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Bill Brandt, Nude, 1956
Bill Brandt, Nude, 1956
Bill Brandt, Nude, 1956
Bill Brandt, Nude, 1956

Bill Brandt

Nude, 1956
Silver gelatin print. Vintage
Image: 9 x 7 3/4 inches
Paper: 10 x 8 inches
Artist's stamp and Romeo Martinez Collection stamp with annotations in pencil and ink verso
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Existing frame included. If you are interested in different framing options please inquire. Bill Brandt [1904 – 1983] was a German-born photographer who immigrated to the UK in 1933. Brandt apprenticed with Man Ray and was also influenced by André Kertész, Eugène Atget, and the Surrealists. Known for his penetrating depictions of the British, both high society and the working class, his photographs were published in magazines such as Picture Post, Lilliput, and Harper’s Bazaar where he was a regular contributor. Brandt’s influence on the fine art photography world began in the 1960s when he embarked on a journey to find a new visual language. By using a wide-angle lens often with a distorted foreground, he was able to produce a series of remarkable graphic images of both interior and exterior nudes on the Sussex and Normandy coasts. Brandt’s signature photographic style of highly textural objects contrasted with the flattened perspective of the images created a unique approach to the medium of photography. He is widely considered to be one of the most important British photographers of the 20th century. His work is included in the permanent photography collections of the Museum of Modern Art, NY, The Metropolitan Museum of Art, NY, The Art Institute of Chicago, and The Victoria and Albert Museum in London, among many others.
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Print: Over all good condition. Multiple minor handling dents and creasing throughout the image. Some small toning and rubbing throughout. Margins have some minor cracking, emulsion chips and some overall wear. Please email for detailed pictures and note the colors and shares in the online catalogue illustration may vary depending on screen settings.
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From the March 1957 issue onward, Camera Martinez transformed Camera from a trilingual magazine into three separate English, French and German editions, and returned the magazine to a purely photographic one. As Martinez was not a photographer but a journalist with an acute knowledge of art and the history of photography, the magazine under his direction was able to reach an unforeseen larger readership.
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