Born in 1903, Gaston Paris joined the weekly magazine 'Vu', founded in 1928 by Lucien Vogel in the early 1930s. He was the only salaried photographer for the magazine, working alongside Laure Albin Guillot, Germaine Krull, André Kertész, Martin Munkacsi, Man Ray and Robert Capa.
He carried out a great many photo reports: the 1937 Exhibition, sports, music, theater, the worksite of the new Trocadéro, etc. In addition to this typical production by a photographer reporter of that time, he carried out a number of strange and personal photo reports inspired by surrealism. As he excelled in staging strange scenes, he became one of the main contributors to 'Detective' magazine from the end of the thirties through the fifties. His photos, vacillating between horror and melodrama, reconstituted dramatic events of gangsters and vamps. He died in Paris in 1964.
The photographer's archives has been acquired by Roger-Viollet shortly after his demise.
Digitization of the Gaston Paris collection has been supported by the European Union as part of the EuropeanaPhotography project (http://www.europeana-photography.eu/)
http://laparisienne.orphea.com//thumbnails2/00000000708/37154_11.thu http://laparisienne.orphea.com//thumbnails2/00000000708/37154_11.thwHenri Roger
Born in 1869, Henri Roger took his first photograph at the age of 11. Turning 20, he started his professional life as an engineer while becoming an amateur pioneer of special-effects photography. To celebrate his engagement to his future wife, Jeanne Viollet, he climbed on top of the university lightning conductor to be photographed in this precarious position. As of 1901, his children became his principal models, capturing a moment of their bourgeois daily life, each time with a comical, intriguing or extravagant twist. He introduced his elder daughter Hélène (1901-1985) to photography. This art became a long lasting passion which led her to create the Roger-Viollet photo agency. World War One provoked a harsh change in Henri Viollet's works. After both his wife and son died, he put away photographic pranks, restricting himself to more classic shots of Paris, family life and travels, until his death in 1946.
http://laparisienne.orphea.com//thumbnails2/00000000940/4315_9.thu http://laparisienne.orphea.com//thumbnails2/00000000940/4315_9.thwMaurice-Louis Branger
Maurice-Louis Branger was born in Fontainebleau in 1874 and started his career as a photographer in 1895. He created the Photopress photo report agency circa 1905, located at 5 rue Cambon in Paris. A versatile and very active photographer, he covered the main events of Paris life, such as the Great Flood of 1910, many trials and criminal cases, but also political and cultural life as well as sporting events. As a senior reporter, he was one of the few photographers to go to the Balkans in 1913 during the First Balkan War. Upon his return to France, he photographed World War I and its consequences on the country for four years. After the war, he became well known for his Parisian reportages documenting the daily life of the roaring twenties in a rapidly changing city. He died in 1950 in Mantes-la-Jolie.
The digitization of the Maurice Louis Branger archive is co-funded by the European Union as part of the Europeana Photography project (http://www.europeana-photography).
http://laparisienne.orphea.com//thumbnails2/00000000134/75232_1.thu http://laparisienne.orphea.com//thumbnails2/00000000134/75232_1.thwLaure Albin-Guillot
Born in 1879 and married to a scientist, Laure Albin Guillot invented micrography in the 1920s, referring to her photographs made with a microscope. In 1922, she won a contest organized by the Revue française de photographie and started to exhibit her work in 1925 at the Exhibition of Industrial and Modern Arts. Her works were published in magazines Arts et métiers graphiques and Vu and her public and institutional recognition was established. During the 1930s, she produced portraits and nudes, as well as advertisement and fashion photography. She collaborated with her many friends in the literary and artistic community to produce sophisticated illustrated portfolios such as Narcissus by Paul Valéry, in 1936, or Préludes by Debussy, in 1948. As the director of the photographic archives of the French Ministry of Fine Arts, she was a strong advocate of photography as an artform. She died in 1962, leaving a production of about 50,000 photographs.
http://laparisienne.orphea.com//thumbnails2/00000000721/77713_16.thu http://laparisienne.orphea.com//thumbnails2/00000000721/77713_16.thwLéon Claude Vénézia's Paris
Both humanist and poetic, Léon Claude Vénézia's photographs take us to the East of Paris and its suburbs. Born in 1941 in Paris, he immortalized the big transformations in architecture and society occurred from the late 1960's to the 1980's, from Belleville to Drancy, and from Ménilmontant and Bobigny. Outstanding colorist, he composes happy representations of a popular Paris where children, immigrants, craftsmen and street jobs mix. Vénézia died in November 2013 in Aix-en-Provence, where he taught photography.
http://laparisienne.orphea.com//thumbnails2/00000001087/53147_19.thu http://laparisienne.orphea.com//thumbnails2/00000001087/53147_19.thwGösta Wilander's colourful Paris
Born in Göteborg in Sweden at the end of the 19th century, Gösta Wilander came to Paris in 1919 to learn French, promptly fell in love with the French Capital and married a Parisian. This amateur photographer, employed by the Swedish Consulate by day, experimented with coulour photography, making Paris his principal object. A tireless walker as well as a keen observer, Gösta Wilander produced a humorous and colourful 'street photography', capturing snapshots of Parisian life from 1958 until his death in 1982. The Société Française de Photographie honored him with a medal in 1967. Held in the Musée Carnavalet collections, a selection of his photographs has recently been digitised by Parisienne de Photographie.