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In 1895, George Eastman, the creator of the Kodak firm, launched on the market the latest of his portable devices intended for amateurs. The user could not clearly see his subject in the viewfinder, but Maurice Denis knew how to deal with chance.
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|Auteur(s)||Françoise Heilbrun, Saskia Ooms|
|Editeur(s)||5 Continents / Musée d'Orsay|
|Dimensions||160 x 160|
|Technique(s)||Around 60 photographies|
|Musée||Musée d'Orsay, Paris|
Like Bonnard and Vuillard, because of his familiarity with Japanese prints, Maurice Denis (1870-1943)
was one of the best interpreters of the aesthetic of the instantaneous.
The photographs he took of his family and his painter or writer friends, between 1895 and 1913, are fascinating because of the links they maintain with his painted and drawn work.
Most of these photographs are striking for their subjective character and their lack of realistic concern: the figures are seen close-up, the faces are blurry, everything speaks of emotion; finally, the emphasis is on the abstraction of forms and their decorative value.
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