Alberto Giacometti, Ata Kando, Re Soupault, Robert Capa, Emile Muller, Bernard Matussiere … It is with this word so just that one day, Henri Cartier-Bresson saluted in writing the work of memory of the latter: “to Bernard, another « habité » of the rue Froidevaux and in memory of Capa. Best regards, Henri. ” Why ? The 37 is an island in the middle of an ocean of creation. Located in the heart of Montparnasse, the artistic village of the XIVth arrondissement developed around the Great War, before and after, thanks to the painters of the prestigious “School of Paris” with its residents of the Ruche (a little further, street of Danzig in the fifteenth century); School that attracted like flies the students of the Académie de la Grande Chaumière from all over the world to join “The City of Light” (so called since the 17th century, because of its public lighting … not its intellectuals!). It is these artists who have become tenants in the workshops of this neighborhood of choice, who will attract writers, sculptors, engravers, models, milliners, architects, composers, musicians, singers, filmmakers, publishers, poets, journalists … and photographers under the auspices Art Deco (International Exhibition of Paris of 1925). At this golden age of artists, everyone was crowded at night on the terraces of the big breweries on the boulevard du Montparnasse – the authentic phalansteries and “distilleries of the spirit” of this village, from the Dome to the Select, from the Coupole to the Rotonde through La Closerie des Lilas.
Debunking the Myths of Robert Capa on D-Day
I want to give you a brief overview of an investigation that began almost five years ago, led by me but involving the efforts of photojournalist J. Ross
Our project, in a nutshell, dismantles the 74-year-old myth of Robert Capa’s actions on D-Day, June 6, 1944, and the subsequent fate of his negatives. If you have even a passing familiarity with the history of photojournalism, or simply an awareness of twentieth-century cultural history on both sides of the Atlantic, you’ve surely heard the story; it’s been repeated hundreds, possibly thousands of times:
The Incredible Journey of Thousands of Lost Robert Capa Negatives
Read an excerpt from the new book 'Eyes of the World'
At an exhibit of photographs of the Spanish Civil War, a man tentatively approaches Jerald R. Green, a professor of Spanish and Mexican art. He tells Professor Green that he believes he has more than two thousand negatives by Robert Capa, who has been dead for over forty years.
Robert Capa's 'Falling Soldier' Photo Was Turned Into This Monstrosity
One of legendary photographer Robert Capa's most famous photos is The Falling Soldier, a 1936 picture from the Spanish Civil War that's said to show a
Well, someone saw fit to turn the iconic photograph into a giant and bizarre 25-foot-tall (7.5m) sculpture that’s now sitting in the middle of Budapest, Hungary, where Capa was born.
Capa only shot 11 frames of the landing while staying at the most only 30 minutes on the beach. Coleman’s conclusion is that he must have panicked under the heavy deadly fire and quickly took shelter in a barge returning to England
How The Iconic D-Day Photos Were Almost Lost Forever
Watch the video that shows how famed photojournalist Robert Capa's negatives were almost lost
Two men quickly came and helped him reach cover, one of whom, Riley later recalled, had a camera around his neck. The photographer was Capa, and somewhere between the moment when Riley reached the surf and when he was being lifted, wounded, out of the water, Capa made the photo that for generations has defined the chaos and the courage witnessed on D-Day
War Photographer Robert Capa and his Coverage of D-day
John Morris, relives the terrible loss that followed Capa’s extraordinary feat. Marie Brenner reports.
Seventy years ago, the great war photographer joined the first slaughterhouse wave of D-day, recording W.W. II’s pivotal battle in 11 historic images of blur and grit. But that is only a fraction compared with what he shot—and lost.
Vintage TOP: Access
[First published April 2006] - Robert Capa, Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936 One of the fundamental problems of photography not necessarily encountered by any other type of artist is the problem of access:...
My judgement is that by most indications Robert Capa was direct and honest as a man and a photographer. He was not interested in falsehoods and not petty about his ego.
LightBox | Time
Read the latest stories about LightBox on Time
According to Cynthia Young, the show’s curator, ICP holds more than 4,000 color Capa transparencies of varying formats — 35mm, square format, even 4×5 sheet film. ”He really had two cameras around his neck at all times — three even, often in two different formats,” Young tells TIME. Featuring work from the 1930s through the ’50s, the color photographs celebrate Capa’s eye for war, fashion, culture, even portraiture.
What Does Robert Capa's "Close Enough" Rule Mean Today? | PDNPulse
“If your pictures aren’t good enough, you’re not close enough,” Robert Capa famously said. But was he right? To celebrate the 100th birthday of Robert Capa and the upcoming show “Capa in Color” at the International Center of Photography, Magnum Photos has
To celebrate the 100th birthday of Robert Capa and the upcoming show “Capa in Color” at the International Center of Photography, Magnum Photos has been asking photographers to reflect on the great photojournalist’s legacy—and his famous adage— in an online project called Get Closer 100.
Robert Capa: Finding a Fearless Photographer's Voice
In a newly surfaced recording, Mr. Capa describes photographing under Fascist fire and other perils, like hiding in a bathroom to read a New York Times review panning his book.
The studio recording of the “Hi! Jinx” NBC radio interview was with the husband-and-wife talk show hosts Jinx Falkenburg and Tex McCrary. Apparently, Mr. Capa knew them both. Mr. McCrary was a journalist and, as a former Army Air Corps colonel, led the first journalists into the ruins of Hiroshima.
Every day, we will post a Robert Capa image, a renowned photographer’s visual “response,” and then give the floor to you. Contribute your visual response(s) by uploading an image of yours on Instagram, Facebook or Twitter and tagging it #GetCloser100.
They were thought to be lost forever. After an incredible journey, 4500 negatives from the legendary photojournalist Robert Capa and his friends Gerda Taro and David ‘Chim’ Seymour, resurfaced in New York in 2008
Capa’s Road | LUCEO
he will always remain the sole reason as to why I became a photographer. For this reason it was only natural for me to attempt this humble pilgrimage to the final day of his life. I have often looked at the map of Vietnam staring at the small province of Thai Binh and wondered, where? Where did he die?
What is it with Hungary? As the Royal Academy’s forthcoming exhibition will show, this small European country punched well above its weight in the photography world in the middle of the last century, giving us people such as Robert Capa, László Moholy-Nagy, André Kertész, Brassaï and Martin Munkácsi.
Why now after all these years like Deep Throat have I decided to reveal this information you ask? Well if you must know I narrowly avoided a head on crash returning from an assignment in Burma. Deep Mott got to thinking and I realized any day could be my last. So the hell with it, it’s time to let the cat out of the bag and in turn show you what goes in the bag when the cat isn’t in there
In “Images of War, Finally Unpacked,” Holland Cotter reviews an exhibition called “The Mexican Suitcase” at the International Center of Photography in New York, which documents wartime life in Spain between 1936 and 1939 through the eyes of three photographers — Robert Capa, Gerda Taro and David Seymour (Chim) — in images no one seems to have seen for more than a half century.
Images of War, Finally Unpacked
“The Mexican Suitcase” at the International Center of Photography features recently recovered images of the Spanish Civil War by Robert Capa, Gerda Taro and David Seymour.
After all these years I’ve found some answers to my question in an exhibition called “The Mexican Suitcase” at the International Center of Photography. The show documents wartime life in Spain between 1936 and 1939 from an insider-outsider vantage: through the eyes of three photographers — Robert Capa, Gerda Taro and David Seymour, known as Chim — who were not Spanish but who were intensely committed to what they saw as a do-or-die anti-fascist struggle.
The tale begins in Paris in 1935, according to Variety, and will be a "snapshot of a torrid two-year romance with Gerda Taro during the Spanish Civil War." According to Fortes' novel, Taro and Capa, both refugees fleeing the Nazis, had the shared intention when they met of becoming photographers and that the outbreak of the Spanish Civil War a year later gave them their big opportunity.