Although Edward Steichen exhibited some of Saul Leiter's color photographs at The Museum of Modern Art in 1953, for 40 years afterward they remained virtually unknown to the art world. Saul Leiter: Early Color provides the first opportunity to see a comprehensive presentation of images by one of photography's great originals. Leiter moved to New York in 1946 intending to be a painter, but through his friendship with the Abstract Expressionist Richard Pousette-Dart, he quickly recognized the creative potential of photography. Though he continued to paint, exhibiting alongside Philip Guston and Willem de Kooning, Leiter's camera became--like an extension of his arm and mind--an ever-present interpreter of life in the metropolis. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances. The lyricism and intensity of his vision come into fullest play in his eloquent handling of color unequaled by his contemporaries. Leiter's visual language of fragmentation, ambiguity and contingency is evoked by these 100 subtle, painterly images that stretched the boundaries of photography in the second half of the twentieth century.
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From the Publisher
From PDN, The Legends Issue, 2007
Leiter's place is now assured. He will forever be known as one of the first photographers to use color in a serious, artistic way. Meticulously printed, his pictures use muted colors...that help tamp down the volume and motion of frenetic city streets. His prism tempers the more anxious, acerbic portrayal of city life offered by his peers Robert Frank and William Klein...Leiter's photographs are as likely to be compared to abstract expressionist painters like Mark Rothko, Barnett Newman or Richard Pousett-Dart.
Leiter's place is now assured. He will forever be known as one of the first photographers to use color in a serious, artistic way. Meticulously printed, his pictures use muted colors...that help tamp down the volume and motion of frenetic city streets. His prism tempers the more anxious, acerbic portrayal of city life offered by his peers Robert Frank and William Klein...Leiter's photographs are as likely to be compared to abstract expressionist painters like Mark Rothko, Barnett Newman or Richard Pousett-Dart.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
An Excellent Monograph,
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This review is from: EARLY COLOR (Hardcover)
This monograph was suggested by a friend of mine who is a very talented designer and photographer -- he thought it would be a good touchstone for my work. The book is a smallish format (8 x 8 inches) with color plates, one per page of about 100 images. It was published in conjunction with a show at New York's Howard Greenberg Gallery.
Leiter was best known as a painter who exhibited alongside Philip Guston and Willem de Kooning in the 1950's, but his real talent may have been as a photographer. Focusing on urban street scenes in New York, Leiter creates a highly layered visual sensibility -- not a translation of abstract expresionism to photography, but a style uniquely his own that defines the photographic medium in a new way. Many of the images look forward to the digital montage styles that are gaining currency today, but with a lyrical beauty and rhythm that speak to the humanity and drama of the street. It is unfortunate it took the world 40 years to appreciate this visual genius and rediscover what he saw. A must have photobook.
10 of 11 people found the following review helpful:
5.0 out of 5 stars
A Master of Color Photography,
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This review is from: EARLY COLOR (Hardcover)
Long overdue, this give this long over-looked artist a place to shine. The color reproductions are marvelous and have a woderfule bygone era quality about them.
2 of 2 people found the following review helpful:
5.0 out of 5 stars
Early Color,
This review is from: EARLY COLOR (Hardcover)
100 lyrical and improvisational photographs, informed by the representational idiom of painting, exhibiting a muted, evocative and unique color palette from early and obscure film stocks and emulsions, mostly from the 1950s.
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