Sudek, Josef

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'''Josef Sudek''' (March 17, 1896 - September 15, 1976) was a legendary [[Czech Republic|Czech]] [[photographer]].  He was born in the industrial town of [[Kolin]], [[Bohemia]], at a time when a Czech nation was just a romantic dream.
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Originally a bookbinder by trade, he was badly injured in 1916 during action by the [[Hungarian Army]] on the Italian Front of the [[World War I|First World War]].  He was given a camera afterwards; although he had no previous experience with [[photography]] and was one-handed due to an amputation. He learned photography for two years in [[Prague]] from 1922, under the tuitition of [[Jaromir Funke]]. His Army disability pension gave him some leeway to make art, and he worked during the 1920s in the romantic [[Pictorialism|Pictorialist]] style, but always pushed at the boundaries of that form - he was expelled from a local camera club for arguing about the need to move forwards from 'painterly' photography.  This led to Sudek founding the progressive [[Czech Photographic Society]] in 1924. Despite only having one arm, he always used large bulky cameras, managing to work with the aid of assistants.
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'''Josef Sudek''' (March 17, 1896 – September 15, 1976) was a renowned [[Czech Republic|Czech]] [[photographer]], dubbed the "Poet of Prague."
  
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His photography is sometime said to be [[Modernism|modernist]]. But this is only true of a couple of years in the 1930s, during which he undertook commercial photography and thus worked "in the style of the times". Primarily, his personal photography is [[neo-romanticism|neo-romantic]].  
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Born when Bohemia was a kingdom in the [[Austro-Hungarian Empire]], he learned bookbinding, but after his 1916 [[World War I]] injury, which led to the amputation of his right arm, he took up photography. His inability to accept the norm and prescribed limits of an artistic style and form accompanied him throughout his life.  
  
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His early work included many series of light falling in the interior of [[St. Vitus]] cathederal. During and after the [[World War II|Second World War]] Sudek created haunting night-scapes and panoramas of [[Prague]], photographed the wooded landscape of [[Bohemia]], and the window-glass that led to his garden (the famous ''The Window of My Atelier'' series). He went on to photograph the crowded interior of his studio (the ''Labyrinths'' series).  
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The amputation of his arm was a traumatic experience for him, and it seemed that photography was a form of redemption, as it allowed him to peek beyond the life of loneliness into the lives of fellow humans and their environment. Few people appear in his photographs, and melancholy is the signature on all. He worked hard to make up for his physical limitations and was very patient, driven by his pursuit of perfection.  
  
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His first show in the West was at [[George Eastman House]] in 1974. He published 16 books during his life, now affordable to only the richest collectors.
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His style exhibits traits of [[Impressionism]], [[Surrealism]], [[Magic Realism]], Neo-[[Romanticism]], [[Avant-Garde]], and Czech Poetism Movement, but central to it is a diversity of light values in the low end of the tonal scale, and the representation of light as a substance occupying its own space. Sudek's work first appeared in [[United States|America]] in 1974.
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Toward the end of his life he was branded a loner and eccentric; classical music and his famous painter and poet friends kept him company. He experienced several political regimes, yet he always maintained his own perspective of art, oblivious to whims and fashions of the time. He never sought the limelight and largely busied himself with what captured his interest. He published 16 books during his life and left behind over 20,000 photographs and twice as many negatives, most of which have not been published.  
  
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He became known as the "Poet of Prague".  Sudek never married, and was always known as a shy and retiring person - he never appeared at the openings of his own exhibitions, and few people appear in his photographs. Despite the privations of the war and [[Communism]], he kept a renowned record collection of classical music.
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Josef Sudek never married. He died in 1976, at the age of 80.[[image:JosefSudek3.jpg|thumb|200px|Plaque to honor Josef Sudek outside his former studio in [[Prague]]]]
  
 
==Life==
 
==Life==
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Místo Josefa Sudka v dějinách fotografie je nezpochybnitelné. Josef Sudek byl zakládajícím členem spolků, které se nesmiřovaly s tradičním pojetím fotografie, jako například Fotoklubu Praha a České fotografické společnosti. Jako fotograf byl Sudek oceňován od začátku 20. let ve své vlasti i na mezinárodních fotografických salonech. Zhruba od roku 1940 se Josef Sudek začal odchylovat od hlavního proudu moderní fotografie jak stylově, tak technicky. V sedmdesátých letech začal být uznáván především v USA, jako jeden z nejvýznamnějších představitelů subjektivizace moderní fotografie.  
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Josef Sudek was born in Kolin, [[Bohemia]], on March 17, 1896, which at the time was a kingdom in the [[Austro-Hungarian Empire]], to a housepainter father. His father apprenticed him to a bookbinder, and in this setting he was also initiated into photography. The father died soon afterward and the family struggled with poverty, but Josef's memories of childhood were fond. He felt very close to his sister Božena, who helped him with household chores even through his adulthood.  
  
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Joseph Sudek trained as a bookbinder but had become a keen amateur photographer before being called into military service in the First World War in 1915. He produced several albums of pictures - including landscapes showing splintered trees and other war damage - during his almost three years of war service. , decided to retrain as a photographer, managing to get a free scholarship to the State School of Graphic Arts where he studied with Karel Novak. Novak introduced his students to the work of Edward Weston, but it was the pictures of Clarence White, with his use of a soft-focus lens to produce diffused highlights and a mood of romanticism that were a more immediate influence on his early work. However, along with Funke and the other young Czech modernists with whom he founded the Czech Photographic Society in 1924, Sudek was soon to renounce such 'artistic' effects, becoming a part of the 'new wave' of modern photography in Europe.
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Sudek was drafted into the [[World War I|First World War]] in 1915, and served on the [[Italy|Italian]] Front, where he was hit by shrapnel in the right arm. Due to complications, his arm was amputated at the shoulder; he was 21 years old. Three years of convalescence in Prague's Veterans’ hospital followed, where Sudek passed time photographing his fellow patients; this marked his official entry into the field of photography. Around this period he produced several albums of pictures, including landscapes showing the devastation wrought by the war.
  
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The fascination with light and mood was however to permeate his lifetime's work,  
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Once he was fit to resume normal life outside the health care system, he settled in [[Prague]] and made his living taking photographs on commission, to supplement his disability pension. He met [[Czech]] [[Avant-Garde]] photographer Jaromír Funke, who became his good friend, and joined the Amateur Photography Club. In 1922, he began formal education in his new vocation at the Prague-based School of Graphic Arts. His teachers, leading "traditionalist" Czech photographers such as Karel Novák, introduced him to the most influential [[United States|American]] photographer of the twentieth century, [[Edward Weston]], and his soft focus Pictorialism. But it was largely the work of [[Clarence White]], who employed light and shadow to evoke a three dimensional mood and a virtual glow from the highlights, that can be discerned in Sudek's early work. Sudek also co-founded professional associations such as Photoclub Prague and the Czech Photographic Society.
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Commercially, Sudek was a great success, working as house photographer for the influential magazine produced by the Prague artists, as well as in advertising and other projects. He was also exhibiting his personal work both in Czechoslovakia and internationally, and was a leading figure in the Czech cultural scene.  
 
  
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Josef Sudek was a keen amateur photographer when he was called up to fight for his country, Czechoslovakia, in the First World War. He continued to photograph during his military service. The loss of an arm meant he could not return to his former trade of bookbinding, so he decided to become a photographer.
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Along with the other leading young [[Photography|photographers]], he soon rejected the traditional—"painterly"—approach and embraced the modernist views. For this, he and Funke were dismissed from Photoclub Prague. In response, they rallied photographers who shared their modernist views, and in 1924, formed the "Avant-Garde Czech Photographic Society," which focused on the negative. Still, the light continued to work its magic on Sudek throughout his career. He admired Funke for his knowledge of [[law]], [[medicine]], and [[philosophy]]; this man, Sudek's peer, with his sharp, broad-specter intelligence, provided an impetus for many of Sudek's bold undertakings.  
  
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Because of his war injury he was able to get a free scholarhip for a photography course; here he was taught by one of the best known older Czech photographers who introduced him to pictorialism, but, along with the other leading young photographers he quicly became absorbed in a modernist approach.
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The [[Nazism|Nazi]] invasion of 1939 brought much of the cultural life of Prague to a halt; likewise, Sudek took a step back to reflect on his work—and discovered contact prints. He almost gave up on the negative and pushed the boundaries in the uses of printing papers and effects instead. At that time, the ideal of printing, particularly in America, was manifested by "straight photographers" such as [[Ansel Adams]]. Sudek distanced himself from this technique and began using very dark and often low contrast images. Almost all of his subsequent work—commercial and personal—was contact prints from negatives. The pictures often relied on limited tonalities; they were dark and sombre and very subjective, as if the lives of his subjects, human or not, were to be sheltered from the outside world. The critics hammered him for this drifting away from the norm.  
  
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Sudek soon became sucessful commercially and also one of the leaders in Czech artistic circles. The Nazi invasion of 1939 brought much of the cultural life of Prague to a halt; forced in on himself, Sudek brooded over his work and became captivated by the quality obtainable from contact prints - and from this time on hardly ever enlarged a negative. He also began a great deal of experimentation with printing papers and effects, creating a very different style of printing to that advance in America by 'straight photographers' such as Ansel Adams. Sudek's work was often dark and moody; he was not afraid to make use of some very limited tonalities.
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[[image:JosefSudek2.jpg|thumb|left|250px|Josef Sudek at work]]
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After [[World War II]], he hired an assistant, Sonja Bullaty, a young [[Czech]] [[Judaism|Jew]] who survived the Nazi concentration camps. While her boss was brimming with energy and almost a workaholic, she was still reeling from the trauma of the [[Holocaust]], but she adjusted to his pace in order to do photography. It was Bullaty who took Sudek's work outside the [[Iron Curtain]] and preserved over 300 selections of his prints that he continued to send to her after she emigrated to America.  
  
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After the war, Sudek gained an assistant, Sonja Bullaty, teaching her photography. It was Bullaty who, when she emigrated to America, took Sudek's work and made it known outside of the Iron Curtain. Sudek was an individualist whose work did not fit in well with the communist authorities and their Soviet masters, but the strong cultural tradition in the country meant there were enough people in power who appreciated his work to protect him, and he was even honoured by the state in his old age.
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In the early 1950s, Sudek purchased an 1894 [[Eastman Kodak Corp|Kodak]] Panorama [[camera]] whose spring-drive sweeping lens allowed for making a large negative of 10 cm x 30 cm (4 inches x 12 inches), and produced almost 300 panoramic images of [[Prague]] that were published under the title ''Panoramas of Prague,'' in 1959. Like most of his books, it was only published in his native country.  
  
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WWII and After
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Sudek's individualism did not fare well under [[Czechoslovakia|Czechoslovakia's]] [[Communism|communist]] regime. Fortunately, the strong artistic tradition of the country made it possible for him to practice his art through mavericks who supported his work, and it continued to be published. He was the first photographer to be honored by the country with the title of "Artist of Merit." His hunched figure pegged to a bulky wooden tripod was quite a spectacle in Prague. He never tired of his work and worked continuously until the age of 80, when he passed away. Sudek had never married.
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The Nazi invasion in 1939 led Sudek to withdraw very much into himself. He started intensive experiments in printmaking which was to be an important aspect of this work from this time on, concentrating on the use of very dark (and often low contrast) images, sometimes on toned paper and at times using non-silver processes. After this date, almost his entire work - commercial and personal - was contact printed, from negatives on a wide range of mainly elderly cameras.
 
  
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Sudek's pictures often play on the lower tones of the photographic scale, full of mystery and darkness. He was not afraid to produce prints with a very limited tonal scale. His small, unorthodox and intensely personal pictures were often dismissed by photographic critics attuned as they were to the kind of full-scale print we associate with the work of Ansel Adams and the American 'straight photography' tradition. His work has an earthy and elemental quality; it is intense and dramatic, full of emotion. It reflects a preoccupation which has a uniquely Central European origin, and which was also the seed bed for Freud and Kafka.
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=== Life-changing crisis ===
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In 1926, Sudek ventured back into [[Italy]] with a group of friends who were musicians with the [[Czechoslovakia|Czech]] Philharmonic. This trip brought him quite near the spot where his life had been shattered nearly ten years earlier. Leaving his friends in the middle of a concert and wandering as if in a trance until he reached the location his injury had occurred, he remained for two months. His friends even alerted police when they could not account for him. Finally, having reached the catharsis but permanently estranged, he returned to [[Prague]], where he plunged into his art.
  
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Sudek's individualism did not fit in with the new post-war Czech Socialist Republic, but fortunately the strong artistic tradition of the country meant that there were many mavericks in the establishment who supported his work, and it continued to be published. Finally he was to become the first photographer to be honoured by the Republic with the title of 'Artist of Merit' and in his 70th year, his life's work was recognized by the 'Order of Labour'. He died, still keen to do more work, at the age of 80 in 1976.
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Sonja Bullaty reproduced Sudek's description of his odyssey as follows: <blockquote>When the musicians ot the Czech Philharmonic told me: "Josef come with us, we are going to Italy to play music," I told myself, "fool that you are, you were there and you did not enjoy that beautiful country when you served as a soldier for the Emperor's Army." And so went with them on this unusual excursion. In Milan, we had a lot of applause and acclaim and we traveled down the Italian boot until we came to that place--I had to disappear in the middle of the concert; in the dark I got lost, but I had to search. Far outside the city toward dawn, in the fields bathed by the morning dew, finally I found the place. But my arm wasn't there—only the poor peasant farmhouse was still standing in its place. They had brought me into it that day when I was shot in the right arm. They could never put it together again, and for years I was going from hospital to hospital, and had to give up my bookbinding trade. The Philharmonic people… didn't reproach me, but from that time on, I never went anywhere, anymore, and I never will. What would I be looking for when I didn't find what I wanted to find?<ref>''Creative Camera'', [http://www.people.fas.harvard.edu/~sawyer/Sudek.htm Josef Sudek.] Retrieved March 24, 2008.</ref></blockquote>
  
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At the end of the war, Sudek had been joined in his studio by a young Czech Jew who had survived the Nazi concentration camps and wanted to become a photographer. Sonja Bullaty kept in touch with her old master after she had emigrated to the USA, making a number of visits, and she built up a collection of his prints which were exhibited in the US. The first monograph of his work in the West was produced by Bullaty two years after his death, and contained an introduction by Anna Farova, Sudek's executrix and the great expert on his life; this excellent volume firmly established his reputation as one of the great photographers of the century.
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From this point on, Sudek's photos changed. Those produced from 1920 until the year of his crisis are markedly different from those produced afterward, both in style and content. In his early works, the contents were shadowy; the series of his fellow invalids from the veterans' hospital portrayed ghostly silhouettes shrouded in clouds of light. Other photos from the same period utilized soft focus, often distant subjects.  
  
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Commercially, Sudek was a great success, working as house photographer for the influential magazine produced by the Prague artists, as well as in advertising and other projects. He was also exhibiting his personal work both in Czechoslovakia and internationally, and was a leading figure in the Czech cultural scene.
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After his experience in Italy in 1926, Sudek seemed to discover a new personal style and come into his full powers as an artist. He no longer used the haziness that autographed his earlier works. He turned his devotion and dedication to photographing the city of Prague, created haunting night-scapes and panoramas of the city. He also photographed the wooded landscape of [[Bohemia]], creating some of his most captivating scenes.
  
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The Nazi invasion in 1939 led Sudek to withdraw very much into himself. Coming across an old photograph, he was gripped by the quality which it had because it was a contact print. He started intensive experiments in printmaking which was to be an important aspect of this work from this time on, concentrating on the use of very dark (and often low contrast) images, sometimes on toned paper and at times using non-silver processes. After this date, almost his entire work - commercial and personal - was contact printed, from negatives on a wide range of mainly elderly cameras.
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==Glimpses into Sudek's Character ==
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Josef Sudek never attended to his own openings. He only made one exception, in the town of Roudnice, since he wanted to see how the photos were hung. After surveying the display and expressing approval, he retired to an upper floor to watch from above. He did foster friendships though; among others, with Dr. Peter Helbich, who called him "chief," to which Sudek responded with "student." Helbich attributed Sudek's melancholy to the loss of his arm but, at the same time, felt that had it not been for his disability, he would not have gone on to bring out the artist in himself.<ref>''Creative Camera,'' [http://www.people.fas.harvard.edu/~sawyer/Sudek.htm Josef Sudek.] Retrieved March 24, 2008.</ref>
  
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Sudek's pictures often play on the lower tones of the photographic scale, full of mystery and darkness. He was not afraid to produce prints with a very limited tonal scale. His small, unorthodox and intensely personal pictures were often dismissed by photographic critics attuned as they were to the kind of full-scale print we associate with the work of Ansel Adams and the American 'straight photography' tradition. His work has an earthy and elemental quality; it is intense and dramatic, full of emotion. It reflects a preoccupation which has a uniquely Central European origin, and which was also the seed bed for Freud and Kafka.
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When friends were not available, Sudek tapped into the soothing tones of music, especially by the [[Czech]] composer [[Leoš Janáček]] (1854-1928). For years, he would visit Janáček's native Hukvaldy in the eastern region of the [[Czech Republic]], [[Moravia]] to capture both the unique charm of the area and the composer's character through photographs of the countryside, the town, and the composer's home. He held weekly classical music soirées for his friends, drawing on his vast record collection.  
  
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Although his first panoramic picture was made during his was service around 1916, it was around 1950 that he started to work seriously in this area, mainly with an 1899 Kodak Panoram panoramic camera, which produced prints that were 10 cm by 30 cm (about 4" x 12"). Perhaps his finest book, Panoramas of Prague, (1959) contained almost 300 panoramas from Prague and the surrounding area. Like most of his books it was published only in his native country.
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He once said on the relationship between the artist and environment: "…the environment does have an impact on the person; even if you curse it, it will affect you. You can't extricate yourself from it."<ref>''Non-Commercial Projects Website,'' [http://eldar.cz/kangaroo/citanka/sudek.html Josef Sudek on Himself.] Retrieved January 17, 2007.</ref> He was aware of the direct relationship between the artist and the object of his art. What he was unaware of was the fact that the artist has the power to transform the object through the power of his imagination and the degree of his skill.  
  
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Josef Sudek by Charles Sawyer
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Sudek was a down-to-earth man who openly admitted his weaknesses, such as reluctance to read, sloppiness, inability to bring a project to an end, and hoarding.
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Josef Sudek was born in 1896 in Kolin on the Labe in Bohemia. As a boy he learned the trade of bookbinding. He was drafted into the Hungarian Army in 1915 and served on the Italian Front until he was wounded in the right arm. Infection set in and eventually surgeons removed his arm at the shoulder. During his convalescence in an Army Hospital, he began photographing his fellow inmates. After his discharge, Sudek studied photography for two years in a school for graphic art in Prague. Between a disability pension and intermitment work as a commercial photographer, Sudek made a living. In 1933, he held his first one-man show in the Krasnajizba salon. Since 1947, he has published eight books. In the early 1950's, Sudek acquired an 1894 Kodak Panorama camera whose spring-drive sweeping lens makes a negative 10 cm x 30 cm. He employed this exotic format to make a stunning series of cityscapes of Prague, published in 1959.
 
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Sudek's work first appeared in America in 1974 when the George Eastman House in Rochester, New York, gave him a retrospective exhibition. The same year Light Gallery in New York City showed an exhibition of his photographs.
 
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In spite of his disability, Sudek always used large format cameras and from the 1940's on he made only contact prints. He worked without assistants in the open air in city and countryside. His hunched figure supporting a huge wooden tripod was a familiar sight in Prague. Although he never married and was rather shy, he was not a recluse and was renowned for his weekly soirees for listening to classical music from his vast record collection. Sudek died quietly and without suffering or illness in mid-September 1976 in Prague.
 
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Josef Sudek was born in 1896 in the industrial town of Kolin on the River Labe in Bohemia. Czechoslavakia then existed only in the imagination of a few visionary artists, particularly writers, and of some political activists. Emperor Franz Josef reigned on the Hapsburg throne and Bohemia was a Kingdom in the Austro- Hungarian Empire. Josef's father was a house painter and he apprenticed his son to a bookbinder; a fellow worker introduced the young man to photography. In 1915 he was drafted and assigned to a unit on the Italian front. After slightly less than a year in the line, he was wounded in the right arm. The wound was not serious, but gangrene set in; a long struggle ensued and f inally Sudek's arm was removed at the shoulder. For three years, he was a patient in a veteran's hospital; it was there, during his recuperation, that he first began photographing in earnest.
 
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The years from his leaving the veteran's hospital around 1920 until 1926 were restless years for Sudek. He could not take up his trade of bookbinding. After settling in Prague, he took photographs for small commissions. He joined the Amateur Photography Club and struck up a friendship with Jaromir Funke, a well-educated, vocal, young photographer with advanced aesthetic theories concerning photography. In 1922, Sudek enrolled in the School of Graphic Arts in Prague and received an old-school, formal education in photography. Two main subjects occupied his attention with his camera: his former fellow-patients, the invalids in the veteran's hospital, and the reconstruction of St. Vitus Cathedral in Prague then in progress. Occasionally he returned to his native Kolin to photograph the leisure life in the parks of the city. Still, he was unsettled, apparently not yet reconciled to his loss. And he was contentious.
 
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Together with his friend Funke, he was expelled from the Photography Club for his impatient opposition to those who stood firmly by the then entrenched techniques of painterly affectations. The two upstarts gathered other like-minded photographers and formed the avant-garde Czech Photographic Society in 1924, devoted to the integrity ot the negative and freedom from the painters' tradition. Although Funke was the same age as Sudek, he had already studied law, medicine and philosophy. Sudek admired his superior education and intellectual capacities, and their discussions often led to ambitious projects.
 
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Sudek never came to his own openings; he was much too shy to endure being the centre of so much attention. Yet, for the Roudnice opening he made an exception since he wanted to see how the photos were hung and to go on another day would require that some friend make a special trip to take him there. So he accepted a ride with Anna Farova, who was on the programme to make some opening remarks.
 
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After surveying his exhibition and expressing approval, Sudek retired to the curator's second floor office for a glass of wine.
 
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Later when the gallery had filled with celebrants, the curator showed Sudek through a door from his office onto a balcony overlooking the gallery space below. The curator joined the crowd on the gallery floor. A small chamber ensemble played some light classical music, the curator said some words of greeting, and Anna gave a short talk. Respecting his wishes neither Anna nor the curator called attention to the artist, whose head was barely visible over the balustrade at the far end of the room. When the proceedings concluded, Sudek's admirers slowly filtered out of the gallery, lingering over individual photographs, apparently unaware that Sudek had been watching the festivity from above.
 
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On the return trip to Prague in Anna's tiny sedan, I was wedged in beside Dr. Peter Helbich, Sudek's close friend in later life. He told me how he had met Sudek photographing in the woods of Moravia. They struck up a friendship and Sudek began tutoring the ear-and-throat specialist, thirty-years his junior, in his avid avocation of photography. Sudek called him "student" and the doctor called him "chief". A close relationship evolved between the unlikely pair. Helbich gave me his own private assessment of the connection between Sudek's life and his work. Ever since he lost his arm, Helbich explained, Sudek has felt estranged from the rest of humanity, and his photography is a means to bridge the gap. "It is the reason for the melancholy in his photographs", said Helbich. "Sometimes I think if he had not lost his arm, he would not have become the great artist he is." When we dropped Sudek in Prague that evening after dark, I noticed how very crooked his frame was as he passed under a street light, shuffling toward his studio a few blocks from Hrdcany Castle. A month later while Dr. Helbich was visiting him in his cluttered digs, Sudek was stricken with a heart attack and died enroute to the hospital, He was 80.
 
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Sudek, The Book.      Sonja Bullaty was a young woman, just liberated from a Nazi concentration carnp, her head wrapped in a kerchief to hide her shaven pate, when she answered an ad in a Prague newspaper calling for a darkroom assistant. The photographer who placed the ad was Sudek and for the next year she struggled to keep pace with her dynamic boss, much her senior and her unwitting mentor. She was still bewildered by the trauma of the War but she knew she wanted to be a photographer. She trekked the city with him, washed his print trays, and listened to his chatter. But for her the city was haunted. Too often she saw familiar forms at a distance and rushed to catch lost friends or relatives only to meet total strangers up close. It was too much to bear and she left for the United States, where she made a succesful career as a photographer, giving New York and the Vermont countryside her loving attention after the style of Sudek's devotion to Prague and Moravia.
 
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Over a thirty year period, Sudek sent her selections of his prints: more than 300 all told. The present volume consists of 79 Sudek photographs drawn from her collection and from a similar American collection owned by Sudek's friend and contemporary, the former secretary of the Artists' Association in Prague, Dr. Brumlik. The selection is diverse and representative, including some well known classics and many images previously unpublished in the West. The sheet fed gravure printing is up to the extremely high demands of Sudek's unusual, subtle grey-palette. The photographs are accompanied by an enlightening, well-informed, critical account of Sudek's work by Anna Farova, Sonja Bullaty's own "Remembrances of Sudek", a collection of comments of Sudek on Sudek, called "A Self Portrait", and an extremely helpful bibliography of books and articles on and by the artist. The volume closes with a short series of Bullaty's own photographs of Sudek. The last and next to last pages contain a poignant farewell to the artist which must be seen to be enjoyed. There is one thing missing from the- Bullaty volume which is not to be called a fault, namely the great depth to which Sudek could penetrate a single subject with a protracted series of photos. Alas, the depth of the Sudek ouevre is much too great to be portrayed in a short volume. By the time of his death, his output in Czechoslovakia totalled 16 books and monographs. Take his Praha Panoramaticka (Prague Panoramas), one of the most sought after books in the antiquarian shops in Europe: it contains 284 panoramic photos of the city and the surrounding countryside. To grasp Sudek's achievement with this unusual format one must see many more than the four lovely panoramas included in the Bullaty volume. Then there is the Janacek book. Music was a passionate concern of Sudek throughout life and among the composers he admired was the Czech composer Leos Janacek (1854-1928). For years Sudek made a habit of summertime journeys to Janacek's native Hukvaldy in Moravia where he tried to capture both the special beauty of the area and the character of the composer through photographs of the countryside, the town and the composer's home. [Hukvaldy, incidentally, is located near Pribor, birthplace of Sigmund Freud]. A selection of over two hundred of these photographs appeared in 1971 in a book titled - Janacek/Hukvaldy published by Supraphon, the state monopoly for music publishing. Only one of these photos has made it into the Bullaty book, To fault Bullaty, or her publisher, Clarkson N. Potter, Inc., for not publishing a larger book showing Sudek's depth of penetration in individual subjects, would be inappropriate. Such a large book would be priced beyond the reach of the wide public here in the West that has waited ten years for a proper introduction to Sudek's work, and thus it would be self- defeating. This introductory volume is wisely designed to show Sudek's great scope, and if it somewhat neglects his depth, it only makes our appetites for more and deeper Sudek books all the sharper. One can hope that the thousands and thousands of negatives and prints Sudek left behind in the labyrinths of his atelier will be preserved and made available to us one day after we have digested this beautiful book.
 
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Josef Sudek byl též znalcem vážné hudby, kterou k němu chodila poslouchat řada přátel.
 
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=== Attempt to Reunite with his Arm===
 
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From Sudek's sketchy account of his crisis in 1926, we get a picture of a restless and troubled man accepting a casual invitation that leads him near the very spot where years before his hope for a normal life had been shattered. Leaving his friends, in mid-concert he wanders somnabulent until near dawn he comes to the exact place where, nearly ten years before, his life was forever changed. Unable to abandon hope of recovering his lost arm, he stays two months in that place, cut off from his friends and his world in Prague. Finally, his mourning complete, reconciled, but permanently estranged, he returns to Prague, where he immerses himself in his art.
 
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In 1926, Sudek suffered a life crisis brought on when he accepted an invitation from his friends in the Czech Philharmonic to join them on tour. His description of the odyssey is reproduced by Bullaty (page 27). It runs as follows:
 
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"When the musicians ot the Czech Philharmonic told me: 'Josef come with us, we are going to Italy to play music,' I told myself, 'fool that you are, you were there and you did not enjoy that beautiful country when you served as a soldier for the Emperor's Army.' And so went with them on this unusual excursion. In Milan, we had a lot of applause and acclaim and we travelled down the Italian boot untill we came to that place — I had to disappear in the middle of the concert; in the dark I got lost, but I had to search. Far outside the city toward dawn, in the fields bathed by the morning dew, finally I found the place. But my arm wasn't there - only the poor peasant farmhouse was still standing in its place. They had bought me into it that day when I was shot in the right arm. They could never put it together again, and for years I was going from hospital to hospital, and had to give up my bookbinding trade. The Philharmonic people apparently even made the police look for me but I somehow could not get myself to return from this country. I turned up in Prague some two months later. They didn't reproach me, but from that time on, I never went anywhere, anymore and I never will. What would I be looking for when I didn't find what I wanted to find?"
 
  
 
==Style==
 
==Style==
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No photographer, save possibly Atget, was so devoted to the task of portraying a city, and with such stunning results, as Sudek. He couldn't have had a better subject than Prague; Prague is, to many, the jewel of Europe. Prague was considered the heart of the continent. Gothic, Rennaissance, and Baroque architecture. In the Prologue to her book (p. 14), Sonja Bultaty tells an anecdote about helping Sudek photograph Prague. It portrays the special relationship between him and the city. in one of the Romanesque halls, deep below the spires of the cathedral [St. Vitus] - it was dark as in catacombs - A ray of sun had entered the darkness and both of us were waving cloths to raise mountains of dust 'to see the light,' as Sudek said. Obviously he had known that the sun would reach here perhaps two or three times a year and he was waiting for it.
+
Like [[Eugene Atget]], his counterpart in France, Sudek was captivated by the city, and Prague's [[Gothic]], [[Renaissance]], and [[Baroque]] architecture offered plenty. But while Atget, who was a master of the sociological side of the city, Sudek stamped his own inner preoccupations into his enigmatic photographs. In historic buildings, public squares, and churches, he looked for architectural details and thus shot from a variety of angles. The same building would therefore appear different on each picture.
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His workman-like attitude applied not only to the purely technical side of things but to the aesthetics of his camera work as well. Nowhere does this show so clearly as in his panoramic photos. The unusual format with its extreme proportions of 1 x 3 and the special distortions caused by the sweeping lens are extremely demanding, like the constraints of a sonnet. Yet like any set of artistic constraints, the peculiar requirements of the panoramic photo offer opportunities not found elsewhere. Sudek never tired of exploring the possibilities of the photographic sonnets he could make with his antique mechanism whose shutter speeds were marked simply "fast" and "slow". With it he gave us a geodesic feeling for the country-side which far surpasses anything we get from isolated views, and in Prague itself he showed how the River Vltava is an integral part of the city and how the labyrinthian quality of the city is offset by its broad open spaces. Before the horizontal panorama had yieided all its secrets, Sudek turned the camera on its side and gave us vertical panoramas!
 
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The systematic approach, and the dogged aesthetic experimentation of Sudek are akin to the working habits of Cezanne. But these alone are insufficient to make great art or even good art. Sudek's devotion to work may have integrated his shattered life but it could not have offered him the spiritual redemption he was seeking; only his aesthetic quest could bring this. It is the struggle for spiritual redemption through his aesthectic quest that gives Sudek's best photographs their true power. Two qualities characterize his best work: a rich diversity of light values in the low end of the tonal scale, and the representation of light as a substance occupying its own space. The former, the diversity of light values, requires very delicate treatment of the materials, especially the negative, but also the paper (Sudek used silver halide papers in the main). The latter, the portrayal of light as substance, is a more original trait then his tonal palette, which one sees in occasional prints of other photographers.  
 
  
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Flaubert once expressed an ambition to write a book which would have no subject, "a book dependent on nothing external ... held together by the strength of its style." Photographers have sometimes expressed parallel aspirations to make light itself the subject of their photographs, leaving the banal, material world behind. Sudek has come closer than any other photographer to catching this illusive goal. His devices for this effect are simple and highly poetic: the dust he raised in a frenzy when the light was just right, a gossamer curtain draped over a chair back, the mist from a garden sprinkler, even the ambient moisture in the atmosphere when the air is near dew point. The eye is usually accustomed to seeing not light but the surfaces it defines; when light is reflected from amorphous materials, however, perception of materiality shifts to light itself. Sudek looked for such materials everywhere. And then he usually balanced the ethereal luminescence with the contra-bass of his deep shadow tonalities. The effect is enchanting, and strongly conveys the human element which is the true content of his photographs.  
+
He worked hard both in terms of technique and aestheticism; his panoramic photos were an astounding 1 x 3 meter in size, and the sweeping lens technique was extremely demanding. The persistence, patience, and continuous investment paid off and yielded unique results in the hands of the maestro. Also, he continuously explored and challenged the possibilities of his antique camera. That is why his landscapes blend in the surroundings rather than parcel it into isolated units. [[image:JosefSudek1.jpg|thumb|250px|left|Josef Sudek]]
  
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For, throughout all his photography, there is one dominant mood, one consistent viewpoint, and one overriding philosophy. The mood is melancholy and the point of view is romanticism. And overriding all this is a philosphic detachment, an attitude he shares with Spinoza. The attitude of detachment that characterizes Sudek's art accounts for both its strength and weakness: the strength which lies in the ideal of utter tranquility and the weakness which is found in the paucity of human intimacy, Some commentators find Sudek's photos mysterious but I think this is a mistake: the air of mystery vanishes once we see in Sudek's photography a person's private salvation from despair.
+
[[Gustave Flaubert]] once expressed an ambition to write a book which would have no subject, "a book dependent on nothing external … held together by the strength of its style." Photographers strove to achieve this by making light the subject of their photographs, leaving the trite, material world behind. Sawyer said that Sudek, "mesmerized by a gossamer curtain draped over the back of the chair, the mist from a garden sprinkler, or the blurriness of air saturated with vapor, has come closer than any other photographer to translating this fantasy into reality. He looked for such materials everywhere. Once, accompanied by Bullaty, he saw a ray of sun enter the darkness of the Romanesque halls below the spires of St. Vitus Cathedral and started waving cloths to raise mountains of dust to see the light."<ref>''Creative Camera,'' [http://www.people.fas.harvard.edu/~sawyer/Sudek.htm Josef Sudek.] Retrieved March 24, 2008.</ref> This is an [[Impressionism|Impressionist]] sensibility.
  
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JOSEF SUDEK by Elenore Welles
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His work also reflects the [[Central Europe|Central European]] intensity and drama of emotion, traceable in other prominent people living in this geographical zone, such as [[Sigmund Freud]] and [[Franz Kafka]].<ref>''Photography,'' [http://photography.about.com/library/weekly/aa011000a.htm Joseph Sudek (1896-1976)—Poet of Prague.] Retrieved March 24, 2008.</ref>
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Czechoslovakian photographer Josef Sudek’s style of enigmatic reality correlated more to Surrealist and Magic Realist paintings than to the popular photographic styles of his time. Throughout his life, Sudek remained faithful to his own stylistic and emotional proclivities, particularly in his prescient use of blurred images and in his unique expressions of light and shadow. Like Eugene Atget, his counterpart in France, he delved into the essence of his environment. However, whereas Atget reached for the sociological realities of the city, Sudek’s mysterious photographs derived from a more subjective place. He was, for the most part, a loner, devoted to introspection and explorations of his soul. He believed that symbolic form equates with inner emotions, a philosophy shared by many painters of his era.
 
  
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In his public explorations, he concentrated on photographing historic buildings, public squares and churches such as St. Vitus’ Cathedral. There he focused on architectural details, shooting from a variety of angles and waiting for the moment when the light was exactly right. The result was a series of distinctive perspectives.
+
===Czech Poetism Movement===
 +
The ubiquitous melancholy and detachment with which his photos were taken underscored tranquility on one hand and belittled human intimacy on the other. These excursions into the realm of imagination point more to [[Surrealism|Surrealist]] and [[Magic Realism]] paintings than to the photographic styles of the age. They also reflected the Czech Poetism movement of the 1920s, which never spread beyond the boundaries of the country. It aimed to show an optimistic view of the world stripped of politics by building on lyricism and playfulness. The only permitted time frame was the present—its joyful moments imbued with happiness and emotions. Philosophically, it was a reaction to the feeling of alienation widespread in [[Europe]] of that time. The Czech artists were convinced that human relations had been warped, which they attributed to the society, blinded by its own system and complexity. As a result, society did not show interest in the happiness of an individual and was self-centered. Poetism strove to rectify and overcome this feeling of alienation.
  
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He was attracted also to airy spaces and changing light in nature, a sensibility that ties him to the Impressionists. In his Kolin Island series, atmospheric photographs of people in the countryside capture specific moments in time and strata of society as well. Blurred figures dissolve in an atmospheric haze, frozen in time. Rays of sunlight and deep shadows create a dreamlike mood, as though the observer has wandered into a sequence of a surreal Felini movie. Sudek’s lyrical transformations of landscapes often came about from exhaustive and complicated preparations. Always waiting for just the right moment, each object, person or foliage is caught within it’s own atmosphere.
+
Nevertheless, Sudek's own stylistic and emotional peculiarities overrode the styles prevalent during his life. Being a loner, he produced a vast number of his photographs out of his studio window, which acted as a reflective backdrop, framing artfully arranged objects such as onions, pebbles, or flowers. Those were his homage to the carefully arranged still-lifes of [[Jean Baptiste Simeon Chardin]] and the Old Dutch masters. Even though the setting was the same, Sudek would make each of the photos distinct and unique with the aid of atmospheric conditions, such as dew, ice, or rain drops. In ''The Window of My Studio,'' a figure is barely distinguishable through a dusky veil of rainy condensation.
  
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In his Garden series, haunting images stem from ill-defined values of tonal gradations that move from dark grays to blacks. Gnarled and lacy structures of trees and thickly growing plants are either bathed in radiating light or darkly silhouetted.
+
=== Artistic evolution ===
 +
There were two basic periods in Sudek's life in which his work took drastic turns. The first was after his crisis in Italy during which time he came to terms with the loss of his arm. Prior to that time, his photos were bathed in haziness, even referred to as ghostly. After his return from Italy there was a clarity and beauty in his work which had not been seen before. Then came four years of a rapid artistic development and later on healing of the soul, through his study of the reconstruction of St. Vitus Cathedral, completed in 1928. Sudek devoted endless hours to photographing objects in various settings, particularly objects given to him by friends. To him, the photos were "remembrances" of the person.  
  
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As a result of Sudek’s reclusive tendencies, a large portion of his photographs were shot from the vantage point of his studio window in Prague. The window acts as a reflective backdrop, framing artfully arranged objects such as onions, pebbles or flowers. He was particularly fond of the way glass objects refracted light in exciting ways. Sudek liked to view these as homages to the carefully arranged still-lifes of Chardin and old Dutch masters. His later, more modernist still-lifes were beautiful studies of form, light and shadow, but they lacked the soul of these earlier ones.
+
The other hallmark of his [[creativity]] started with his discovery of the contact prints in 1940, when he came across a 30 x 40 cm (12 x 16 inches) contact print photograph of a statue from Chartres, [[France]]. The intense beauty and authenticity of the stone brought out by this method convinced him that it would be best to make only contact prints. He realized that it was an all-powerful tool that would allow for presenting detail as a broad spectrum of tone, which is what he desired. This also meant that he would have to dedicate himself fully to his artistic passion and maintain a high standard of craftsmanship. From then on he carried view cameras as large as the 30 x 40 cm format (12 x 16 inches), operating the equipment propped in his lap with one hand, and what one hand could not handle, the teeth would.
  
−
He often shot the window through a curtain of dew, ice or rain drops, a distorting barrier between internal and external worlds. In The Window of My Studio, for example, a barely distinguishable figure is seen through a dusky veil of rainy condensation. The dark indeterminacy creates a barrier between the observer and the observed. This implied sense of mystery is deliberate, a way to kindle the imagination of the viewer.
+
===Promotional and publicity photography===
 +
In the 1930s, Sudek worked mostly as a photographer on commission. He was described as a very expensive, goal-oriented businessman who did not hesitate to hire an attorney when his royalties were not paid or when the buyers defaulted. Later in his life he played down this chapter, admitting that money was good but doing just that would have driven him insane. He was eager to quickly return to his art once the commercial order was completed.<ref>''Photography Online,'' [http://www.paladix.cz/clanky/dve-vzpominky-na-josefa-sudka.html?PLXID=15647dea1c42d0add0563d0746809008 Two Memories of Josef Sudek.] Retrieved March 24, 2008.</ref>
 +
He never loosened his standards though, pioneering this field in his country. He worked for the Družstevní práce publishing house and its promotional publications focused on quality work, living style, and modern life, where he briefly sat on the editorial board. Then he took on orders to photograph Prague's factories and businesses and various products.
  
−
Sudek’s excursions into the the realm of imagination reflects the Czech Poetism movement of the 1920s. However, he always remained true to his own inner visions and his desire to portray a world that was created from within himself. His remoteness, his need to remain close to nature, his spirituality and his attention to detail are all reflected in the photographs on view here. Most evident is his inimitable patience. His cycles of themes such as still-lifes and landscapes often took as long as ten years to complete.
+
==Sudek in dates==
 +
* 1896—born in Kolin.
 +
* 1908—begins studies at the Royal Bohemian Trade School in Kutna Hora.
 +
* 1911—moves to Prague to work as a bookbinder's apprentice. Begins taking photos.
 +
* 1915-1916—fights in and takes photographs on the Italian front of WWI. Loses his right arm.
 +
* 1917—unable to continue bookbinding, he concentrates on photography.
 +
* 1920-1921—becomes member of the Prague Society of Amateur Photographers.
 +
* 1922-1924—studies photography at Prague Graphic Arts School.
 +
* 1922-1927—takes photographs of veterans at Prague's Invalidovna hospital.
 +
* 1924—co-founds the Prague Photographic Society.
 +
* 1926—travels to Italy.
 +
* 1928—documents the reconstruction of St. Vitus Cathedral and publishes his first album of ten photographs for the 10th anniversary of the founding of Czechoslovakia.
 +
* 1927-1936—Works for ''Druzstevni prace,'' specializing in portraits, ads, and documentaries.
 +
* 1932—first exhibition in Prague.
 +
* 1940—stops enlarging negatives and focuses on contact prints.
 +
* 1958—moves to a new studio in Uvoz near Prague.
 +
* 1961—receives the Artist of Merit award by the Czech government as the first photographer ever.
 +
* 1966—awarded the Order of Labor by the Czech government.
 +
* 1976--dies in Prague.
  
−
=== Artistic Evolution ===
+
==Notes==
−
His photos from 1920 until the year of his crisis are markedly different, both in style and content, from those following. In the series from the veteran's hospital taken in the early 1920's, his former fellow-invalids are seen as ghostly silhouettes shrouded in clouds of light - lost souls suspended in Limbo. In the photos of Sunday pleasure-seekers in his native Kolin from the same period, the people are seen from 6 distance, through soft focus, in social clusters, usually with their backs to the camera, suggesting the closure of the ordinary social world to outsiders. His extended study of the reconstruction of St. Vitus begun in 1924, two years before his crisis, and completed in 1928, with the publication of his first book, can all too easily be taken as a metaphor for his personal struggle to reconstruct his own life.
+
<references/>
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After 1926, Sudek began to find his own personal style and come into his full powers as an artist. Gone is the haze of soft focus, and gone too, are the people - even most of his cityscapes show deserted streets. He turned his attention to the city of Prague with devotion and dedication that are rare even among the most committed artists. He succeeded to capture both the grandeur and the unpretentiousness of that lovely city. Yet, lovely as it still looks, through his lens it is empty. As if to compensate for the absence of the human factor in its customary place, Sudek personified the inanimate. The woods of Bohemia and Moravia projected on his view-screen were inhabitated by "sleeping giants", as he called them, huge dead trees that watched over the landscape like statues out of Easter Island. In his playful moods, Sudek toyed with masks and statuary heads, showing them as lovers, as grotesqueries, or even as gods. He found intimacy hard to achieve - perhaps because it was painful - not just in his interpersonal life but even under his viewing cloth. Its substitute came easily with inanimate objects. "I love the life of objects," he told one interviewer. "When the children go to bed, the objects come to life. I like to tell stories about the life of inanimate objects." He devoted endless hours to photographing special objects in various settings, particularly objects given to him by friends. He often called these photos "remembrances" of this or that person. It appears as if his personal rapport with the inanimate things he photographed began as an alternative to real intimacy with other persons and evolved into a means to bridge the gap that stood between him and the others.
 
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As he came to his artistic maturity, immersion in work and devotion to a high standard of craftsmanship became the dominant motifs of Sudek's life. In 1940, he saw a 30 x 40 cm photograph of a statue from Chartres, which, he recognized, was not an enlargement but one made by the contact process. The print so impressed him for its rendering of the stone material that he vowed thereafter always to make contact prints. He said it was less the fineness of details he craved in contact prints, than their tonal variation. From then on he lugged view cameras as large as the 30 x 40 cm format (roughly 12 x 16 inches) around the steep streets of the Hradcany and Mala Strana sections of Prague, working with one hand, cradling the camera in his lap to make adjustments, using his teeth when his hand was insufficient.
 
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===Promotional and Publicity Photography===
 
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Třicátá léta 20. století jsou obdobím, kdy se Sudek nejvíce vzdaluje od podoby, která mu byla později kulturní veřejnosti přisouzena a do níž se tak rád stylizoval: v této době je především zakázkovým reklamním fotografem, na tehdejší poměry velmi drahým, a také cílevědomým živnostníkem, který si k vymáhání honorářů a podávání žalob na dlužníky dokonce najímá advokáta dr. Poppera… Jinými slovy, Sudek si v této době „čichl“ k reklamě, a i když tyto své „zálety“ později snižoval („Z řemeslnýho stanoviska to určitě něco dalo, ale nemohl jsem to dělat pořád. To by člověk zblbnul. Jakmile jsem to udělal, okamžitě jsem dělal zase svoje věci.“ Josef Sudek: O sobě, s. 36), dělal to vesměs s vkusem a osobitostí.
 
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Reklamní a propagační fotografie vytvářel Josef Sudek ve 20. – 30. letech 20. století. V domácím kontextu je považován za průkopníka tohoto oboru s jedinečným autorským rukopisem.
 
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Základy profesionality Josef Sudek (1896 Kolín nad Labem – 1976 Praha) získal během studia na pražské Státní grafické škole v letech 1922 – 1924, roku 1927 si pronajal vlastní ateliér. Po několika letech tápání roku 1930 Sudek získal nového společníka Adolfa Hofmanna (1896 – 1975), který mu určitou dobu pomáhal vést samostatný podnik. V těžké době hospodářské krize mělo přátelství osudový význam, Sudek nejen přežil, ale etabloval se i jako vyhledávaný specialista.
 
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Už roku 1926 Sudek navázal první pracovní kontakty s nakladatelstvím Družstevní práce (dále DP). Hlavní zájem soustředil na přípravu materiálů pro její propagační časopisy: Panoramu DP, Žijeme, Jak žijeme a Magazín DP, v němž byl Sudek v letech 1934-36 členem redakční rady. Časopis Žijeme byl vydáván Svazem Československého Díla společně s DP a „…věnován kvalitní práci, bytové kultuře a vůbec modernímu životu. Jeho účelem je sloužit propagaci vskutku moderních snah v praktickém životě.“. V roce 1928 Sudek poprvé fotografoval v michelské plynárně, později můžeme dokladovat spolupráci s mnoha dalšími firmami:Továrnou na čokoládu Orion, tiskárnou Lidových novin, dělnickým spolkem Včela, Železárnami a smaltovnami Otty Hofmanna v Hořovicích, Microphonou, firmou GEC, Ultraphonem, v druhé polovině 30. let pak s podniky strojírenské (katalog modelu Tatra 77) a textilní výroby. Zvláštní kapitolu v Sudkově pozůstalosti tvoří propagační snímky na Pilnáčkovo mýdlo, kosmetiku, ale i obuvnickou firmu Popper.
 
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Josef Sudek se zabýval reklamou i organizačně, spolupracoval s řadou institucí a firem, které v 30. letech postupně prosazovaly účelnou a vkusnou obchodní propagaci.
 
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==See Also==
 
−
http://photography.about.com/library/weekly/aa011000b.htm
 
−
 
 
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===On the Artist and Environment===
 
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o vztahu umělce a prostředí Sudek hovoří takto: „… ono na toho současníka okolí taky působí, i když na něj bude nadávat, tak na něj bude působit. Nemůže se z něho dostat. „Vyseru se na něj…“ – to je nesmysl, nemůže se vysrat, ale je mu to hovno platný, poněvadž kdyby se na to vysral, tak bude izolovanej v něčem, žejo, a bude s tím na to narážet, a bude nasranej ještě víc.“ (s. 123). Knížka je cenná právě díky své otevřenosti: Sudek je totiž velmi kritický i k sobě a otevřeně přiznává své slabiny (třeba nechuť číst, neustálý nepořádek ve věcech, neschopnost dokončit jakýkoli projekt nebo zálibu v hromadění věcí).
 
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−
 
 
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==Sudek in Dates==
 
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1896 - Born March 17 in Kolin
 
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1908 -12yrs. old begins studying at the Royal Bohemian Trade School in Kutna Hora.
 
−
1911- Moves to Prague to work as a bookbinder's apprentice. Begins taking photos.
 
−
1915-16 - Fought in and photographed the WW1 on the Italian front. Lost his right arm.
 
−
1917 - Due to his disability he is unable to continue bookbinding. He concentrates more on photography
 
−
1920-21 - Becomes member of Prague Society of Amateur Photographers
 
−
1922-24 - Studies photography at Prague Graphic Arts School.
 
−
1922-27 - Photographs veterans at Invalidovna hospital.
 
−
1924 - Founding member of the Prague photographic society.
 
−
1926 - Travels to Italy
 
−
1927 - Settles in his garden studio
 
−
1928 - Photographs the reconstruction of St. Vitus Cathedral and issues his first album of 10 original photos for the 10th anniversary of Czechoslovakia's existence.
 
−
1927-1936 - Works for Druzstevni Prace. Specializing in portraits, ads, reportage.
 
−
1932 - First exhibition in Prague
 
−
1940 - Stops enlarging negatives and focuses on contact prints.
 
−
1958 - Moves to new studio in Uvoz.
 
−
1961- Receives the Title-Artist of Merit. He was the first photographer so honored by the Czech government.
 
−
1966 - Awarded the Order of Work by Czech government.
 
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1976 - Died on September 15th in Prague.
 
  
 +
== References ==
 +
* Bullaty, Sonja and Josef Sudek. ''Sudek.'' New York: C.N. Potter Publishers, Distributed by Crown Publishers, 1986. ISBN 051756419X
 +
* Fárová, Anna and Josef Sudek. ''Josef Sudek, Poet of Prague: A Photographer's Life.'' New York: Aperture, 1990. ISBN 0893813869
 +
* Poncar, Jaroslav and Jehan Despert. ''The Loire Valley: Hommage á Josef Sudek.'' Alfortville, France: Revue K Publishers, 1997. ISBN 2908120089
 +
* Sudek, Josef and Jaroslav Seifert. ''Prague Panoramic.'' Prague: Odeon Publishers, 1992. ISBN 8020703675 
  
 
==External links==
 
==External links==
 +
All links retrieved August 5, 2022.
  
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* [http://www.temple.edu/photo/photographers/sudek/sudekindex.html Gallery of Sudek's work]
+
;Czech language
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* [http://www.people.fas.harvard.edu/~sawyer/Sudek.htm ''Creative Camera'' article, 1980, with photos of Sudek himself]
+
* Zuzana Mandysová,  [http://www.archiweb.cz/news.php?action=show&type=1&id=1065&lang=en "Josef Sudek: Photographer Who Knew How to Stop Time"] ''Czech Architecture Website''.
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http://www.kult.cz/divadlo-kino-hudba/detail/162346
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* Jaroslav Anděl, [http://eldar.cz/kangaroo/citanka/sudek.html "Josef Sudek on Himself"] ''Non-Commercial Projects Website''.  
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http://www.sanquis.cz/clanek.php?id_clanek=523
+
* Jiří Zahradnický, June 24, 2004 [http://www.paladix.cz/clanky/dve-vzpominky-na-josefa-sudka.html?PLXID=15647dea1c42d0add0563d0746809008 "Two Memories of Josef Sudek"] ''Photography Online''.  
−
http://www.archiweb.cz/news.php?action=show&type=1&id=1065&lang=en
 
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http://eldar.cz/kangaroo/citanka/sudek.html
 
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http://www.josefsudek.net/index.php?akc=about_sudek
 
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http://www.paladix.cz/clanky/dve-vzpominky-na-josefa-sudka.html?PLXID=15647dea1c42d0add0563d0746809008
 
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http://www.novinky.cz/kultura/sudkova-industrialni-zahrada_49254_ihrdt.html
 
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http://www.moravska-galerie.cz/cs/vystavni-akce/josef-sudek-neznamy/
 
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http://www.surrealismcentre.ac.uk/publications/papers/journal3/acrobat_files/Lahoda_article.pdf (PDF)
 
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http://www.czechdesign.cz/index.php?status=c&clanek=453&lang=1
 
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http://artscenecal.com/ArticlesFile/Archive/Articles1999/Articles1099/JSudekA.html
 
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http://www.people.fas.harvard.edu/~sawyer/Sudek.htm
 
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http://photography.about.com/library/dop/bldop_jsudek.htm
 
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http://photography.about.com/library/weekly/aa011000a.htm
 
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http://www.masters-of-fine-art-photography.com/02/artphotogallery/texte/sudek_text.html
 
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[[Category:Art, music, literature, sports and leisure]]
 
[[Category:Art, music, literature, sports and leisure]]
 
[[Category:Art, music, literature, sports and leisure]]
 
[[Category:Biography]]
 
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Latest revision as of 03:36, 6 August 2022


Josef Sudek (March 17, 1896 – September 15, 1976) was a renowned Czech photographer, dubbed the "Poet of Prague."

Born when Bohemia was a kingdom in the Austro-Hungarian Empire, he learned bookbinding, but after his 1916 World War I injury, which led to the amputation of his right arm, he took up photography. His inability to accept the norm and prescribed limits of an artistic style and form accompanied him throughout his life.

The amputation of his arm was a traumatic experience for him, and it seemed that photography was a form of redemption, as it allowed him to peek beyond the life of loneliness into the lives of fellow humans and their environment. Few people appear in his photographs, and melancholy is the signature on all. He worked hard to make up for his physical limitations and was very patient, driven by his pursuit of perfection.

His style exhibits traits of Impressionism, Surrealism, Magic Realism, Neo-Romanticism, Avant-Garde, and Czech Poetism Movement, but central to it is a diversity of light values in the low end of the tonal scale, and the representation of light as a substance occupying its own space. Sudek's work first appeared in America in 1974.

Toward the end of his life he was branded a loner and eccentric; classical music and his famous painter and poet friends kept him company. He experienced several political regimes, yet he always maintained his own perspective of art, oblivious to whims and fashions of the time. He never sought the limelight and largely busied himself with what captured his interest. He published 16 books during his life and left behind over 20,000 photographs and twice as many negatives, most of which have not been published.

Josef Sudek never married. He died in 1976, at the age of 80.

Plaque to honor Josef Sudek outside his former studio in Prague

Life

Josef Sudek was born in Kolin, Bohemia, on March 17, 1896, which at the time was a kingdom in the Austro-Hungarian Empire, to a housepainter father. His father apprenticed him to a bookbinder, and in this setting he was also initiated into photography. The father died soon afterward and the family struggled with poverty, but Josef's memories of childhood were fond. He felt very close to his sister Božena, who helped him with household chores even through his adulthood.

Sudek was drafted into the First World War in 1915, and served on the Italian Front, where he was hit by shrapnel in the right arm. Due to complications, his arm was amputated at the shoulder; he was 21 years old. Three years of convalescence in Prague's Veterans’ hospital followed, where Sudek passed time photographing his fellow patients; this marked his official entry into the field of photography. Around this period he produced several albums of pictures, including landscapes showing the devastation wrought by the war.

Once he was fit to resume normal life outside the health care system, he settled in Prague and made his living taking photographs on commission, to supplement his disability pension. He met Czech Avant-Garde photographer Jaromír Funke, who became his good friend, and joined the Amateur Photography Club. In 1922, he began formal education in his new vocation at the Prague-based School of Graphic Arts. His teachers, leading "traditionalist" Czech photographers such as Karel Novák, introduced him to the most influential American photographer of the twentieth century, Edward Weston, and his soft focus Pictorialism. But it was largely the work of Clarence White, who employed light and shadow to evoke a three dimensional mood and a virtual glow from the highlights, that can be discerned in Sudek's early work. Sudek also co-founded professional associations such as Photoclub Prague and the Czech Photographic Society.

Along with the other leading young photographers, he soon rejected the traditional—"painterly"—approach and embraced the modernist views. For this, he and Funke were dismissed from Photoclub Prague. In response, they rallied photographers who shared their modernist views, and in 1924, formed the "Avant-Garde Czech Photographic Society," which focused on the negative. Still, the light continued to work its magic on Sudek throughout his career. He admired Funke for his knowledge of law, medicine, and philosophy; this man, Sudek's peer, with his sharp, broad-specter intelligence, provided an impetus for many of Sudek's bold undertakings.

The Nazi invasion of 1939 brought much of the cultural life of Prague to a halt; likewise, Sudek took a step back to reflect on his work—and discovered contact prints. He almost gave up on the negative and pushed the boundaries in the uses of printing papers and effects instead. At that time, the ideal of printing, particularly in America, was manifested by "straight photographers" such as Ansel Adams. Sudek distanced himself from this technique and began using very dark and often low contrast images. Almost all of his subsequent work—commercial and personal—was contact prints from negatives. The pictures often relied on limited tonalities; they were dark and sombre and very subjective, as if the lives of his subjects, human or not, were to be sheltered from the outside world. The critics hammered him for this drifting away from the norm.

Josef Sudek at work

After World War II, he hired an assistant, Sonja Bullaty, a young Czech Jew who survived the Nazi concentration camps. While her boss was brimming with energy and almost a workaholic, she was still reeling from the trauma of the Holocaust, but she adjusted to his pace in order to do photography. It was Bullaty who took Sudek's work outside the Iron Curtain and preserved over 300 selections of his prints that he continued to send to her after she emigrated to America.

In the early 1950s, Sudek purchased an 1894 Kodak Panorama camera whose spring-drive sweeping lens allowed for making a large negative of 10 cm x 30 cm (4 inches x 12 inches), and produced almost 300 panoramic images of Prague that were published under the title Panoramas of Prague, in 1959. Like most of his books, it was only published in his native country.

Sudek's individualism did not fare well under Czechoslovakia's communist regime. Fortunately, the strong artistic tradition of the country made it possible for him to practice his art through mavericks who supported his work, and it continued to be published. He was the first photographer to be honored by the country with the title of "Artist of Merit." His hunched figure pegged to a bulky wooden tripod was quite a spectacle in Prague. He never tired of his work and worked continuously until the age of 80, when he passed away. Sudek had never married.

Life-changing crisis

In 1926, Sudek ventured back into Italy with a group of friends who were musicians with the Czech Philharmonic. This trip brought him quite near the spot where his life had been shattered nearly ten years earlier. Leaving his friends in the middle of a concert and wandering as if in a trance until he reached the location his injury had occurred, he remained for two months. His friends even alerted police when they could not account for him. Finally, having reached the catharsis but permanently estranged, he returned to Prague, where he plunged into his art.

Sonja Bullaty reproduced Sudek's description of his odyssey as follows:

When the musicians ot the Czech Philharmonic told me: "Josef come with us, we are going to Italy to play music," I told myself, "fool that you are, you were there and you did not enjoy that beautiful country when you served as a soldier for the Emperor's Army." And so went with them on this unusual excursion. In Milan, we had a lot of applause and acclaim and we traveled down the Italian boot until we came to that place—I had to disappear in the middle of the concert; in the dark I got lost, but I had to search. Far outside the city toward dawn, in the fields bathed by the morning dew, finally I found the place. But my arm wasn't there—only the poor peasant farmhouse was still standing in its place. They had brought me into it that day when I was shot in the right arm. They could never put it together again, and for years I was going from hospital to hospital, and had to give up my bookbinding trade. The Philharmonic people… didn't reproach me, but from that time on, I never went anywhere, anymore, and I never will. What would I be looking for when I didn't find what I wanted to find?[1]

From this point on, Sudek's photos changed. Those produced from 1920 until the year of his crisis are markedly different from those produced afterward, both in style and content. In his early works, the contents were shadowy; the series of his fellow invalids from the veterans' hospital portrayed ghostly silhouettes shrouded in clouds of light. Other photos from the same period utilized soft focus, often distant subjects.

After his experience in Italy in 1926, Sudek seemed to discover a new personal style and come into his full powers as an artist. He no longer used the haziness that autographed his earlier works. He turned his devotion and dedication to photographing the city of Prague, created haunting night-scapes and panoramas of the city. He also photographed the wooded landscape of Bohemia, creating some of his most captivating scenes.

Glimpses into Sudek's Character

Josef Sudek never attended to his own openings. He only made one exception, in the town of Roudnice, since he wanted to see how the photos were hung. After surveying the display and expressing approval, he retired to an upper floor to watch from above. He did foster friendships though; among others, with Dr. Peter Helbich, who called him "chief," to which Sudek responded with "student." Helbich attributed Sudek's melancholy to the loss of his arm but, at the same time, felt that had it not been for his disability, he would not have gone on to bring out the artist in himself.[2]

When friends were not available, Sudek tapped into the soothing tones of music, especially by the Czech composer Leoš Janáček (1854-1928). For years, he would visit Janáček's native Hukvaldy in the eastern region of the Czech Republic, Moravia to capture both the unique charm of the area and the composer's character through photographs of the countryside, the town, and the composer's home. He held weekly classical music soirées for his friends, drawing on his vast record collection.

He once said on the relationship between the artist and environment: "…the environment does have an impact on the person; even if you curse it, it will affect you. You can't extricate yourself from it."[3] He was aware of the direct relationship between the artist and the object of his art. What he was unaware of was the fact that the artist has the power to transform the object through the power of his imagination and the degree of his skill.

Sudek was a down-to-earth man who openly admitted his weaknesses, such as reluctance to read, sloppiness, inability to bring a project to an end, and hoarding.

Style

Like Eugene Atget, his counterpart in France, Sudek was captivated by the city, and Prague's Gothic, Renaissance, and Baroque architecture offered plenty. But while Atget, who was a master of the sociological side of the city, Sudek stamped his own inner preoccupations into his enigmatic photographs. In historic buildings, public squares, and churches, he looked for architectural details and thus shot from a variety of angles. The same building would therefore appear different on each picture.

He worked hard both in terms of technique and aestheticism; his panoramic photos were an astounding 1 x 3 meter in size, and the sweeping lens technique was extremely demanding. The persistence, patience, and continuous investment paid off and yielded unique results in the hands of the maestro. Also, he continuously explored and challenged the possibilities of his antique camera. That is why his landscapes blend in the surroundings rather than parcel it into isolated units.

Josef Sudek

Gustave Flaubert once expressed an ambition to write a book which would have no subject, "a book dependent on nothing external … held together by the strength of its style." Photographers strove to achieve this by making light the subject of their photographs, leaving the trite, material world behind. Sawyer said that Sudek, "mesmerized by a gossamer curtain draped over the back of the chair, the mist from a garden sprinkler, or the blurriness of air saturated with vapor, has come closer than any other photographer to translating this fantasy into reality. He looked for such materials everywhere. Once, accompanied by Bullaty, he saw a ray of sun enter the darkness of the Romanesque halls below the spires of St. Vitus Cathedral and started waving cloths to raise mountains of dust to see the light."[4] This is an Impressionist sensibility.

His work also reflects the Central European intensity and drama of emotion, traceable in other prominent people living in this geographical zone, such as Sigmund Freud and Franz Kafka.[5]

Czech Poetism Movement

The ubiquitous melancholy and detachment with which his photos were taken underscored tranquility on one hand and belittled human intimacy on the other. These excursions into the realm of imagination point more to Surrealist and Magic Realism paintings than to the photographic styles of the age. They also reflected the Czech Poetism movement of the 1920s, which never spread beyond the boundaries of the country. It aimed to show an optimistic view of the world stripped of politics by building on lyricism and playfulness. The only permitted time frame was the present—its joyful moments imbued with happiness and emotions. Philosophically, it was a reaction to the feeling of alienation widespread in Europe of that time. The Czech artists were convinced that human relations had been warped, which they attributed to the society, blinded by its own system and complexity. As a result, society did not show interest in the happiness of an individual and was self-centered. Poetism strove to rectify and overcome this feeling of alienation.

Nevertheless, Sudek's own stylistic and emotional peculiarities overrode the styles prevalent during his life. Being a loner, he produced a vast number of his photographs out of his studio window, which acted as a reflective backdrop, framing artfully arranged objects such as onions, pebbles, or flowers. Those were his homage to the carefully arranged still-lifes of Jean Baptiste Simeon Chardin and the Old Dutch masters. Even though the setting was the same, Sudek would make each of the photos distinct and unique with the aid of atmospheric conditions, such as dew, ice, or rain drops. In The Window of My Studio, a figure is barely distinguishable through a dusky veil of rainy condensation.

Artistic evolution

There were two basic periods in Sudek's life in which his work took drastic turns. The first was after his crisis in Italy during which time he came to terms with the loss of his arm. Prior to that time, his photos were bathed in haziness, even referred to as ghostly. After his return from Italy there was a clarity and beauty in his work which had not been seen before. Then came four years of a rapid artistic development and later on healing of the soul, through his study of the reconstruction of St. Vitus Cathedral, completed in 1928. Sudek devoted endless hours to photographing objects in various settings, particularly objects given to him by friends. To him, the photos were "remembrances" of the person.

The other hallmark of his creativity started with his discovery of the contact prints in 1940, when he came across a 30 x 40 cm (12 x 16 inches) contact print photograph of a statue from Chartres, France. The intense beauty and authenticity of the stone brought out by this method convinced him that it would be best to make only contact prints. He realized that it was an all-powerful tool that would allow for presenting detail as a broad spectrum of tone, which is what he desired. This also meant that he would have to dedicate himself fully to his artistic passion and maintain a high standard of craftsmanship. From then on he carried view cameras as large as the 30 x 40 cm format (12 x 16 inches), operating the equipment propped in his lap with one hand, and what one hand could not handle, the teeth would.

Promotional and publicity photography

In the 1930s, Sudek worked mostly as a photographer on commission. He was described as a very expensive, goal-oriented businessman who did not hesitate to hire an attorney when his royalties were not paid or when the buyers defaulted. Later in his life he played down this chapter, admitting that money was good but doing just that would have driven him insane. He was eager to quickly return to his art once the commercial order was completed.[6] He never loosened his standards though, pioneering this field in his country. He worked for the Družstevní práce publishing house and its promotional publications focused on quality work, living style, and modern life, where he briefly sat on the editorial board. Then he took on orders to photograph Prague's factories and businesses and various products.

Sudek in dates

  • 1896—born in Kolin.
  • 1908—begins studies at the Royal Bohemian Trade School in Kutna Hora.
  • 1911—moves to Prague to work as a bookbinder's apprentice. Begins taking photos.
  • 1915-1916—fights in and takes photographs on the Italian front of WWI. Loses his right arm.
  • 1917—unable to continue bookbinding, he concentrates on photography.
  • 1920-1921—becomes member of the Prague Society of Amateur Photographers.
  • 1922-1924—studies photography at Prague Graphic Arts School.
  • 1922-1927—takes photographs of veterans at Prague's Invalidovna hospital.
  • 1924—co-founds the Prague Photographic Society.
  • 1926—travels to Italy.
  • 1928—documents the reconstruction of St. Vitus Cathedral and publishes his first album of ten photographs for the 10th anniversary of the founding of Czechoslovakia.
  • 1927-1936—Works for Druzstevni prace, specializing in portraits, ads, and documentaries.
  • 1932—first exhibition in Prague.
  • 1940—stops enlarging negatives and focuses on contact prints.
  • 1958—moves to a new studio in Uvoz near Prague.
  • 1961—receives the Artist of Merit award by the Czech government as the first photographer ever.
  • 1966—awarded the Order of Labor by the Czech government.
  • 1976—dies in Prague.

Notes

  1. ↑ Creative Camera, Josef Sudek. Retrieved March 24, 2008.
  2. ↑ Creative Camera, Josef Sudek. Retrieved March 24, 2008.
  3. ↑ Non-Commercial Projects Website, Josef Sudek on Himself. Retrieved January 17, 2007.
  4. ↑ Creative Camera, Josef Sudek. Retrieved March 24, 2008.
  5. ↑ Photography, Joseph Sudek (1896-1976)—Poet of Prague. Retrieved March 24, 2008.
  6. ↑ Photography Online, Two Memories of Josef Sudek. Retrieved March 24, 2008.

References
ISBN links support NWE through referral fees

  • Bullaty, Sonja and Josef Sudek. Sudek. New York: C.N. Potter Publishers, Distributed by Crown Publishers, 1986. ISBN 051756419X
  • Fárová, Anna and Josef Sudek. Josef Sudek, Poet of Prague: A Photographer's Life. New York: Aperture, 1990. ISBN 0893813869
  • Poncar, Jaroslav and Jehan Despert. The Loire Valley: Hommage á Josef Sudek. Alfortville, France: Revue K Publishers, 1997. ISBN 2908120089
  • Sudek, Josef and Jaroslav Seifert. Prague Panoramic. Prague: Odeon Publishers, 1992. ISBN 8020703675

External links

All links retrieved August 5, 2022.

Czech language


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