Josef Breitenbach (German, 1896-1984) was born in Munich to a middle-class family of Jewish descent. He attended technical high school from 1912 -1915 and trained as a salesman for an instrument firm and later as a bookkeeper for an insurance firm. He attended Ludwig-Maximillian University in Munich (philosophy and art history, 1914 to 1917) and became active in the Youth Section and later the Pacifist wing of the Social Democratic Party. Breitenbach opened a photographic studio in 1931, but the Nazis forced him to flee to Paris in 1933 where he opened a new studio. He went from there to New York where he worked for the American press and taught at several schools including Black Mountain College and The New School for Social Research. Through the 50s and 60s he did reportage in Asia for the United Nations and other varied businesses. He exhibited extensively in Europe in the 1930s (especially in Paris and London) and in the United States from the 40s to the mid-60s, including the Musuem of Modern Art and the Metropolitan Museum of Art.
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Josef Breitenbach (German, 1896-1984) was born in Munich to a middle-class family of Jewish descent. He attended technical high school from 1912 -1915 and trained as a salesman for an instrument firm and later as a bookkeeper for an insurance firm. He attended Ludwig-Maximillian University in Munich (philosophy and art history, 1914 to 1917) and became active in the Youth Section and later the Pacifist wing of the Social Democratic Party. Breitenbach opened a photographic studio in 1931, but the Nazis forced him to flee to Paris in 1933 where he opened a new studio. He went from there to New York where he worked for the American press and taught at several schools including Black Mountain College and The New School for Social Research. Through the 50s and 60s he did reportage in Asia for the United Nations and other varied businesses. He exhibited extensively in Europe in the 1930s (especially in Paris and London) and in the United States from the 40s to the mid-60s, including the Musuem of Modern Art and the Metropolitan Museum of Art.
www.stephendaitergallery.com/dynamic/artist.asp?ArtistID=18
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André Kertész (2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.[1][2]
Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known. They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
en.wikipedia.org/wiki/Andr%C3%A9_Kert%C3%A9sz
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Antony Charles Robert Armstrong-Jones, 1st Earl of Snowdon, GCVO RDI (born 7 March 1930) is an English photographer and film maker. He was married to Princess Margaret, younger daughter of King George VI, and younger sister of Queen Elizabeth II.
He is known professionally, and credited, simply as Snowdon.
Antony Armstrong-Jones was the only son of the marriage of the barrister Ronald Armstrong-Jones (1899–1966) and his first wife Anne Messel,[1] who later married Michael Parsons, 6th Earl of Rosse.
His paternal grandfather was Sir Robert Armstrong-Jones, the British psychiatrist and physicist and his paternal great grandfather was Sir Owen Roberts, the Welsh educationalist.[2] His maternal great-grandfather was the Punch cartoonist Linley Sambourne (1844–1910) and his great-great-uncle Alfred Messel was a well-known Berlin architect.
His parents separated when he was young and as a schoolboy he contracted polio while on holiday at their country home in Wales. For the entire six months that he was in Liverpool Royal Infirmary recuperating, his only family visits were from his sister Susan.[3]
Armstrong-Jones was educated at Eton and Cambridge. While at Cambridge he studied architecture but failed his final exams. He coxed the winning Cambridge boat in the 1950 Boat Race.[4]
After university, he took up a career as a photographer in fashion, design and theatre. As his career as a portraitist began to flourish, he became known for his royal studies, among which were the official portraits of Queen Elizabeth II, and the Duke of Edinburgh for their 1957 tour of Canada.
In the early 1960s, he became the artistic adviser of the Sunday Times magazine, and by the 1970s had established himself as one of Britain's most respected photographers. Though his work includes everything from fashion photography to documentary images of inner city life and the mentally ill, he is best known for his portraits of world notables (the National Portrait Gallery has more than 100 Snowdon portraits in its collection), many of them published in Vogue, Vanity Fair, and The Daily Telegraph magazine. His subjects have included Barbara Cartland, Laurence Olivier, Anthony Blunt and J. R. R. Tolkien.
In 2001, Snowdon was given a retrospective exhibition at the National Portrait Gallery, Photographs by Snowdon: A Retrospective, which later travelled to the Yale Center for British Art. More than 180 of his photographs were displayed in an exhibition that honoured what the museums called "a rounded career with sharp edges."
He also co-designed, in 1960–1963, with Frank Newby and Cedric Price, the aviary of the London Zoo. He also had a major role in designing the physical arrangements for the 1969 investiture of his nephew Prince Charles as Prince of Wales.[5]
After his divorce from Princess Margaret, Lord Snowdon married Lucy Mary Lindsay-Hogg (née Davies), the former wife of film director Michael Lindsay-Hogg, on 15 December 1978. Their only child, Frances Armstrong-Jones, was born seven months later, on 17 July 1979.
From 1976 until 1996, Snowdon's mistress was Ann Hills, a journalist; she committed suicide on 31 December 1996.[10]
Lord and Lady Snowdon separated in 2000 after the revelation that Snowdon, at the age of 67, had fathered a son, Jasper William Oliver Cable-Alexander (born 30 April 1998), with Melanie Cable-Alexander, an editor at Country Life magazine.[13][14]
en.wikipedia.org/wiki/Antony_Armstrong-Jones,_1st_Earl_of...
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Gjon Mili (November 28, 1904 – February 14, 1984) was an Albanian-American photographer best known for his work published in LIFE which he photographed artists such as Pablo Picasso .
Born to Vasil Mili and Viktori Cekani in Korçë, Albania, Mili came to the United States in 1923. In 1939, Mili landed a job as a freelance photographer for Life (a position he held until his death in 1984). Over the years his assignments took him to the Riviera (Picasso); to Prades, France (Pablo Casals in exile); to Israel (Adolf Eichmann in captivity); to Florence, Athens, Dublin, Berlin, Venice, Rome, and to Hollywood to photograph celebrities and artists, sports events, concerts, sculptures and architecture.
Working with Harold Eugene Edgerton of MIT, Gjon Mili was a pioneer in the use of stroboscopic instruments to capture a sequence of actions in one photograph. Trained as an engineer and self-taught in photography, Gjon Mili was one of the first to use electronic flash and stroboscopic light to create photographs that had more than scientific interest.[citation needed] Many of his notable images revealed the beautiful intricacy and graceful flow of movement too rapid or complex for the naked eye to discern. In the mid-1940s he was an assistant to the photographer Edward Weston.
In 1944, he directed the short film Jammin' the Blues,[1][2] which was made at Warner Bros., and features performances by Lester Young, Red Callender, Harry Edison, "Big" Sid Catlett, Illinois Jacquet, Barney Kessel, Jo Jones and Marie Bryant. Mili did not serve as cinematographer for the film (Robert Burks did) but the film used multiplied images that in many ways recall the multi-image still-frames done with the strobe. The imaginative use of the camera makes this film a minor landmark in the way that musicians have been filmed.
Over the course of more than four decades, thousands of his pictures were published by Life as well as other publications.[citation needed] He died in Stamford, Connecticut, February 14, 1984 of pneumonia at the age of 79.
en.wikipedia.org/wiki/Gjon_Mili
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