Bras·saï (brə-sīʹ), Pseudonym of Gyula Halász. 1899-1984.
Transylvanian-born French photographer best known for his published collection Paris at Night (1933) and for photographing the studios of famous artists, including Picasso.

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orig. Gyula Halász

born Sept. 9, 1899, Brassó, Transylvania, Austria-Hungary
died July 8, 1984, Eze, France

Hungarian-born French photographer, poet, and sculptor.

His pseudonym derives from his native city. In 1924 he settled in Paris, where he became acquainted with Pablo Picasso, Joan Miró, and Salvador Dalí. He earned his living as a journalist and found it necessary to use a camera for his assignments. In the 1930s he became known for his dramatic photographs of Paris nightlife. Books of his photographs, including Paris After Dark (1933) and Pleasures of Paris (1935), brought him international fame.

"‘Bijoux' in Place Pigalle Bar," by Brassaï, 1932.

Rapho/Photo Researchers

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▪ French artist
original name  Gyula Halász , French  Jules Halasz 
born September 9, 1899, Brassó, Transylvania, Austria-Hungary [now Romania]
died July 8, 1984, Eze, near Nice, France

      Hungarian-born French photographer, poet, draughtsman, and sculptor, known primarily for his dramatic photographs of Paris at night. His pseudonym, Brassaï, is derived from his native city.

      Brassaï trained as an artist and settled in Paris in 1924. There he worked as a sculptor, painter, and journalist and associated with such artists as Pablo Picasso, Joan Miró, Salvador Dalí, and the writer Henry Miller. Although he disliked photography at the time, he found it necessary to use it in his journalistic assignments and soon came to appreciate the medium's unique aesthetic qualities.

      Brassaï's early photographs concentrated on the nighttime world of Montparnasse, a district of Paris then noted for its artists, streetwalkers, and petty criminals. His pictures were published in a successful book, Paris de nuit (1933; Paris After Dark, also published as Paris at Night), which caused a stir because of its sometimes scandalous subject matter. His next book, Voluptés de Paris (1935; “Pleasures of Paris”), made him internationally famous.

      When the German army occupied Paris in 1940, Brassaï escaped southward to the French Riviera, but he returned to Paris to rescue the negatives he had hidden there. Photography on the streets was forbidden during the occupation of Paris, so Brassaï resumed drawing and sculpture and began writing poetry. After World War II, his drawings were published in book form as Trente dessins (1946; “Thirty Drawings”), with a poem by the French poet Jacques Prévert (Prévert, Jacques). Brassaï turned again to photography in 1945, and two years later a number of his photographs of dimly lit Paris streets were greatly enlarged to serve as the backdrop for Prévert's ballet Le Rendez-vous. Many of Brassaï's postwar pictures continued the themes and techniques of his early work. In these photographs Brassaï preferred static over active subjects, but he imbued even the most inanimate images with a warm sense of human life.

      The Museum of Modern Art in New York City held a retrospective exhibition of Brassaï's work in 1968. His Henry Miller, grandeur nature (Henry Miller: The Paris Years) was published in 1975, and a book of his photographs entitled The Secret Paris of the 30's in 1976. Artists of My Life, a collection of his photographic and verbal portraits of well-known artists, art dealers, and friends, was published in 1982.

Additional Reading
Anne Tucker, Richard Howard, and Avis Berman, Brassaï: The Eye of Paris (1999).

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Universalium. 2010.

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