WILLIAM KLEIN (1928) "Kiev R. R. station, Moscow, 1959". Silbergelatine-Abzug auf Barytpapier. Späterer Abzug. Bildmass 24,5 x 35,7 cm; Blattgrösse 30,2 x 40,4 cm. Verso voll signiert, eigenhändig bezeichnet und datiert. Literatur: - William Klein Moskau. Hamburg, 1965 (Abb. S. 14-15). - Carole Naggar (Text). William Klein Ausstellungskatalog Centre Georges-Pompidou, Paris, 11.05.-12.06.1983. Paris, 1983 (Abb. S. 96). Provenienz: - Anlässlich einer Ausstellung direkt im Beisein von William Klein erworben. - Sammlung Deutschland. "You can forget objectivity in William Klein's photography... He expressed himself by creating a new visual language that screams out at the viewer. The chaos, paranoia and absurdity of city life is conveyed by Klein furiously juxtaposing images across pages. He uses fast films, wide-angle lenses, blur, grain, contrast, flash effects, with everything pushed to its absolute limits. The printing and framing is erratic and unconventional and some of the images are so abstract that they are almost indescipherable. Not surprisingly, the public reaction was mixed." (Reuel Golden. Masters of Photography. Classic photographic artists of our time. London, 1999, S. 136).
WILLIAM KLEIN (1928) "Kiev R. R. station, Moscow, 1959". Silbergelatine-Abzug auf Barytpapier. Späterer Abzug. Bildmass 24,5 x 35,7 cm; Blattgrösse 30,2 x 40,4 cm. Verso voll signiert, eigenhändig bezeichnet und datiert. Literatur: - William Klein Moskau. Hamburg, 1965 (Abb. S. 14-15). - Carole Naggar (Text). William Klein Ausstellungskatalog Centre Georges-Pompidou, Paris, 11.05.-12.06.1983. Paris, 1983 (Abb. S. 96). Provenienz: - Anlässlich einer Ausstellung direkt im Beisein von William Klein erworben. - Sammlung Deutschland. "You can forget objectivity in William Klein's photography... He expressed himself by creating a new visual language that screams out at the viewer. The chaos, paranoia and absurdity of city life is conveyed by Klein furiously juxtaposing images across pages. He uses fast films, wide-angle lenses, blur, grain, contrast, flash effects, with everything pushed to its absolute limits. The printing and framing is erratic and unconventional and some of the images are so abstract that they are almost indescipherable. Not surprisingly, the public reaction was mixed." (Reuel Golden. Masters of Photography. Classic photographic artists of our time. London, 1999, S. 136).
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