布拉塞

Executed in 1932.

日本，私人收藏

This work is in very good condition overall. The sheet is hinged to the mat via 4 corner pockets. There are minor signs of handling along the edges of the print as well as slight undulation. There is a 6cm crease at the upper right corner visible under raking light. Framed under Plexiglas.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

布拉塞(Brassai)為戰間期移民到巴黎的眾多藝術家的其中一員。他由1930年代早期開始拍攝巴黎夜生活，尤其聚焦於社會上的邊緣人物，例如妓女、罪犯、清道夫等等。《喜樂之女》正是「妓女」的意思。相中人身處黑暗中，面部表情雖模糊，但她的姿勢已經表達一切——她打開雙腿站立，雙肘往外撐開，佇立在巴黎意大利廣場荒涼的街頭，凝望著，尋找夜裡的恩客，毫不羞澀，近於傲慢。布拉塞捕捉巴黎這一角落的特質，捕捉這個人人避談的特殊行業保有的尊嚴，曝露隱藏在街燈下的隱私。畢加索及作家亨利米勒(Henry Miller)盛讚布拉塞對夜巴黎脈搏之精準掌握，稱他作「巴黎之眼」。雖然他全神貫注拍攝夜裡隨意漫步的人，但拍攝手法嚴謹，構圖幾經深思熟慮，由他調度場景及人物位置可見一斑。技術上，在夜間拍攝有其難處，但布拉塞都一一克服——為避免街燈的直接照射，以建築物（大廈、牆）作掩護。就如其他藝術形式一樣，藝術技巧與感性觸覺兩者之間的和諧，至為重要，而布拉塞已成功達到這個境界。他以高超的技巧，結合敏銳觀察，捕捉巴黎人生活中引人入勝的一面。