Summary of Brassaï
Gyula Halász, or Brassaï - the pseudonym by which he has become much better known - is widely celebrated for his signature photographs of Parisian night life, and especially his book of collected photographs, Paris by Night. His breadth of range is however more expansive than that seminal collection might suggest. As a photographic freelancer and photojournalist, he contributed most to the idea of vernacular photography though, thanks in part to the Surrealists, he is often attributed with blurring any obvious distinction between what might be called street photography and what might qualify as fine art. Ultimately, it was his curiosity for the lived phenomena of twentieth-century urbanization, and of Paris in particular, that determined the subjects onto whom, and on which, he turned his lens.
- Brassaï wanted to "immobilize movement" (to use his own words) rather than capture the dynamic pulse of the city through movement. Like Eugène Atget, Brassaï encountered Paris at street level and in unfamiliar places; and like Atget, he often saw beauty in the mundane or the overlooked and forgotten.
- Brassaï presented the varied characters he encountered as "types". He used his camera to chronicle the unseen side of human behavior: from illicit liaisons and private gatherings, to criminal activity and policing, to vagrants, and workers emerging from their long night shifts. There is spontaneity in Brassaï's work, but he did not hesitate to pose or stage his photographs when obliged to fulfill his commissions.
- The photo-historian Graham Clarke described Brassaï's photographs of Paris by Night as "a psychological space of the imagination"; the "space" in question being very much enmeshed within the city's shadowy recesses. His night world is then one of brothels and hotels; bars and nightclubs rather than grandiose architecture. At the same time, Brassaï reveled in the details of the more unlikely signifiers of city life such as scrawled graffiti, gnarled hoardings and crumbling masonry.
- Brassaï preferred to reveal with immediacy, showing an awareness of the beauty in a thing, a place, or a human presence in and of itself. The author Henry Miller summed up the worldview of his friend with a rhetorical question: "The desire which Brassaï so strongly evinces, a desire not to tamper with the object but regard it as it is, was this not provoked by a profound humility, a respect and reverence for the object itself?"
Biography of Brassaï
Brassaï, born Gyula Halász in Brassó, Transylvania (now Romania), was named after his father. He was the eldest of three sons and his parents were a young, upper-middle class couple. His mother, Mathilde Verzar, was Catholic of Armenian descent and his father was an elegant and refined Hungarian intellectual, who provided for his family as a teacher of French literature. The young Gyula cherished the memory of living in Belle Époque Paris during his father's sabbatical leave. While his father furthered his studies at the Sorbonne and the Collège de France, Gyula and his brother Kálmán played in the Luxembourg Gardens. Gyula was fascinated by the attractions of the big city. As he later remembered it: "At the Champ de Mars, I saw Buffalo Bill and his gigantic circus with the cowboys, Indians, buffaloes, and Hungarian Csikos. At the Theatre du Chatelet, I was enthralled by a fantastic spectacle called 'Tom Pitt,' and I was at the ceremony welcoming Alfonso XIII to Paris." Upon the family's return to Brassó, Gyula started school and proved to be an interested student, especially attentive in his studies of Hungarian, German and French. He also exhibited much creativity and talent in drawing.