Model always said that she looked but did not judge. Yes, her photographs of the Promenade des Anglais in Nice were published by the left-wing journal Regards, in 1935, but she was not interested exclusively either in the rich or in the poor, and her images are much more about human relations. Her work evinces empathy, curiosity, compassion and admiration, and reflects the photographer’s attraction to voluminous forms, energy and liveliness, to emphatic gesture and expression: the world as stage. The critic Elizabeth McCausland has described Model’s camerawork as expressing “a subconscious revolt against the rules.”
This exhibition of some 120 of Lisette Model’s most representative photographs illustrates the very bold and direct approach to reality that made her one of the most singular proponents of street photography, the particular form of documentary photography that developed in New York during the 1940s, through the camerawork of such as Helen Levitt, Roy de Carava and Weegee.
Alongside the photographs, archive film and sound recordings of Lisette Model will evoke the photographer’s life, and there will be copies of magazines to which she contributed (Regards, Harper’s Bazaar, etc.).
Curator: Cristina Zelich
Exhibition organized by Jeu de Paume
and the Fundación MAPFRE
In partnership with A Nous, Azart Photographie, Blast, de l'air, LCI, La Tribune, FIP
National Gallery of Canada, Ottawa, don de la Succession de Lisette Model, 1990, sous la direction de Joseph G. Blum, New York, par l’entremise des American Friends of Canada
© The Lisette Model Foundation, Inc. (1983).
Used by permission