Pierre Boulat – « A special look »

The Exhibition

"I knew Pierre's work years before I met him.I realized that his name was associated with a few
memorable images that had marked my teenage years my teenage years when I flipped through Life magazine: Maria Callas staring he horizon, her eyes lost, her hands stained red! Fellini in profile on the shooting of Juliette des Esprit! Those West Point cadets dancing together.

When I had the chance to meet him, to talk to him, I understood to what extent photography was for him "a furious craft", a way of effacing himself behind what can be seen. His desire to convey the emotion and truth of what he was looking at took precedence over any signature effect. He dedicated himself to one of photography's noblest genres: reportage.

As a reporter, he tracked down the "event" that resulted from the sheer magic of what happened between him and what was in front of his lens, in his way of looking at the world. He had the art of capturing the madness but also the beauty of an instant, of anticipating what would go on to make history. This formidable intuition can be felt in his vision of Yves Saint Laurent, whom he accompanied with the same constancy throughout his prestigious career.

You can sense Pierre Boulat's admiration and benevolence when he observes artists and men of genius. He seeks to capture what is most beautiful, most noble, most elegant about them: Karen Blixen's deep, black eyes, Truman Capote's charm... I think you have to be an artist yourself to achieve such a connivance, such a nature with another artist. But then again, Pierre Boulat has always rejected the very idea of being, in his field, "a great artist". He believed that photojournalism was not an art form, that it primarily served a function, that of informing, and that it was then necessary to move on to something else: the next paper, the next trip, the next camera model. Moving on to meet the world, without trying or even caring to build a work of art.

And yet Pierre Boulat is one of the strongest and most lively producers of post-war photography. Looking at his work, from the first photos taken in 1949 to the latest color images, everything seems to take shape harmoniously, effortlessly, according to the times, the faces, the landscapes. The same energy and curiosity run through his images. One has the impression of being confronted with unique visions, whether in front of the inhabitants of Port-Saïd after the bombardments or the mischievous gaze of a jet-setting Italian countess or a bar waitress in the United States. Because his photographer's morality forbade him any hierarchy of value, Pierre Boulat was able to turn everyday life into an exceptional adventure, and every scoop into a moment captured on the spot with a spontaneity that escapes history."
Nicolas Saada

Pierre Boulat1924 - 1998

Pierre Boulat started photography in 1938. In 1940 he entered the Ecole Nationale de Photographie et de Cinéma, graduating top of his class in 1943. After the Liberation, he began working for the Paris press, taking photos of celebrities, crime and current affairs. He spent his first four months in the United States and discovered the Middle East where he got married and spent several months in Egypt.

Back in Paris in 1952, he opens a f studio and shoots fashion in the street. with Life did not end until the magazine closed in December 1972. News, politics, fashion, personalities, magazine reports from all over the world.
In 1972, Pierre Boulat had the privilege of being chosen by Stanley Kubrick to shoot all the background photos for the first part of his film "2001 Space Odyssey".

fter the closure of Life, Pierre Boulat worked as a freelancer for various French and foreign magazines. In 1982, Pierre Boulat began a collaboration with Paris Match, which lasted 10 years and enabled him to flourish in the field of large-scale color magazine reporting. In 1993, he was named Chevalier des Arts et des Lettres.
He exhibits in several galleries in Paris. The FNAC has acquired several of his photographs, as have other institutions and private collections.

The Photographs

How to buy a photograph from the exhibition?

All the prints in that exhibition are argentic prints on baryta paper, numbered and with a dry stamp.
If you want to buy some please contact:
Jean-François Camp - jfcamp@durev.com tel.: call +33 6 60 32 04 68
Annie Boulat - annie@durev.com - tel.: +33 6 07 92 24 09

You are interested to buy one of our print or you just want to know more about the gallery?

Contact us

56, Bld de La Tour-Maubourg
75007 Paris

Tel. +33 6 60 32 04 68

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