screenprint of the webpage of the Artothèque
France's westernmost city, Brest, this spring (2013) has a manifestation entitled l'Art Brut à l'Ouest (Art Brut in the West).
Besides various lectures, film screenings and theater performances, there will be expositions featuring the creative constructs of Abbé Fouré and Per Jain.
And there will also be an exposition entitled Gilles Ehrmann, Les inspirés et leur demeures, 1962-1982.
The art library of the Musée des beaux arts presents photographies by french photographer Gilles Ehrmann, from the collection of FRAC (Fonds Regional d'Art Contemporaine) Bretagne, showing pictures he made of art brut artists and environments.
Besides various lectures, film screenings and theater performances, there will be expositions featuring the creative constructs of Abbé Fouré and Per Jain.
And there will also be an exposition entitled Gilles Ehrmann, Les inspirés et leur demeures, 1962-1982.
The art library of the Musée des beaux arts presents photographies by french photographer Gilles Ehrmann, from the collection of FRAC (Fonds Regional d'Art Contemporaine) Bretagne, showing pictures he made of art brut artists and environments.
This is a good opportunity to pay attention in this blog to the photographer, whose photobook, published in 1962, has marked french developments in the fifties around art brut artists and environments
Gilles Ehrmann
Born in Metz, Gilles Ehrmann (1928-2005), after WWII studied decorative arts in Paris, started a theater group and ventured making a movie, to subsequently turn to photography, working with a big high-quality camara, making portraits of Picasso and other french artists.
Through his relationship with artistic circles, including the surrrealists, he may have been put on the track of people who were or had been active in making art brut creations, a topic of interest that in the fifties in France only just began to develop.
In any case in 1956 Ehrmann decided to travel the country to portray these people and/or their creations, like the Palais Idéal of facteur Cheval, the Rochers Sculptés by Abbé Fouré or the Maison Picassiette by Raymond Isidore.
This adventure resulted in the book published in 1962 entitled Les inspirés et leurs demeures (The inspired and their abodes), with portraits of Gaston Chaissac, Fréderic Séron, Hyppolite Masse and Joseph Marmin and images of the Palais Idéal (Cheval), the Rochers Sculptés (Fouré) and the Bomarzo gardens in Italy.
Although fellow photographers such as Robert Doisneau in the fifties also made pictures of art brut artists and their constructs (naming them bâtisseurs chimériques, fanciful builders), Ehrmann's 1962 publication, with an introduction by André Breton, can be seen as the first coherent presentation in book form that introduced the general public in France to a phenomenon that before that time was rather unknown.
The book has become a collectors item, occasionaly available antiquarian.
In 1958 Ehrmann became connected to the french illustrated monthly Réalités, a magazine that -like other magazines- in the fifties and sixties, was important in informing the general public about social and cultural developments before this role partially was taken up by television.
Documentation/pictures
* Article in Wikipedia (in french)
* Centre Pompidou website documenting Ehrmann's work, with titles and pictures
Les inspirés et leurs demeures
Artothèque du Musée des Beaux Arts
24 rue Traverse
Brest FR
Gilles Ehrmann
Born in Metz, Gilles Ehrmann (1928-2005), after WWII studied decorative arts in Paris, started a theater group and ventured making a movie, to subsequently turn to photography, working with a big high-quality camara, making portraits of Picasso and other french artists.
Through his relationship with artistic circles, including the surrrealists, he may have been put on the track of people who were or had been active in making art brut creations, a topic of interest that in the fifties in France only just began to develop.
In any case in 1956 Ehrmann decided to travel the country to portray these people and/or their creations, like the Palais Idéal of facteur Cheval, the Rochers Sculptés by Abbé Fouré or the Maison Picassiette by Raymond Isidore.
This adventure resulted in the book published in 1962 entitled Les inspirés et leurs demeures (The inspired and their abodes), with portraits of Gaston Chaissac, Fréderic Séron, Hyppolite Masse and Joseph Marmin and images of the Palais Idéal (Cheval), the Rochers Sculptés (Fouré) and the Bomarzo gardens in Italy.
Although fellow photographers such as Robert Doisneau in the fifties also made pictures of art brut artists and their constructs (naming them bâtisseurs chimériques, fanciful builders), Ehrmann's 1962 publication, with an introduction by André Breton, can be seen as the first coherent presentation in book form that introduced the general public in France to a phenomenon that before that time was rather unknown.
The book has become a collectors item, occasionaly available antiquarian.
In 1958 Ehrmann became connected to the french illustrated monthly Réalités, a magazine that -like other magazines- in the fifties and sixties, was important in informing the general public about social and cultural developments before this role partially was taken up by television.
Documentation/pictures
* Article in Wikipedia (in french)
* Centre Pompidou website documenting Ehrmann's work, with titles and pictures
Les inspirés et leurs demeures
Artothèque du Musée des Beaux Arts
24 rue Traverse
Brest FR
Musée des beaux arts weergeven op een grotere kaart
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