![Pablo Neruda at home, Chili, 1944 -by Gisèle Freund [+]
from rmn](http://24.media.tumblr.com/a0129296c69c7be2b765b9904424bbfd/tumblr_mjmlt4MqIm1qcl8ymo1_500.jpg)
![«Vive la vie!» Gisèle Freund sur sa terrasse, rue Lakanal, Paris, 1934 -by Gisèle Freund [+]
from rmn](http://25.media.tumblr.com/575e662bbfebd03323bd9d24f820f6ea/tumblr_mjmlm9FwOD1qcl8ymo1_500.jpg)
![Jorge Luis Borges, Buenos Aires, 1943 -by Gisèle Freund [+] and [EGyB]
from rmn](http://25.media.tumblr.com/tumblr_mcdlxad0PE1qcl8ymo1_500.jpg)
![Léon-Paul Fargue, 1946 -by Gisèle Freund [+]
from rmn](http://24.media.tumblr.com/tumblr_lspa3aTbEL1qcl8ymo1_500.jpg)
from rmn](http://25.media.tumblr.com/147f07114457098441c3bcdca1ccf56d/tumblr_mjmlhuwUi71qcl8ymo1_500.jpg)
Marc Chagall and Jacques Prévert, Saint-Paul-de-Vence, 1954 -by Gisèle Freund [+]
(voir aussi)
from rmn
![David Alfaro Siqueiros [with ‘Retrato de Angélica’ 1947], Mexico, 1948 -by Gisèle Freund
from rmn](http://24.media.tumblr.com/tumblr_mcdlqsGpB71qcl8ymo1_500.jpg)
David Alfaro Siqueiros [with ‘Retrato de Angélica’ 1947], Mexico, 1948 -by Gisèle Freund
from rmn
![Paul Celan, Paris, 1964 -by Gisèle Freund
With a Variable Key
With a variable keyyou unlock the house in whichdrifts the snow of that lefts unspoken.Always what key you choosedepends on the blood that spurtsfrom your eye or your mouth or your ear.
You vary the key, you vary the wordthat is free to drift with the flakes.What snowball will form round the worddepends on the wind that rebuffs you.
— Paul Celan. From ‘Paul Celan: Selected Poems’ (transl. by Michael Hamburger and Christopher Middleton, Penguin Books, 1972) [in scribd]
photo from RMN](http://25.media.tumblr.com/tumblr_maiz5ho1Ni1qcl8ymo1_500.jpg)
Paul Celan, Paris, 1964 -by Gisèle Freund
With a Variable Key
With a variable key
you unlock the house in which
drifts the snow of that lefts unspoken.
Always what key you choose
depends on the blood that spurts
from your eye or your mouth or your ear.You vary the key, you vary the word
that is free to drift with the flakes.
What snowball will form round the word
depends on the wind that rebuffs you.— Paul Celan. From ‘Paul Celan: Selected Poems’ (transl. by Michael Hamburger and Christopher Middleton, Penguin Books, 1972) [in scribd]
photo from RMN
![Pierre Reverdy, ca 1960 -by Gisèle Freund [+]
On ne fait pas de poésie. On écrit des poèmes en risquant sa chance; on peint des tableaux, on compose une musique et il s’en dégage de la poésie ou il ne s’en dégage pas, c’est-à-dire qu’on a écrit, peint ou composé absolument pour rien, ou bien…— Pierre Reverdy, in ‘En vrac’ (Flammarion, 1989)
from damienleclere](http://25.media.tumblr.com/tumblr_m4fq9gnYsh1qcl8ymo1_500.jpg)
Pierre Reverdy, ca 1960 -by Gisèle Freund [+]
On ne fait pas de poésie. On écrit des poèmes en risquant sa chance; on peint des tableaux, on compose une musique et il s’en dégage de la poésie ou il ne s’en dégage pas, c’est-à-dire qu’on a écrit, peint ou composé absolument pour rien, ou bien…
— Pierre Reverdy, in ‘En vrac’ (Flammarion, 1989)
from damienleclere
Left: My niece, Julia Jackson [mother of Virginia Woolf], 1867 -by Julia Margaret Cameron [from VAM]
Right: Virginia Woolf, July 1939 -by Gisèle Freund [from RMN]
In July 1939, introduced by Victoria Octampo, Gisèle Freund came to take a portrait of Virginia Woolf. Virginia was camera-shy and accepted only after a long hesitation: “She disliked everything which could expose her private life, but the role of the psychological element in my work and the novelty of the color process must have impress her.”
During this meeting, Virginia Woolf took a book and dedicated it to Gisèle Freund, saying: “We have a famous photographer in the family. […] It is my grand-mother (sic)”
Was it a slip of the tongue from Virginia or failing memory of Freund? Cameron was the great-aunt of Virginia Woolf, and the book is: ‘Victorian Photographs of Famous Men and Fair Women’ by Julia Margaret Cameron. Intr. by Virginia Woolf (Hogarth Press, 1926) - and here, two great portraits by two great artists.
Apparently, Virginia Woolf remained very anxious about the photos taken that day; because of the events (declaration of war and France invasion) and the necessity for Freund to leave France without delay, Woolf (who died in 1941) never saw the portraits.
Quotes (my transl.) from: Gisèle Freund. ‘Le monde et ma caméra’ (Denoël, 2006)
![Diego Rivera, Mexico City, 1948 -by Gisèle Freund [+]
holdthisphoto:
Diego Rivera, Mexico City, 1948by Gisèle Freund](http://24.media.tumblr.com/tumblr_lxea2srjeJ1qircwfo1_500.jpg)
Diego Rivera, Mexico City, 1948 -by Gisèle Freund [+]
Diego Rivera, Mexico City, 1948
by Gisèle Freund
Pierre Bonnard at work, Le Cannet -by Gisèle Freund
from rmn
Gisèle Freund - L’Oeil frontière, Paris 1933-1940
Exhibition at Fondation Pierre Bergé / Yves Saint-Laurent (Paris) - 14 Oct. 2011-29 Jan. 2012
… looks like some of my favorites will be in Paris soon… I want to go too!!!!
