du hasard. Paris: Contrejour, 1980. ISBN 2-85949-033-7.
  • Willy Ronis. [N.p.]: Galerie municipale du Château d'eau, c.1981. ISBN 2903116199.
  • Willy Ronis. Paris: P. Belfond, 1983. ISBN 2-7144-1604-7.
  • Willy Ronis par Willy Ronis. Paris: Association française pour la diffusion du patrimoine photographique, 1985.
  • Mon Paris. Paris: Denoël, 1985. ISBN 2-207-23166-6.
  • La Traversée de Belleville. Paris: Le Bar floréal, 1990.
  • Willy Ronis. Paris: Centre national de la photographie, 1991. ISBN 2-86754-066-6.
  • Willy Ronis, 1934-1987. Paris: Editions Treville, 1991. ISBN 4-8457-0688-1.
  • Portrait de Saint-Benoît-du-Sault. Paris: Calmann-Lévy; Versailles: Editions P. Olivieri, 1992.
  • Toutes belles. Paris: Editions Hoëbeke, 1992. ISBN 2-905292-49-0.
  • Willy Ronis: Photographs, 1926-1995. Oxford: Museum of Modern Art, 1995.
  • Willy Ronis: 70 ans de déclics. Paris: Musées de la ville de Paris, 1996. ISBN 2-87900-318-0.
  • A nous la vie! 1936–1958. Paris: Hoëbeke, 1996. ISBN 2-84230-009-2.
  • Vivement Noël! Paris: Hoëbeke, 1996. ISBN 2-84230-020-3.
  • Autoportrait. Cognac: Fata Morgana, 1996. ISBN 2-85194-411-8.
  • Les Sorties du dimanche. Paris: Nathan, 1997. ISBN 2-09-754204-2.
  • Provence. Paris: Hoëbeke, 1998. ISBN 2-84230-036-X.
  • Sundays by the River. Washington, D.C.: Smithsonian Institution Press, 1999. ISBN 1-56098-887-8.
  • Willy Ronis: Marie-Anne, Vincent et moi. Trézélan: Filigranes éd., 1999. ISBN 2-910682-76-5.
  • Sur le fil du hasard, rétrospective: Willy Ronis photographies. Antony: Maison des Arts, 1999.
  • Belleville Ménilmontant. Paris: Hoëbeke, 1999. ISBN 2-84230-081-5.
  • Mémoire textile. Strasbourg: La Nuée bleue, 2000. ISBN 2-7165-0538-1.
  • Willy Ronis for Press Freedom. London: Reporters without borders, 2001. ISBN 2-908830-61-2.
  • Derrière l'objectif de Willy Ronis: Photos et propos. Paris: Hoëbeke, 2001. ISBN 2-84230-123-4.
  • Willy Ronis 55. London: Phaidon, 2002. ISBN 0-7148-4167-6.
  • Willy Ronis: "La vie en passant". Munich: Prestel, 2004. ISBN 3-7913-2930-8.
  • Le Val et les bords de Marne. Paris: Terrebleue, 2004. ISBN 2-913019-30-7.
  • Willy Ronis: Stolen Moments / Gestohlene Augenblicke / Instants dérobés. Cologne: Taschen, 2005. ISBN 3-8228-3958-2.
  • Willy Ronis: Paris, éternellement. Paris: Hoëbeke, 2005. ISBN 2-84230-245-1.
  • Willy Ronis. Barcelona: Obra Social Fundacioń "La Caixa", 2006. Texts by Willy Ronis, Marta Gili, Virginie Chardin ISBN 84-7664-901-0.
  • Ce jour-la. Paris: Mercure de France, 2006. ISBN 2-7152-2661-6. Paris: Gallimard, 2008. ISBN 978-2-07-035862-5.
  • Les Chats de Willy Ronis. Paris: Flammarion, 2007. ISBN 2-08-120687-0.
  • Nues. with Philippe Sollers Paris: Terre bleue, 2008. ISBN 978-2-909953-22-9.

Notes

  1. ^ "Top French Photographer Willy Ronis Dead at 99" Associated Press, September 12, 2009.
  2. ^ a b c d e f g h "Willy Ronis"; in The Oxford Companion to the Photograph, ed. Robin Lenman (Oxford: Oxford University Press, 2005; ISBN 0-19-866271-8). The author of this article is identified as "PH"; it is not clear whether "PH" is Patricia Hayes or Paul Hill.
  3. ^ a b c d e f Untitled chronology, Willy Ronis 55 (London: Phaidon, 2002; ISBN 0-7148-4167-6), pp. 126–127.
  4. ^ a b Paul Ryan, commentary within Willy Ronis 55, p.50.
  5. ^ Hopkinson, Amanda (16 September 2009). "Willy Ronis obituary". Guardian News and Media. http://www.guardian.co.uk/artanddesign/2009/sep/16/willy-ronis-obituary. Retrieved 2009-09-25. 
  6. ^ "Paris dans l'oeil de Willy Ronis". Paris. http://www.paris.fr/portail/Culture/Portal.lut?page_id=102&document_type_id=4&document_id=14317&portlet_id=14227&multileveldocument_sheet_id=1141. Retrieved 2010-05-19. 

See also

External links


 
 
Related topics:
Robert Capa (photography)
Brassaï (photography)
Rapho

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Oxford Grove Art. The Concise Grove Dictionary of Art. Copyright © 2002 by Oxford University Press, Inc.. All rights reserved.  Read more
Oxford Companion to the Photograph. The Oxford Companion to the Photograph. Copyright © 2005 by Oxford University Press. All rights reserved.  Read more
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