A Jewish photographer who escaped fascism and spread a little joy in the post-World War II world

“Photography has little to do with the things you see and everything to do with how you see them,” Elliott Erwitt once said.

Erwittone in all the most famous photographers of the twentieth century, died on November 30 at the age of 95. Over a profession spanning greater than 70 years, his witty, delicate and beautifully observed photographs have captivated generations of admirers and propelled him to turn out to be one in all the most famous – and well-paid – twentieth century photographers.

Born Elio Romano Erwitz in Paris in 1925 into a Jewish-Russian family, he emigrated together with his family to the United States in 1939 to flee the fascism spreading across Europe at the outbreak of the war.

He studied photography in school and in 1950 – now as Elliott Erwitt – he received a commission from the US government create a photo report This documented in mid-century Pittsburgh.

In 1953, legendary war photographer Robert Capa invited Erwitt to affix Magnum. It was the world’s first photography agency, founded in 1947 by 4 European photographers, including Capa, Henri Cartier-Bresson, George Rodger AND David “Chim” Seymour.

The agency popularized the term “photojournalism” and produced work to satisfy the unmet demand for photos taken with small, handheld cameras corresponding to Leica 35mm. As a Magnum photographer, Erwitt began taking photos for LIFE magazine and many other publications during the golden age of illustrated magazines.

Working with the greats

Capa and Cartier-Bresson had a huge influence on the young Erwitt. Capa redefined war photography following your individual guideline that “if your photos aren’t good enough, you’re not close enough.”

Cartier-Bresson influenced Erwitt through his exploration of geometric compositional methods and his exploration of the “decisive moment”: the concept of the critical moment of pressing the shutter. This may be seen in one in all his most famous photographs entitled Behind St Lazare station (1932), showing a stocky man jumping over a large puddle, perfectly reflected in his reflection.

Erwitt’s work included industrial photography, photojournalism, and personal work, which he accomplished on his option to and from the studio. He said the distinctions between industrial and personal work are less vital than the similarities. He used techniques corresponding to daring graphic composition, humorous and ironic juxtapositions, and storytelling through the use of the “deciding moment”.

Happy moments and a good eye

It was in 1959, while working for Westinghouse Refrigerators at a trade fair in Moscow, that Erwitt had the opportunity to take the world-famous photograph of then-U.S. Vice President Richard Nixon sticking his finger into his chest Soviet leader Nikita Khrushchev.

In an fast, Erwitt created a picture that symbolized the tensions between Russia and the US – and it was published around the world. To American audiences, this represented the US standing as much as Soviet aggression. For viewers in the Soviet Union, it was a symbol of American intimidation.

Like a French humanist photographer Robert DoisneauErwitt didn’t stop at using the element of staging in his personal paintings. This becomes obvious once we compare Doisneau’s painting A kiss at the Hôtel de Ville (1950) and Erwitt California kiss (1956).

Both images became an indelible a part of the visual language of twentieth century photography and arguably wider culture through the sale of prints, postcards and publications.

It is that this element of organized visual narrative, combined together with his undoubted skill in using the camera, that made Erwitt create such well-known and appreciated images. When selecting topics, he also needed to be fully aware of the industrial possibilities.

He he often photographed dogs and their ownerscreating five highly regarded books on the subject, saying: “I take a lot of photos of dogs because I like them, because they don’t object to being photographed and they don’t ask for prints.”

His photographs became far more widely known and appreciated than a few of his contemporaries. Larry FinkFor example, one other American photographer who died five days before Erwitt received far fewer columns of praise for his grittier social documentary photos.

Storytelling

Erwitt was each a gifted visual storyteller and a huge industrial success. It reached audiences beyond illustrated magazines, the art world and newspaper photojournalism. His work – although not necessarily his name – became known to the general public in the United States and beyond, something his contemporaries failed to attain William Klein, Robert Frank and even recently discovered Vivian Maier.

The breadth and financial success of Erwitt’s work in several genres stays an inspiration for subsequent generations of photographers. British photographer Martin Parr, for instance, like Erwitt, uses humor, juxtaposition, and a very recognizable style to great effect. He can be a member and, like Erwitt, former president of Magnum.

Other British photographers who could possibly be said to owe him a debt of gratitude could be such Matt Stuartwho has published several books about his own street photography and Dougie Wallacewho wrote two successful books about dogs.

In some ways, repeating Elliott Erwitt’s success could be not possible. His profession could only develop in post-war New York. He helped define what the city’s creative culture was and could be after World War II.

The idea of ​​”humanistic photography” was eagerly adopted by the war-weary generation. The addition of humor and non-controversial subject material found a ready audience who were captivated by his sensible and often humorous photographic storytelling techniques.

Elliott Erwitt’s deeply human images have endured over the many years and proceed to be revered by photographers and audiences alike because everyone knows a virtuoso performance once we see it.