the collection is also a gold mine. Not only do the unpublished photographs offer a kaleidoscopic view of prewar Jewish life — women in modern dress and men without hats, religious people comfortably consorting with secular people, shopkeepers with plenty of wares — they also convey a fuller sense of the photographer’s artistic abilities. The result is surprising: Vishniac, who often strained to present himself as superior to others, in fact never showed the world some of his best work. He shot in a variety of styles, not simply the plaintive perspective for which he became famous. Benton cites a picture of two houses in a Carpathian mountain town. “No one would look at this and think Vishniac,” she said. “There’s a compositional acuity about this photo that is just tremendous — and shocking.” As far as Benton is concerned, she has stumbled upon an artist who deserves to be in the canon of great 20th-century social-documentary photography, on par with Henri Cartier-Bresson, Walker Evans and Dorothea Lange.
