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Friedlander (Anglais) Broché – 31 août 2009


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EUR 80,00 EUR 74,12

Descriptions du produit

Book by Galassi Peter Benson Richard


Détails sur le produit

  • Broché: 480 pages
  • Editeur : Museum of Modern Art (31 août 2009)
  • Langue : Anglais
  • ISBN-10: 0870703447
  • ISBN-13: 978-0870703447
  • Dimensions du produit: 3,8 x 29,8 x 32,4 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (3 commentaires client)
  • Classement des meilleures ventes d'Amazon: 58.606 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Par YVER Alain le 18 janvier 2014
Format: Broché Achat vérifié
On dit de Friedlander qu’il est un photographe moderne, car sa photographie utilise pleinement les outils et caractéristiques de la technique photographique : le flash, le grand angle, la profondeur de champ, pour produire des images parfois aux limites de l’abstraction.
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3 internautes sur 4 ont trouvé ce commentaire utile  Par Pierre Mouillard le 18 août 2009
Format: Relié
Friedlander est un héros discret. Un grand nom de la photographie que le grand public ne connait pas encore assez, selon moi. Le regard est original, sans effets, mais avec du sens. Une inspiration pour tout étudiant en photo ou en art. Une valeur sûre...
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Par Vol de Nuit le 10 août 2014
Format: Broché Achat vérifié
L'ouvrage est impressionnant en volume et en poids. Un excellent "best of" de l'artiste qu'on ne présente plus. Un livre indispensable dans la bibliothèque du photographe.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 22 commentaires
21 internautes sur 21 ont trouvé ce commentaire utile 
THE book to own of Friedlander's work 20 mars 2006
Par A photographer - Publié sur Amazon.com
Format: Relié Achat vérifié
An excellent overview of Lee Friedlander's pioneering career. If you are only peripherally interested in Friedlander and his photography, this is the book to buy. If you are a longtime admirer of his work, this will be the book you will return to again and again.

In addition to a generous display of photographs, the introductory essay (although a bit dense at times) gives insight into Friedlander's motivations and achievements.

Friedlander seems to be a controversial subject on photography forums across the Net. It's interesting to read the opinions of other photographers on these internet forums who think his work is sloppy, unsophisticated, amateurish, etc. Once confronted with this enlightening overview of Friedlander's work, it becomes obvious that what is truly sloppy, unsophisticated and amateurish is the perspective of those espousing these opinions. What evolves is the fact that Friedlander is a treasure.
11 internautes sur 11 ont trouvé ce commentaire utile 
Splendid Overview of Lee Friedlander's Work 3 juillet 2005
Par John Kwok - Publié sur Amazon.com
Format: Relié
Without question one of America's great photographers, Lee Friedlander can also be regarded as among the world's most influential photographers. This heavy, massive coffee table-sized book is a collection of every important body of work Lee Friedlander has made since the 1950's, beginning with his early commercial photographs of jazz musicians to his classic "American Monuments" series from the 1970's, to his unique nudes taken over two decades, Sonoran cacti depicted in his classic mid 1990's landscape book "The Desert Seen", and of course his recent body of work. It is the companion volume to the current Lee Friedlander retrospective - the first in over a decade - organized and shown currently at New York City's Museum of Modern Art (MoMA). It contains an excellent critical overview by the exhibition's curator, Peter Galassi, chairperson of MoMA's photography department.

Lee Friedlander first appeared as one of several influential photographers who had a "Snapshot Aesthetic" to their documentary photography (Others include the late Garry Winogrand, William Klein and Joel Meyerowitz, to name but a few.) during the 1950's and 1960's. However, Friedlander's vision has always been unique, drawing upon his love of jazz music for his often spellbinding, distinctive photographic compositions. At first glance a Lee Friedlander image may be poorly composed, but upon further inspection, you can't help but feel impressed by his odd, yet still sensible logic in composing images. If you have a chance to visit New York City before the end of August, then by all means see this exhibition, which contains more than 500 images selected and sequenced by Galassi himself; otherwise, I highly recommend acquiring this splendid book.
6 internautes sur 6 ont trouvé ce commentaire utile 
This is The One 17 novembre 2008
Par N. Zimmerman - Publié sur Amazon.com
Format: Broché
This is the most comprehensive look at the work of Lee Friedlander to date, ranging from the beginnings in American jazz photography to landscapes to a large body of self-portraits. It is accompanied by an inclusive essay that surveys Friedlander's entire career, written by Peter Galassi the Chief Curator in the Department of Photography at the MoMA.

This is not the average retrospective catalog. A broad range of work is presented in 764 plates spanning five decades and arranged in groups. Some organized by theme and style while others are dedicated to specific books (Friedlander has published over 25 to date.) The photographs were not maliciously narrowed down or traditionally arranged. The artist himself had a large part in the selection and sequencing processes. The photographs are organized so that we can look back and see what the artist may or may not have intended from the beginning.

One group in particular compares new and old photographs and investigates the large change and learning experience that comes with a new camera. Friedlander started with a 35mm Leica, a street photographer's best friend, and he perfected his craft with it. Later in his career he decided to make the change to medium format and he revisited all the same problems. This section demonstrates the similarities and differences of working with different formats such as composition with a square frame, but also shows a new understanding of the medium and a range of new possibilities.

Friedlander's sense of humor is apparent in much of his work. It is not coincidence, but a decisive moment that captures these juxtapositions and visual metaphors that communicate irony and humor. The large size and scale of the book is necessary to accommodate comparisons between several similar photographs on a single page. For Lee Friedlander the quantity becomes part of the quality. His best photographs are made better by sharing the page with an image from the same series.
6 internautes sur 6 ont trouvé ce commentaire utile 
a major figure 20 juillet 2006
Par jack kerr - Publié sur Amazon.com
Format: Relié
by its scope, this book, like the photographer who's work it represents, is unique. not just the amount of photos, but the richness of them, their cool intelligence. it is a major volume, by one of the most influential non-color artists of our time. many people either hate or love friedlander's work, and i love it. if you do, just looking at this book a few times will be a great joy. if you're lucky (and rich) enough to buy or own it - what a treat.
4 internautes sur 4 ont trouvé ce commentaire utile 
One of America's Most Prolific Photographers 17 novembre 2008
Par David McCauley - Publié sur Amazon.com
Format: Broché
At 8# and 480 pages, this book is an immense collection of Friedlander's portraits, self-portraits, nudes, landscapes, images of the streets and more. In 2005 the Museum of Modern Art held a traveling retrospective of Lee Friedlander showing 500 of the photographs in its collection.

This catalog, which accompanied the retrospect, gives us closer to 800 photographs. The work extends back to 1964 when John Szarkowski saw a bold originality in the photography of Lee Friedlander and began collecting his work for the Museum of Modern Art. Three years later in 1967 Friedlander, Garry Winogrand and Diane Arbus became the new face of documentary photography in the MOMA exhibition `New Documents.' Under Szarkowski's direction, and later that of Peter Galassi, the museum amassed Friedlander photographs for the next four decades.

The size of this collection provides a rare opportunity to see the span of an artists work. Unlike a concise selection of what is considered an artist's best images, this catalog is a detailed description of Friedlander's life's work. Its size suggests that Friedlander is one of America's greatest photographers because he is one of the most prolific.
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