Marc Riboud, Vitrine de publicité pour de la lingerie, dans le grand magasin Matsuzakaya à Ginza, Tokyo. Japon, 1958, 1958

Courtesy: ©Marc Riboud Galerie Le Réverbère

Modern print
Modern print
Dimensioni / Size: 30 x 40 cm
Edizione / Edition: 1/1

Contattare Galerie Le Réverbère per il prezzo.
Please contact Galerie Le Réverbère for the price.

Claude Estèbe about Marc Riboud

Published in «Marc Riboud, Histoires possibles», ed. RMN/ Musée Guimet, Paris, 2020
Excerpt(s) from “The Walking Man”
In 1955, Marc Riboud decided to leave France, his family and even Magnum.
George Rodger gives him his Land Rover with which he leaves three years to the roads of Asia.
Without an agenda… and no question of planning reports, she has a problem. In the fall of 1955, it leaves Istanbul, crosses the tribal areas between Afghanistan and Pakistan and travels to his rhythm, happy with his solitude, settling a few months in Nepal and spending a year in Calcutta, with Satyajit Ray and Ravi Shankar.
In 1958, he ended his journey through Indonesia and Japan, the subject of his first book. Roads Afghan, Indian, Chinese and Japanese taught him, he said, something that none of master however great he might not have taught me».
After this trip, everything is in place. He will now continue, with as much going on,
reporting and travelling throughout his long career.
Marc Riboud’s collection is now at the National Museum of Asian Arts – Guimet
(MNAAG) where he will interact with the rich Asian collections of the museum. Thus, his work responds to that of one of the first great pioneers of war reporting, Felice Beato (1832-1909), of which the MNAAG holds rare albums, on India, China, Burma and
Japan.
Marc Riboud’s work, despite its incredible diversity, remains extremely coherent,
because it addresses all subjects while maintaining a continuum of aesthetics and sensitivity who owes much to the fact that he has almost never accepted any order work, does not not wanting to leave an angle of view on a subject or a trip in advance.
Marc Riboud was “very, very happy with [his] stay in Tokyo,” struck by “this balance
on the tightrope that the Japanese maintain with difficulty, between this furious
westernization and industrialization, and the oriental instinct that remains in life
each person’s daily life”, as well as the “chaotic aspect of a society left to chance”
He met the photographer Hiroshi Hamaya (1915-1999), at work almost ethnographic and which has a sense of volumes, spontaneity and freshness
But life in Japan is expensive, Riboud can’t get enough reports to cover his expenses and, after spending almost four months which he took two hundred and fifty films, he must shorten his stay, with regret.

Claude Estèbe about Marc Riboud

Published in «Marc Riboud, Histoires possibles», ed. RMN/ Musée Guimet, Paris, 2020
Excerpt(s) from “The Walking Man”
In 1955, Marc Riboud decided to leave France, his family and even Magnum.
George Rodger gives him his Land Rover with which he leaves three years to the roads of Asia.
Without an agenda… and no question of planning reports, she has a problem. In the fall of 1955, it leaves Istanbul, crosses the tribal areas between Afghanistan and Pakistan and travels to his rhythm, happy with his solitude, settling a few months in Nepal and spending a year in Calcutta, with Satyajit Ray and Ravi Shankar.
In 1958, he ended his journey through Indonesia and Japan, the subject of his first book. Roads Afghan, Indian, Chinese and Japanese taught him, he said, something that none of master however great he might not have taught me».
After this trip, everything is in place. He will now continue, with as much going on,
reporting and travelling throughout his long career.
Marc Riboud’s collection is now at the National Museum of Asian Arts – Guimet
(MNAAG) where he will interact with the rich Asian collections of the museum. Thus, his work responds to that of one of the first great pioneers of war reporting, Felice Beato (1832-1909), of which the MNAAG holds rare albums, on India, China, Burma and
Japan.
Marc Riboud’s work, despite its incredible diversity, remains extremely coherent,
because it addresses all subjects while maintaining a continuum of aesthetics and sensitivity who owes much to the fact that he has almost never accepted any order work, does not not wanting to leave an angle of view on a subject or a trip in advance.
Marc Riboud was “very, very happy with [his] stay in Tokyo,” struck by “this balance
on the tightrope that the Japanese maintain with difficulty, between this furious
westernization and industrialization, and the oriental instinct that remains in life
each person’s daily life”, as well as the “chaotic aspect of a society left to chance”
He met the photographer Hiroshi Hamaya (1915-1999), at work almost ethnographic and which has a sense of volumes, spontaneity and freshness
But life in Japan is expensive, Riboud can’t get enough reports to cover his expenses and, after spending almost four months which he took two hundred and fifty films, he must shorten his stay, with regret.

Marc Riboud

France @ France
http://marcriboud.com

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Marc Riboud, Vitrine de publicité pour de la lingerie, dans le grand magasin Matsuzakaya à Ginza, Tokyo. Japon, 1958, 1958







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