- Street PhotographyOur PickBy Sophie Howarth and Stephen / 46 contemporary street photographers
- Bystander: A History of StreetBy Colin Westerbeck and Joel Meyerowitz
- The Photograph (Oxford History of Art)By Graham Clarke
- Lee Friedlander: The American MonumentBy Lee Friedlander
- Lisette ModelBy Lisette Model with a preface by Berenice Abbott
Important Photos and Artists of Street Photography
This iconic image depicts a man skipping (with a true sense of Parisian élan) over a flooded area in the Place de ;'Europe, just outside the Saint Lazare train station. The photograph illustrates Cartier-Bresson's "decisive moment" technique - described by him as that "one moment at which the elements in motion are in balance" - in the way his camera freezes the exact moment the prancing man touches heels with his reflected image. Cartier-Bresson was inspired by the Surrealists and we see that influence too in the surrealistic preoccupation with the idea of the uncanny doppelgänger (revealed in the man's reflection). The surrealistic mystery of the man's flight is only strengthened by the "floating" ladder from which he appears to have sprung while the shadowy onlooker in the middle-distance merely completes the image's element of incongruity.
Beneath the chimney in the upper left of the frame, meanwhile, a circus poster shows a female dancer in a pose that copies that of the main subject. The superior lens quality of the Leica camera would lend the image a potential for fine picture detail such as this to emerge. It is also of some significance (for the idea of photography as an art form in its own right) that Cartier-Bresson's figurative juxtaposition is set against a hazy background of Saint Lazare. These buildings had been painted previously by the likes of Monet and Manet which suggests that the photographer wanted to invite associations, not just with the Surrealists, but with the great masters of French modernism.
Playing a significant role in creating the bohemian image of Paris, Brassaï photographed the artists, socialites, prostitutes, and philosophers who populated the streets, parks, and bars at night. This image, featured in his famous book Paris by Night, depicts a mature woman - La Môme Bijou ("the urchin Bijou"), or Miss Diamonds, as she was variously known within the Montmartre community - sitting alone in a bar with a wine glass and two stacked small white plates on the table before her. She wears a hat with a flower and a fur-collared coat (despite being indoors) and several strands of pearls around her neck. Described by Brassaï as "the queen of Montmartre's nocturnal fauna [and a] fantastic apparition that had sprung up out of the night," she carries a fading image of a glamorous past.
Though his images featured people who lived at the forgotten margins of society, Brassaï brought a kind of poetic reverie to his images: "I was seeking the poetry of the fog which transforms people, the poetry of the night which transforms the city" he said. Bijou with her faded glamor embodied the La Belle Époque ("the beautiful era") in France, but, despite clinging to the past, she retains a distinctive presence, as her knowing gaze shrewdly evaluates the scene before her. As a further measure of Bijou's presence, the protagonist of the French Jean Giraudoux's play The Madwoman of Chaillot (1945) was inspired by this photograph.
In the 1930s Levitt began taking the photographs of children at play in the streets of New York, for which she is best known. Influenced by Walker Evans and Cartier-Bresson, her photographs combine the objective humanism of Evans with Cartier-Bresson's emphasis on the "decisive moment" and, like Cartier-Bresson, her work was influenced by Surrealism's interest in exploring the idea of the uncanny.
In this photograph, two children hold up a broken mirror as two others crouch, examining the glass shards around the curb. Behind the frame a little boy on a bicycle surges forward, as if he is about to pitch through the frame itself. At first glance, it seems that the boy on the bicycle is a pictorial incongruity. Only upon closer reflection does the spectator realize that the mirror is broken, and that the boy pitching forward is (potentially) about to emerge through the empty frame. A further examination of the image requires an adjustment of the spectator's imagination since she or he realizes that the boy on the bike is in fact stationary and has stopped to see what the boys on our side of the frame are doing. As a result, the image's play upon the mirror becomes a play upon the nature of photographic reality itself and the part the viewer's imagination plays in forming that reality.