Nr. 99944620

Eladva
Maurice Tabard (1897-1984) - Hand, 1929
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Maurice Tabard (1897-1984) - Hand, 1929

Author: Maurice Tabard (1897-1984) Title: Hand, 1929 Image Size: 21,5x17 cm Print size: 25.5x18,2 cm Later Gelatin Silver Print probably printed in the late '90ies On verso copyright The Art Institute of Chicago Condition: Fine (see picture for details) Shipping from European Union (UE) Delivery with international tracking service About the author: Born in Lyon, Maurice Tabard was destined for the violin, but naturally became a silk designer in a Lyon factory. In 1914, his father took him with him on a business trip to the United States. He enrolled him at the New York Institute of Photography and Tabard set up his first photography studio. In 1928, he returned to France, became a fashion photographer for various magazines and obtained commissions for advertising. From then on, he began to study the components of a photograph: objects, their shapes, materials, lighting, formal connections rather than their appearance. A set photographer in the early 1940s, he also made documentary films. In 1946, he returned to the United States where he divided his time between working for Harper’s Bazaar and teaching.

Nr. 99944620

Eladva
Maurice Tabard (1897-1984) - Hand, 1929

Maurice Tabard (1897-1984) - Hand, 1929

Author: Maurice Tabard (1897-1984)
Title: Hand, 1929
Image Size: 21,5x17 cm
Print size: 25.5x18,2 cm
Later Gelatin Silver Print probably printed in the late '90ies
On verso copyright The Art Institute of Chicago
Condition: Fine (see picture for details)

Shipping from European Union (UE)
Delivery with international tracking service

About the author: Born in Lyon, Maurice Tabard was destined for the violin, but naturally became a silk designer in a Lyon factory. In 1914, his father took him with him on a business trip to the United States. He enrolled him at the New York Institute of Photography and Tabard set up his first photography studio.
In 1928, he returned to France, became a fashion photographer for various magazines and obtained commissions for advertising. From then on, he began to study the components of a photograph: objects, their shapes, materials, lighting, formal connections rather than their appearance.
A set photographer in the early 1940s, he also made documentary films. In 1946, he returned to the United States where he divided his time between working for Harper’s Bazaar and teaching.

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