Sale!!! Super RARE! Unique!!!!
William EGGLESTON - Near Greenwood, Mississippi, 1970,
Old Authentic Original Drawing Offset Print
A wonderful testimony to traditional fine art printing
which unfortunately has completely disappeared today.
Magnificent print, close to a photograph, with a beautiful shine, with very powerful and dense colors.
Its contrasting rendering, its luminosity as well as the definition with sharp details, are absolutely remarkable.
This is a print that the printer had archived as a color reference model for his reprints, and laminated on a support in order to be able to preserve it over time.
Print made in 2000 by a former art printer
Archival Model Printer four-color printing enhanced with a glossy varnish
This unpublished print was found in the depths of an assembly workshop in the archive lockers of a former art printing works, preciously kept flat and protected from light. Although it is old with its 23 years of age, it has remained in a good state of conservation. Presence of some traces of dirt on the back and slight marks due to the manipulations of the printer during reprints. On the other hand, the front is intact, in perfect condition and of a remarkable shine.
Size: 19cm x 12.4cm
It was in Memphis, his hometown and the surrounding area, that William Eggleston took his very first photographs, first in black and white, which he quickly abandoned by definitively adopting color, loading the camera of his Leica with color films, his camera equipped with a 50mm lens, lens with which at full aperture, he obtains colors as precise as they are ultra-bright, as in this image, a shot where he adds up near the small town of Greenwood, a photograph in which he imposes a new way of seeing things that are totally banal.
By associating with sometimes wobbly framing close to amateur photography, the color codes of the world of advertising, by magnifying what has no value. He shows a surprising irony, a snub to classicism, opens a breach in the world of contemporary photography and becomes a reference for many photographers such as Martin Parr, no hierarchy in his choices, which he advocates, it is a democratic photography, new points of view, casts a critical eye on familiar places and objects, on their fragile futility.
No caption, no date what he likes the most and what interests him is the moment when he can immerse himself in banality, that of metal, of a facade, which he transfigures with saturated colors , from the first to the last shot. His equation to solve is always simple, he just has to add light and colors to the formula, this is above all what he is looking for, as in this image, a totally radical and new approach that he imposes in the photographic world.
“I am concerned with organizing what is in the frame, down to the smallest detail. »William Eggleston
He observes a sleeping man, a roof, the hood of a car, the ceiling of his bedroom, vector of his imagination, compulsively takes the extras, the little nothings that tell a way of life.
He sees through his lens the complexity and beauty of the ordinary world, his photographs are extraordinary, irresistible, estimable, beautiful and relentless, they are made with the characteristics of life in a present world, they show the texture of the present, as the cross-section of a tree and focus on the ordinary world. Eggleston's subjects are, ostensibly, the ordinary people and surroundings of suburban Memphis and Mississippi, a facade, friends, family, barbecues, backyards, a tricycle, and ordinary clutter. The banality of these subjects is deceptive and expresses a sense of menacing danger that the photographer hides behind his images.
“Nothing is more or less important. I wanted to make a photograph that could exist on its own, despite the subject of this photograph. »William Eggleston
His theme is ordinary subjects, his photographs are old tires, trucks, cars, Dr Pepper dispensers, abandoned air conditioners, cars parked on street corners or in the countryside, vending machines, empty and dirty Coca-Cola bottles, torn posters, electric poles and wires, barriers, no-entry signs, diversion signs, no-parking signs, parking meters and palm trees piled up on the same sidewalk.
His interest in the mundane brings him closer to Walker Evans, but his vision of the world and his style set him apart significantly. William Eggleston photographs everything, without distinction or hierarchy, and his very free approach to the subject has nothing to do with the frontal and without effects views of the documentary style. Unlike Evans, he surprises and destabilizes with unexpected points of view, framing and compositions outside aesthetic canons and the insistent presence of color.
“The objects in the photos are naturally full of human presence. »William Eggleston
He draws inspiration from popular art to invent ordinary fiction starters, a ceiling lamp on a red background, an orange Cadillac, a string of luminous garlands rolled up on a blue pole, a woman with long red hair leaning on a counter of bistro or even the back of a car taken at ground level are the strange testimonies of his images. A single look is enough for him to detect the mystery and extravagance in a daily scene, his photography transforms reality into narrative fiction.
In a large majority of his photographs, we never really know the place where he took them, leaving a certain mystery hovering, in order to perhaps make the viewer want to find the place again, he is attracted by the colors that are for him privileged moments where he can give them power. He is passionate about images on the sly, which are the guiding idea of his work, he persists over the years in this approach to scenes that usually arouse indifference, but for Eggleston a colored trash can on the public highway tells much more.
He gives no title to his images, but groups them in series, which he calls portfolio, photos which are incorporated as for example in "Lost and Found", in "Los Alamos" or in reference to Walker Evans, in "The Democratic Forest", places where he keeps coming back, enriching his series over the years.
“I had to realize that what I had to do was to confront myself with unknown territories. What was new back then were the malls, and that's what I photographed. »William Eggleston
He helps bring color photography into the world of art. It was while discovering the work of Robert Frank and Henri Cartier-Bresson that Eggleston came to photography, which he practiced first in black and white and then in color. This decisive contribution that Eggleston gave to color, developing it with his contemporaries, such as photographers Harry Callahan and Joel Meyerowitz, is to have given through the use of color another meaning to photography in its together.
“I have always taken a single shot of a given scene. One, never two. And once that picture is taken, the next one awaits elsewhere. I don't really care if it works or not. »William Eggleston
William Eggleston (1939) American photographer, born in Memphis. He grew up in Sumner, Mississippi. Her father is an engineer and her mother, the daughter of an important judge. At a very young age he developed a passion for the piano, drawing and electronics. He quickly moved into the world of visual media and enjoyed buying postcards and cutting out pictures from magazines. At the age of fifteen, he was sent to the "Webb School", a boarding school. Eggleston very quickly became interested in all things artistic. He spent a year at Vanderbilt University in Nashville, a semester at Delta State College and five years at the University of Mississippi, never liking studies. But it was at university that his interest in photography began, during his first year at university. He took art classes at Ole Miss and became interested in abstract expressionism with the painter Tom Young.
In 1957 he acquired his first camera, a "Canon rangefinder", then in 1958 his first Leica. In 1959 he discovered the work of Henri Cartier-Bresson and that of Walker Evans, who immediately passed on his passion for photography. His first photographs originate from and are influenced by photographers Robert Frank and Henri Cartier-Bresson. He began in black and white, and very early experimented with color in 1965, which became his main means of expression in the late 1960s. Initially he photographed his intimate environment, the family plantation and the Tennessee countryside, his house and the streets of Memphis, immersing himself in an endless exploration of the daily world of people who, like him, live in the South of the United States. In 1967, he began to use colored transparencies and went to New York where he met photographers Garry Winogrand, Lee Friedlander and Diane Arbus. He presents his work to John Szarkowski curator of the photographic section at the "Museum of Modern Art".
From 1973 to 1974, Eggleston taught at Harvard, it was during this period that he discovered the "dye-transfer" printing technique. In 1974, he prepared his first portfolio with this technique, entitled "14 pictures". His work was then the subject of an exhibition at the MoMA in 1976, accompanied by the release of the book "William Eggleston's Guide". This exhibition is considered a turning point in the history of photography, marking the acceptance and recognition of color photography as an art form in its own right by the MoMA, Eggleston thus becoming after Ernst Haas in 1962, the second artist to exhibit in colour. The same year he received a scholarship from the Guggenheim. He is in charge of giving courses in visual and environmental studies at the Carpenter Center of Harvard University, he completes at the same time his project of "Los Alamos". He collaborates with the Viva press agency, and meets Andy Warhol, with whom he establishes a lasting bond, becoming familiar with the circle of the painter, a relationship which contributes to making his camera democratic. He also experimented with video, making a film he called “Stranded in Canton”.
In 1975, he received a new scholarship, this time from the National Endowment for the Photographer's Arts. In 1976, he prepared with the Museum of Modern Art his first personal exhibition of color photographs, accompanied by a monograph. In 1978 he was awarded the National Endowment for the Arts prize.
In 1980 he traveled to Kenya with Chubb and created a body of work known as "The Streets Are Clean on Jupiter." ". He is responsible for carrying out the "Louisiana Project" by photographing the entire state. In 1982 he was invited to photograph the set of John Huston's film “Annie”. In 1983 he traveled Berlin, Salzburg and Graz making a photographic series "Kiss me Kracow" and carried out a photo report of Elvis Presley's house in Graceland. In 1986 director David Byrne asked him to document the making-of of the film "True Stories". the same year, the "Brooks Museum of Art" in Memphis commissioned a report from him to photograph in Egypt.
In 1988 he began a series of color photographs of England which he called "English Rose", in 1989 photographed the orange groves of the Transvaal and incana the role of the father of musician Jerry Lee Lewis in the film "Great Balls of Fire”.
From 1992 to 1999 Eggleston traveled to China, photographed mainly in Beijing, worked for several commissions for Delta Pine and Land, for Coca-Cola photographing the factories of the group. He receives from the University of Memphis the “Distinguished Achievement Award”.
In 2000 the Cartier Foundation commissioned him to photograph the American desert and the "Paramount Pictures", Hollywood studios. From 2001 to 2003, he traveled the planet, from Japan to Russia, from Saint-Petersburg to Italian Tuscany, from France to Arles where he met Henri Cartier-Bresson, while continuing in the United States to take numerous shots, from Pasadena in California to the Jersey Shore via Queens, New York, Niagara Falls. He accepts the Gold Medal for Photography from the National Arts Club of New York.
In 2004, he won the "Getty Images Lifetime Achievement Award" at the International Center of Photography (ICP). During a new trip to Hawaii he uses the new panoramic camera from Hasselblad. In 2009, he was exhibited at the Fondation Cartier in Paris, where his photographs rub shoulders with his own abstract expressionist drawings.
I like to photograph democratically. »William Eggleston
Sale as is, no return.
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