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Marc Riboud, Photojournalist Who Found Grace in the Turbulent, Dies at 93
By RICHARD B. WOODWARDAUG. 31, 2016
Slide Show
SLIDE SHOW|7 Photos
Marc Riboud | 1923-2016
Marc Riboud | 1923-2016
CreditMarc Riboud/Magnum Photos
Marc Riboud, the celebrated French photojournalist who captured moments of grace even in the most fraught situations around the world, died in Paris on Tuesday. He was 93.
The cause was Alzheimer’s disease, his wife, Catherine Chaine, said.
Mr. Riboud’s career of more than 60 years carried him routinely to turbulent places throughout Asia and Africa in the 1950s and ’60s, but he may be best remembered for two photographs taken in the developed world.
The first, from 1953, is of a workman poised like an angel in overalls between a lattice of girders while painting the Eiffel Tower — one hand raising a paintbrush, one leg bent in a seemingly Chaplinesque attitude.
The second, from 1967, is of a young woman presenting a flower to a phalanx of bayonet-wielding members of the National Guard during an anti-Vietnam War demonstration at the Pentagon.
Both images were published in Life magazine during what is often called the golden age of photojournalism, an era Mr. Riboud (pronounced REE-boo) exemplified.
A protégé of Henri Cartier-Bresson, he was on the front lines of world events, including wars. Even so, Mr. Riboud did not consider himself a record keeper. “I have shot very rarely news,” he once said.
Rather than portray the military parades or political leaders of the Soviet Union, for example, he was drawn to anonymous citizens sitting in the snow, holding miniature chess boards and absorbed in their books.Photo
Marc Riboud worked on the front lines of world events, but he also loved taking photographs of anonymous citizens. CreditBruno Barbey/Magnum Photos
Of the many hundreds of shots he published from Bangladesh, Cambodia, China, India, Japan, Pakistan, Tibet and Turkey, only a handful are of figures written about by historians.Continue reading the main story
AdvertisementContinue reading the main story
Born on June 24, 1923, in St.-Genis-Laval, near Lyon, he was the fifth and, by his account, the most shy of seven children from a bourgeois family that expected him to take up a respectable vocation. It was his father, an enthusiastic traveler and amateur photographer, who led him astray by giving him a vest-pocket Kodak when Marc was a teenager.
His first photographs were of the Paris Exposition in 1937. After World War II, in which he fought around Vercors as a member of the Resistance, Mr. Riboud studied mechanical engineering at the École Centrale in Lyon. He took a factory job in the nearby town of Villeurbanne after graduating in 1948.
Not until he found himself taking pictures of a cultural festival in Lyon during a weeklong vacation in 1951 did he at last decide to commit to the unstable life of a freelance photojournalist. He moved to Paris in 1952.
There he met Cartier-Bresson, who became his mentor. Already a celebrity in his field, this “salutary tyrant,” as Mr. Riboud called him, dictated “which books to read, what political ideas I should have, which museums and galleries to visit.”
“He taught me about life and about the art of photography,” Mr. Riboud said.
Among the lessons imparted was that “good photography” is dependent on “good geometry.” The Eiffel Tower photograph from 1953, the first that Mr. Riboud published, proves how well the pupil absorbed the lesson. In a radio interview more than 50 years later, he still recalled the English-language caption given to the image by the Life copy writers: “Blithe-ful on the Eiffel.”
AdvertisementContinue reading the main story
In 1953, Cartier-Bresson nominated his protégé to join Magnum, the photo collective he had helped found. Until 1979, when he left to go out on his own, Mr. Riboud traveled and photographed for the agency constantly.Photo
Mr. Riboud, center, with the photographers Martine Franck and his mentor, Henri Cartier-Bresson, in 1993. CreditRene Burri/Magnum Photos
In 1955, he drove a specially equipped Land Rover to Calcutta from Paris, staying for a year in India. He was also one of the first Westerners to photograph in Communist China, and he spent three months in the Soviet Union in 1960.
Throughout the 1950s and ’60s he documented the anticolonial independence movements in Algeria and West Africa, and during the Vietnam War he was among the few able to move easily between the North and South.
In the United States, he documented not only protests against the Vietnam War but also a pensive Maureen Dean listening to her husband, the Nixon aide John W. Dean, testify at the Watergate hearings in 1973.
Among the events he documented in recent decades were the return of Ayatollah Ruhollah Khomeini to Iran; the Solidarity movement in Poland; the trial of Klaus Barbie, the Gestapo chief in Lyon during World War II; the end of apartheid in South Africa; and the mood in the United States before the election of President Obama.
During the last third of his life, Mr. Riboud was recognized by museums in many of the countries where he had worked. Photographs from his travels were collected in more than a dozen monographs, including “Marc Riboud: Photographs at Home and Abroad” (1986), “Marc Riboud: Journal” (1988) and “Marc Riboud in China: Forty Years of Photography” (1996).
Among many other shows, Mr. Riboud was honored with exhibitions at the Art Institute of Chicago, in 1964, and the International Center of Photography in New York, in 1975, 1988 and 1997. He was the subject of retrospectives at the Musée d’Art Moderne de la Ville de Paris in 1985 and the Maison Européenne de la Photographie in Paris in 2004.
Unlike some artists who resent that the public’s infatuation with a few of their works has turned them into clichés, Mr. Riboud did not mind describing the circumstances behind “The Eiffel Tower Painter.”Photo
Mr. Riboud at an exhibit in Paris celebrating his 50-year career in 2009.CreditJoel Saget/Agence France-Presse — Getty Images
No, he did not ask the workman to pose, he would answer patiently. To have spoken to the man might have caused him to slip. “I’ve always been shy, and I’ve always been trying to ignore the people I was photographing so that they ignore me,” he said.
AdvertisementContinue reading the main story
Of the flower girl at the Pentagon, a 17-year-old high school student namedJan Rose Kasmir, he ventured, “I had the feeling the soldiers were more afraid of her than she was of the bayonets.” (The two later reunited in London, where he photographed her carrying a poster of the 1967 image at a demonstration against the Iraq War in 2003.)
The immense popularity of these two photographs, assisted by countless reproductions, could well have warped perceptions of Mr. Riboud’s highly diverse body of work. And yet they did truly represent the gravitational bent of his personality.
“I have always been more sensitive to the beauty of the world than to violence and monsters,” he wrote in an essay in 2000. “My obsession is with photographing life at its most intense as intensely as possible. It’s a mania, a virus as strong as my instinct to be free. If taste for life diminishes, the photographs pale, because taking pictures is like savoring life at 125th of a second.”
In 1961, he married Barbara Chase, the American sculptor, poet and novelist. The marriage ended in divorce in the 1980s.
Besides his second wife, Ms. Chaine, a journalist and author, Mr. Riboud is survived by two sons from his first marriage, David and Alexei; and a daughter, Clémence, and a son, Théo, from his second marriage.
Mr. Riboud’s weakness for sentimental subjects and left-wing causes marred his reputation with some critics. But this optimism, coupled with his overt sympathies for the downtrodden and a working style that put an emphasis on freedom of movement, unencumbered by any equipment except a camera and his wits, also served to keep him photographing until the end of his life. Until a few years ago, he would begin each day by loading film into his Canon EOS 300.
“My vision of the world is simple,” Mr. Riboud said when he was in his 80s. “Tomorrow, each new day, I want to see the city, take new photographs, meet people and wander alone.”
Sewell Chan contributed reporting.
Initium Media 端傳媒
【再一次，我們看看這位攝影巨人的作品】http://bit.ly/2bQFnRJ
法國攝影師馬克·呂布（Marc Riboud）昨夜與世長辭，終年93歲。他拍攝了阿爾及利亞和非洲等多次民主運動，而多次造訪中國拍攝的照片，更成經典。我們的攝影師精心挑選了他的部份作品，與你一起回味…http://bit.ly/2bQFnRJ
【#圖集：私刑處決罪犯】http://bit.ly/2bJiTSq⋯⋯更多
馬克·呂布 攝影巨人離世
法國攝影師馬克·呂布（Marc Riboud）昨夜與世長辭，終年93歲。呂布1923年出生於法國里昂，代表作之一是 Eiffel Tower Painter。他拍攝了阿爾及利亞和非洲等多次民主運動，而多次造訪中國拍攝的照片，更成經典。
THEINITIUM.COM
By RICHARD B. WOODWARDAUG. 31, 2016
Slide Show
SLIDE SHOW|7 Photos
Marc Riboud | 1923-2016
Marc Riboud | 1923-2016
CreditMarc Riboud/Magnum Photos
Marc Riboud, the celebrated French photojournalist who captured moments of grace even in the most fraught situations around the world, died in Paris on Tuesday. He was 93.
The cause was Alzheimer’s disease, his wife, Catherine Chaine, said.
Mr. Riboud’s career of more than 60 years carried him routinely to turbulent places throughout Asia and Africa in the 1950s and ’60s, but he may be best remembered for two photographs taken in the developed world.
The first, from 1953, is of a workman poised like an angel in overalls between a lattice of girders while painting the Eiffel Tower — one hand raising a paintbrush, one leg bent in a seemingly Chaplinesque attitude.
The second, from 1967, is of a young woman presenting a flower to a phalanx of bayonet-wielding members of the National Guard during an anti-Vietnam War demonstration at the Pentagon.
Both images were published in Life magazine during what is often called the golden age of photojournalism, an era Mr. Riboud (pronounced REE-boo) exemplified.
A protégé of Henri Cartier-Bresson, he was on the front lines of world events, including wars. Even so, Mr. Riboud did not consider himself a record keeper. “I have shot very rarely news,” he once said.
Rather than portray the military parades or political leaders of the Soviet Union, for example, he was drawn to anonymous citizens sitting in the snow, holding miniature chess boards and absorbed in their books.Photo
Marc Riboud worked on the front lines of world events, but he also loved taking photographs of anonymous citizens. CreditBruno Barbey/Magnum PhotosOf the many hundreds of shots he published from Bangladesh, Cambodia, China, India, Japan, Pakistan, Tibet and Turkey, only a handful are of figures written about by historians.Continue reading the main story
AdvertisementContinue reading the main story
Born on June 24, 1923, in St.-Genis-Laval, near Lyon, he was the fifth and, by his account, the most shy of seven children from a bourgeois family that expected him to take up a respectable vocation. It was his father, an enthusiastic traveler and amateur photographer, who led him astray by giving him a vest-pocket Kodak when Marc was a teenager.
His first photographs were of the Paris Exposition in 1937. After World War II, in which he fought around Vercors as a member of the Resistance, Mr. Riboud studied mechanical engineering at the École Centrale in Lyon. He took a factory job in the nearby town of Villeurbanne after graduating in 1948.
Not until he found himself taking pictures of a cultural festival in Lyon during a weeklong vacation in 1951 did he at last decide to commit to the unstable life of a freelance photojournalist. He moved to Paris in 1952.
There he met Cartier-Bresson, who became his mentor. Already a celebrity in his field, this “salutary tyrant,” as Mr. Riboud called him, dictated “which books to read, what political ideas I should have, which museums and galleries to visit.”
“He taught me about life and about the art of photography,” Mr. Riboud said.
Among the lessons imparted was that “good photography” is dependent on “good geometry.” The Eiffel Tower photograph from 1953, the first that Mr. Riboud published, proves how well the pupil absorbed the lesson. In a radio interview more than 50 years later, he still recalled the English-language caption given to the image by the Life copy writers: “Blithe-ful on the Eiffel.”
AdvertisementContinue reading the main story
In 1953, Cartier-Bresson nominated his protégé to join Magnum, the photo collective he had helped found. Until 1979, when he left to go out on his own, Mr. Riboud traveled and photographed for the agency constantly.Photo
Mr. Riboud, center, with the photographers Martine Franck and his mentor, Henri Cartier-Bresson, in 1993. CreditRene Burri/Magnum PhotosIn 1955, he drove a specially equipped Land Rover to Calcutta from Paris, staying for a year in India. He was also one of the first Westerners to photograph in Communist China, and he spent three months in the Soviet Union in 1960.
Throughout the 1950s and ’60s he documented the anticolonial independence movements in Algeria and West Africa, and during the Vietnam War he was among the few able to move easily between the North and South.
In the United States, he documented not only protests against the Vietnam War but also a pensive Maureen Dean listening to her husband, the Nixon aide John W. Dean, testify at the Watergate hearings in 1973.
Among the events he documented in recent decades were the return of Ayatollah Ruhollah Khomeini to Iran; the Solidarity movement in Poland; the trial of Klaus Barbie, the Gestapo chief in Lyon during World War II; the end of apartheid in South Africa; and the mood in the United States before the election of President Obama.
During the last third of his life, Mr. Riboud was recognized by museums in many of the countries where he had worked. Photographs from his travels were collected in more than a dozen monographs, including “Marc Riboud: Photographs at Home and Abroad” (1986), “Marc Riboud: Journal” (1988) and “Marc Riboud in China: Forty Years of Photography” (1996).
Among many other shows, Mr. Riboud was honored with exhibitions at the Art Institute of Chicago, in 1964, and the International Center of Photography in New York, in 1975, 1988 and 1997. He was the subject of retrospectives at the Musée d’Art Moderne de la Ville de Paris in 1985 and the Maison Européenne de la Photographie in Paris in 2004.
Unlike some artists who resent that the public’s infatuation with a few of their works has turned them into clichés, Mr. Riboud did not mind describing the circumstances behind “The Eiffel Tower Painter.”Photo
Mr. Riboud at an exhibit in Paris celebrating his 50-year career in 2009.CreditJoel Saget/Agence France-Presse — Getty ImagesNo, he did not ask the workman to pose, he would answer patiently. To have spoken to the man might have caused him to slip. “I’ve always been shy, and I’ve always been trying to ignore the people I was photographing so that they ignore me,” he said.
AdvertisementContinue reading the main story
Of the flower girl at the Pentagon, a 17-year-old high school student namedJan Rose Kasmir, he ventured, “I had the feeling the soldiers were more afraid of her than she was of the bayonets.” (The two later reunited in London, where he photographed her carrying a poster of the 1967 image at a demonstration against the Iraq War in 2003.)
The immense popularity of these two photographs, assisted by countless reproductions, could well have warped perceptions of Mr. Riboud’s highly diverse body of work. And yet they did truly represent the gravitational bent of his personality.
“I have always been more sensitive to the beauty of the world than to violence and monsters,” he wrote in an essay in 2000. “My obsession is with photographing life at its most intense as intensely as possible. It’s a mania, a virus as strong as my instinct to be free. If taste for life diminishes, the photographs pale, because taking pictures is like savoring life at 125th of a second.”
In 1961, he married Barbara Chase, the American sculptor, poet and novelist. The marriage ended in divorce in the 1980s.
Besides his second wife, Ms. Chaine, a journalist and author, Mr. Riboud is survived by two sons from his first marriage, David and Alexei; and a daughter, Clémence, and a son, Théo, from his second marriage.
Mr. Riboud’s weakness for sentimental subjects and left-wing causes marred his reputation with some critics. But this optimism, coupled with his overt sympathies for the downtrodden and a working style that put an emphasis on freedom of movement, unencumbered by any equipment except a camera and his wits, also served to keep him photographing until the end of his life. Until a few years ago, he would begin each day by loading film into his Canon EOS 300.
“My vision of the world is simple,” Mr. Riboud said when he was in his 80s. “Tomorrow, each new day, I want to see the city, take new photographs, meet people and wander alone.”
Sewell Chan contributed reporting.
Initium Media 端傳媒
【再一次，我們看看這位攝影巨人的作品】http://bit.ly/2bQFnRJ
法國攝影師馬克·呂布（Marc Riboud）昨夜與世長辭，終年93歲。他拍攝了阿爾及利亞和非洲等多次民主運動，而多次造訪中國拍攝的照片，更成經典。我們的攝影師精心挑選了他的部份作品，與你一起回味…http://bit.ly/2bQFnRJ
【#圖集：私刑處決罪犯】http://bit.ly/2bJiTSq⋯⋯更多
馬克·呂布 攝影巨人離世
法國攝影師馬克·呂布（Marc Riboud）昨夜與世長辭，終年93歲。呂布1923年出生於法國里昂，代表作之一是 Eiffel Tower Painter。他拍攝了阿爾及利亞和非洲等多次民主運動，而多次造訪中國拍攝的照片，更成經典。
THEINITIUM.COM
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