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This is a reprint of the immensely successful Early Color (2008), which presented Saul Leiter's remarkable body of color work to the public for the first time in book form. Although Edward Steichen had exhibited some of Leiter's color photography at The Museum of Modern Art in 1953, it remained virtually unknown to the world thereafter. Leiter moved to New York in 1946 to become a painter, but through his friendship with Richard Pousette-Dart he quickly recognized the creative potential of photography. Leiter continued to paint, exhibiting with Philip Guston and Willem de Kooning, but the camera remained his ever-present means of recording life in the metropolis. None of Leiter's contemporaries, with the partial exception of Helen Levitt, assembled a comparable body of work: subtle, often abstract compositions of lyrical, eloquent color.
- Sales Rank: #93915 in Books
- Published on: 2006-01-15
- Original language: English
- Number of items: 1
- Dimensions: 8.20" h x 1.00" w x 8.00" l, 1.65 pounds
- Binding: Hardcover
- 158 pages
Review
Leiter's color photography offers its own version of chance: an attunement to the visual masterpieces that can be found in almost every urban instant. (Michael Greenberg The New York Review of Books)
From the Publisher
From PDN, The Legends Issue, 2007
Leiter's place is now assured. He will forever be known as one of the first photographers to use color in a serious, artistic way. Meticulously printed, his pictures use muted colors...that help tamp down the volume and motion of frenetic city streets. His prism tempers the more anxious, acerbic portrayal of city life offered by his peers Robert Frank and William Klein...Leiter's photographs are as likely to be compared to abstract expressionist painters like Mark Rothko, Barnett Newman or Richard Pousett-Dart.
About the Author
Saul Leiter was born in Pittsburgh in 1923, the son of a rabbi. His work is in the collections of The Museum of Fine Arts, Houston; The Art Institute of Chicago; The Baltimore Museum of Art; the Victoria and Albert Museum, London; and other public and private collections.
Most helpful customer reviews
54 of 55 people found the following review helpful.
Book desc/product details are INACCURATE (not the 2008 First Edition!)
By c. elisabeth dubois
Don't get me wrong: this little book of photographs --and it is little (8" x 8" square)-- is quite lovely. Personally I would like for it to be larger in format...and yet Saul Leiter's work is in itself quiet and understated, and therefore the book's small size seems to reflect something important about the artist and his aesthetic.
HOWEVER, if you are at all concerned about such things, or a serious collector of photography books, you should know that amazon.com is NOT currently selling 2008/First Editions (as described in both the "Book Description" and "" areas above). The 2008 First Edition of this Steidl book sold out long ago, and what is currently shipping is the 2013/Fourth Printing edition of the book. I tried to bring this to the attention of Amazon.com staff via their customer service channels, but they seem incapable of understanding the crucial difference between a "First Edition" and a "Fourth Printing," and have therefore neglected to change the product information here on the site. Consider yourself warned!
40 of 40 people found the following review helpful.
A gem, whether you already know Leiter's work or not
By G. Morgan
Saul Leiter's photography reveals an urban world of rich, yet understated colours and abstract shapes. In some photos, he focuses on a reflective surface or the layer of condensation on a window, causing the objects or people behind them to appear fluid, disjointed or overlaid with a mosaic or other pattern. His black and white work explores juxtapositions, shapes and overlaid surfaces.
I was apprehensive about buying this slim volume of Leiter's work, having recently purchased a copy of another collection of his photos: 'Early Color'. My concern was that there would be too much overlap. I need not have worried. Although about a third of the works in this collection of 64 photos also appear in 'Early Color', the entire book is superb. Moreover, about 25 of the images are of his black and white photos, with which I was entirely unacquainted.
So, what should you do if you are mainly interested in Leiter's colour photography and are hesitating between this and 'Early Color'? If money is no object (and if 'Early Color' is still available, for I do not expect it to remain in print forever), I would recommend choosing 'Early Color'. Although the reproductions in this Photofile book are good, the slightly less bright paper of 'Early Color' better suits Leiter's muted colours. However, if you are budget-conscious or are looking for a selection that includes his monochrome work, this book would be the obvious choice. And if you already own 'Early Color' and are considering another volume of Leiter's wonderful photography, do not hesitate -- this book is a gem.
26 of 26 people found the following review helpful.
Size matters
By Robin
I was surprised at how small this book was when it arrived (of course, had I checked the I would have seen that it's about eight inches square) but now having looked through the pages several times I can see why Steidl published it this size. Photographers like Crewdson, Gursky or Shore require a large page because their work is saturated with detail. Here, these wonderful photos are a sliver of city life and presenting them about postcard size is perfect.
Leiter gives us an intimate look at the everyday in what seems to me an almost unique vision. Fred Herzog's color work during the fifties and early sixties in Vancouver does seem slightly similar especially the vibrant reds that appear in both their work (Fred Herzog: Photographs). Leiter's photos though, capture the small fragments of color and shape on the street which he cleverly takes further by using reflection, shadow and soft focus to make an image that could be considered a sort of photo/painting.
I liked the way he uses commercial street signage (as does Herzog) to provide small areas of bright color amongst the dark hues and shadows so prevalent in any city. I doubt any of the photos were taken in bright sunlight and even a few that include snow still have a dark hue to them.
The book has a hundred photos printed with a 175 screen on a matt art, one to page, except for two spreads and opposite each photo there is the briefest of caption: location and date. The first edition came out in 2006, second in 2007 and this one to coincide with an Amsterdam exhibition of Leiter's photos. The publication of this edition should bring the high prices of earlier copies down to a more realistic level. All three editions seem identical except for some type changes on the imprint page.
This is one of those books whose size works in harmony with the contents and really helps to bring Leiter's intimate city photos to life.
***LOOK INSIDE THE BOOK by clicking 'customer images' under the cover.
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