The Beauty of Lines. Masterpieces from the Gilman and Gonz谩lez-Falla collection
The exhibition presents a selection of masterpieces from the history of photography, part of the collection of Sondra Gilman and Celso Gonz谩lez-Falla. Based in New York, it includes over 1500 original prints by some of the greatest photographers of the 20th and 21st centuries. Through visual confrontations, the visitor is invited to experience the power of the photographic line through these sublime works. The photographs by Robert Adams, Walker Evans, Rineke Dijkstra, Man Ray, Berenice Abbott and Lee Friedlander, among others, thus resonate, beyond their historical temporality and geographic considerations, by their formal correspondences.
Throughout history, photographers have always oscillated between two extremes: the mimetic illusion of reality and the enhancement of the aesthetic qualities of the image. Whether it be 鈥渋nstantaneous lines鈥�, according to the expression of Henri Cartier-Bresson, rational lines inspired from New Topographics, or the diversity of the curved lines of the human body, the line structures and sometimes reinvents the real 鈥� to the point of abstraction.
In the case of photography, spectators, even the most discriminating, often first observe the world that they are presented with. They scrutinize the face or the landscape, they marvel at the details, the fashionable clothes, the expressions on the children鈥檚 faces. In other words, they can forget that they are actually looking at a piece of paper, as flat as a page in a book or a drawing. Fascinated by the mimetic illusion, they might not even see the lines 鈥� straight, curved, oblique 鈥� that actually form the basis of the photographic composition.
The Sondra Gilman and Celso Gonz谩lez-Falla collection first reveals the pleasure of the collectors who buy, above all, by personal preference and who maintain an everyday and private relationship with the images in their collection. In the same way, the exhibition invites the visitor to take an aesthetic journey: formal confrontations are freed from their cultural and historic context to allow the visitor to experience his or her own personal and sensitive relationship to the photographic image.
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The exhibition presents a selection of masterpieces from the history of photography, part of the collection of Sondra Gilman and Celso Gonz谩lez-Falla. Based in New York, it includes over 1500 original prints by some of the greatest photographers of the 20th and 21st centuries. Through visual confrontations, the visitor is invited to experience the power of the photographic line through these sublime works. The photographs by Robert Adams, Walker Evans, Rineke Dijkstra, Man Ray, Berenice Abbott and Lee Friedlander, among others, thus resonate, beyond their historical temporality and geographic considerations, by their formal correspondences.
Throughout history, photographers have always oscillated between two extremes: the mimetic illusion of reality and the enhancement of the aesthetic qualities of the image. Whether it be 鈥渋nstantaneous lines鈥�, according to the expression of Henri Cartier-Bresson, rational lines inspired from New Topographics, or the diversity of the curved lines of the human body, the line structures and sometimes reinvents the real 鈥� to the point of abstraction.
In the case of photography, spectators, even the most discriminating, often first observe the world that they are presented with. They scrutinize the face or the landscape, they marvel at the details, the fashionable clothes, the expressions on the children鈥檚 faces. In other words, they can forget that they are actually looking at a piece of paper, as flat as a page in a book or a drawing. Fascinated by the mimetic illusion, they might not even see the lines 鈥� straight, curved, oblique 鈥� that actually form the basis of the photographic composition.
The Sondra Gilman and Celso Gonz谩lez-Falla collection first reveals the pleasure of the collectors who buy, above all, by personal preference and who maintain an everyday and private relationship with the images in their collection. In the same way, the exhibition invites the visitor to take an aesthetic journey: formal confrontations are freed from their cultural and historic context to allow the visitor to experience his or her own personal and sensitive relationship to the photographic image.
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