La surface et la chair: Madame d'Ora, Vienne-Paris, 1907-1957. Philosophie highlighting legacies and ruptures

highlighting legacies and ruptures

Pierre Marie Brisson tend ses toiles comme des promesses de bonheur

Volume 139

Beyond his technical virtuosity

La surface et la chair: Madame d'Ora, Vienne-Paris, 1907-1957. Philosophie highlighting legacies and rupturesWhat could be more exceptional in the history of photography than the coexistence, in the same artist, of practices covering apparently antagonistic fields: that of fashion and that of documentary activity? Between the recording, often considered futile, of the surface and the ornaments that cover it (choice of clothing, valorization of the beauty and glamour of the models) and that of the miseries of the world, of bodies, including in their rawest