![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!!!!
![Henri Michaux, Paris, 1964 -by Gisèle Freund [+] [also at EGyB]
[ref: Official Website (FR); Poetry Foundation (EN); Biblioteca Ignoria (SP)]
from rmn](http://25.media.tumblr.com/tumblr_lrf3swZhvO1qcl8ymo1_500.jpg)
Henri Michaux, Paris, 1964 -by Gisèle Freund [+] [also at EGyB]
[ref: Official Website (FR); Poetry Foundation (EN); Biblioteca Ignoria (SP)]
from rmn
Redaction team of the litterary review ‘Mesures’, Paris, 1937 -by Gisèle Freund
(seated, lt to rt): Barbara Church, Adrienne Monnier, Henry Church, Michel Leiris, Henri Michaux (on the table) - (standing, lt to rt): Sylvia Beach, Vladimir Nabokov, Germaine Paulhan, Jean Paulhan
In 1934 Monnier undertook the administration of the review ‘Mesures’, which appeared from January of the following year until 1940.
It was founded and edided by Henry Church, whom she describes in “Number One” as “a French-speaking American writer.”
’Mesures’ gave an important place to foreign writers, especially writers in English.
(ref: Adrienne Monnier, ‘The Very Rich Hours of Adrienne Monnier’ (transl. by Richard McDougall, Ed. U. of Nebraska, 1996)
photo from rmn
![Gisèle Freund and her Leica, Chili, 1944 -nd [+]
… “Très vite, j’ai dit à Victoria [Ocampo]: «Je veux être claire, je ne suis pas ici pour photographier les dames de la bonne société.»” (Gisèle Freund, Portrait - Entretiens avec Rauda Jamis, 1991).Freund’s first photoreportage will be in Tierra del Fuego. Besides Argentina, she’ll work in 1943-1945 in Uruguay, Equator… In Chili, she was assisting Jacques Rémy on his movie “Le moulin des Andes”
from rouillac](http://25.media.tumblr.com/tumblr_lmrexsmEb91qcl8ymo1_1280.jpg)
Gisèle Freund and her Leica, Chili, 1944 -nd [+]
… “Très vite, j’ai dit à Victoria [Ocampo]: «Je veux être claire, je ne suis pas ici pour photographier les dames de la bonne société.»” (Gisèle Freund, Portrait - Entretiens avec Rauda Jamis, 1991).
Freund’s first photoreportage will be in Tierra del Fuego. Besides Argentina, she’ll work in 1943-1945 in Uruguay, Equator… In Chili, she was assisting Jacques Rémy on his movie “Le moulin des Andes”
from rouillac
Maria Jolas at her home (rue de Rennes), Paris, ca 1980 -by Gisèle Freund
from beinecke
![Gisèle Freund, James Joyce and Eugene Jolas, Paris, 1938 -nd
[this one for booksandsorrows… “always looking for James Joyce’s traces”]
from: “Gisèle Freund - Portrait”, Entretiens avec Rauda Jamis (1991)](http://24.media.tumblr.com/tumblr_lmij5msTGD1qcl8ymo1_1280.jpg)
Gisèle Freund, James Joyce and Eugene Jolas, Paris, 1938 -nd
[this one for booksandsorrows… “always looking for James Joyce’s traces”]
from: “Gisèle Freund - Portrait”, Entretiens avec Rauda Jamis (1991)
Victoria Ocampo, publisher of the litterary review Sur, Buenos Aires, 1942 -by Gisèle Freund
«… c’était une femme très belle, particulièrement intelligente et cultivée, non dénuée d’humour d’ailleurs, très fortunée, et sachant parfaitement profiter du pouvoir que donne l’argent.» (G.F.)
from : Gisèle Freund - Portrait, Entretiens avec Rauda Jamis (1991)
The main point here is Photographic Portrait
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![Léon-Paul Fargue, 1946 -by Gisèle Freund [+]
from rmn](http://24.media.tumblr.com/tumblr_lspa3aTbEL1qcl8ymo1_1280.jpg)
