Inge Morath
Austrian photographer
Inge Morath
(May 27, 1923 – January 30, 2002) was an Austrian-born photographer. In 1953 she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with them in 1955. In 1955 she published her first collection of photographs, of a total of 30 monographs during her lifetime.
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Inge Morath's personal information overview.
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What Inge Morath Saw: A Unique Sense of Style
NYTimes - 4 months
The photographer Inge Morath, who was also the wife of Arthur Miller, had an eye for style — on the street and on film sets, at galas and on runways.
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NYTimes article
In Inge Morath's Photographs, Womanhood Is Beautiful And Urgent
Huffington Post - 5 months
When words failed her, Inge Morath turned to photography. Born in Austria in 1923, she studied German in Berlin, eventually working as a translator and journalist there early in her career. Her schooling during World War II introduced her to modern art, but, under the Reich she felt compelled to keep her interest in it hidden. When she moved to Paris to work for Magnum Photos as an editor — not a photojournalist — she found that her command of German was a disadvantage for her socially and professionally.  On her site, she’s quoted as saying, “After the war I had often suffered from the fact that my native language, German, was for most of the world the language of the enemy, and although I was able to write stories in English or French it did not touch the roots. So turning to the image felt both like a relief and an inner necessity.”  And we should be thankful that she did. She was among the first women members of Magnum. Even today, gender parity in the field hasn’t ...
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Huffington Post article
'Running of the Bulls' as you've never seen it
CNN - 8 months
The annual San Fermin festival and its world-famous "Running of the Bulls" have been around for centuries. Late photographer Inge Morath was in Spain more than 60 years ago to take these pictures.
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CNN article
At Danziger Gallery, a Pair of Artists United by Playing With Abstraction
NYTimes - almost 2 years
An exhibition brings together Enoc Perez’s “Cut Shapes” and Inge Morath’s “Masquerades,” made half a century apart.
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NYTimes article
Book Review: London: Portrait of a City by Reuel Golden
Seattle Pi - over 4 years
Book Review: London: Portrait of a City by Reuel Golden Seattle Post-Intelligencer Copyright 2012 Seattle Post-Intelligencer. All rights reserved. This material may not be published, broadcast, rewritten or redistributed. Published 4:04 p.m., Monday, August 6, 2012 The $69.99 list price may seem steep, but it's heft and production values, to Taschen's high standards, make it a solid investment as well as an eminently page-turnable tome for the discriminating coffee table. [...] it's the photography that makes the book weigh in at 552 oversized pages, and the Taschen editors have expertly condensed a few centuries of London imagery to make a handsome volume that's representative without giving short shrift to the city's hard times. German-born photojournalist Bill Brandt moved to London in the early 1930s, and his classic street photography covers the London scene up until Swinging London, covered by fashion photographers and anonymous nam ...
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Seattle Pi article
Arthur Miller: why America lowered the curtain on his reputation - The Guardian
Google News - over 5 years
By placing the newborn Daniel in a home in 1967, he argued, Miller and his then wife, photographer Inge Morath, followed "exactly the medical advice that he was given at the time‚ that was exactly people were recommended to do." He acknowledged, though
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Google News article
Soledad compartida - El Adelantado de Segovia
Google News - over 5 years
Nada menos que Henri Cartier-Bresson, Eve Arnold, Bruce Davidson, Elliott Erwitt, Ernst Haas, Inge Morath, Erich Hartmann, Cornell Capa y Dennis Stock se encargaron de la cobertura gráfica de una película que estuvo lleno de problemas derivados tanto
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Marilyn Monroe - Diario Vasco
Google News - over 5 years
Pero el dramaturgo estaba sentado en la oficina de la Agencia Mágnum en Nueva York, calle 25 Este, acompañado de su mujer Inge Morath, con lo cual ni procedía el tópico recurrente de una pregunta estúpida sobre sus años felices o infelices con el mito,
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Toledo. Cien fotografías que deberías conocer - ABC.es
Google News - over 5 years
... generalmente la Casa Rodríguez, con las que captaron artistas extranjero como Marc Riboud, Harry Weber o la imprescindible Inge Morath, cuyos trabajos respiran la frescura de quien no debe vérselas con las rígidas normas de la censura
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WestLicht Camera Auction Sets New Records - Antiques and Arts Weekly
Google News - over 5 years
Classics like vintage prints by August Sander, Lothar Rübelt, Heinrich Kühn, Werner Bischof, Inge Morath, Henri Cartier Bresson and Franz Hubmann were sold for amounts far above their estimated prices. Prices reported have been converted from euros to
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Kurzer Blick in die Seele - Wiesbadener Kurier
Google News - over 5 years
„Das Negativ ist eins zu eins wiedergegeben“, erklärt Ohlbaum, die in einer Reihe mit bedeutenden Fotografinnen wie Giselle Freund, Marianne Breslauer, Inge Morath und Annie Leibovitz zu nennen ist. Oft sind die Schriftsteller vor dem dunklen,
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Die Welt jenseits des Diktats der Farbe - Hamburger Abendblatt
Google News - over 5 years
Unter den ausgestellten Arbeiten sind Werke von Andreas H. Bitesnich, Anton Corbijn, Peter Lindbergh und Robert Capa, von Dennis Hopper, Inge Morath, Sarah Moon oder auch Man Ray. Namen, die für brillante Bildkompositionen garantieren, Bilder,
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Fotografia na świecie: Hiszpania - ŚwiatObrazu.pl
Google News - over 5 years
Hiszpania powojenna, pomimo nieprzyjaznego reżimu, była przez długi czas źródłem fascynacji fotografów, którzy przyjeżdżali tu, aby dokumentować lokalne barwne, ekspresyjne tradycje i unikatowy folklor (jak Inge Morath) czy portretować artystów (jak
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Timeline
Learn about memorable moments in the evolution of Inge Morath
    THIRTIES
  • 2002
    In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia.
    More Details Hide Details This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement lead to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.
  • TWENTIES
  • 1992
    The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007.
    More Details Hide Details Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others.
  • OTHER
  • 1965
    The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know.
    More Details Hide Details If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera." As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects.
  • 1962
    Miller and Morath's first child, Rebecca, was born in September 1962. The couple's second child Daniel was born in 1966 with Down syndrome and was institutionalized shortly after his birth.
    More Details Hide Details Today Rebecca Miller is a film director, actress, and writer. Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy. After re-locating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America.
    Morath married the playwright Arthur Miller on February 17, 1962 and relocated permanently to the United States.
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  • 1960
    Morath worked again with Huston in 1960 on the set of The Misfits, a film featuring Marilyn Monroe, Clark Gable and Montgomery Clift, with a screenplay by Arthur Miller.
    More Details Hide Details Magnum Photos had been given exclusive rights to photograph the making of the movie, and Morath and Cartier-Bresson were the first of nine photographers to work on location outside Reno, Nevada during the process. Morath met Miller while working on The Misfits.
  • 1959
    In 1959, while photographing the making of The Unforgiven, starring Audrey Hepburn, Burt Lancaster, and Audie Murphy, Morath accompanied Huston and his friends duck hunting on a mountain lake outside Durango, Mexico.
    More Details Hide Details Photographing the excursion, Morath saw through her telephoto lens that Murphy and his companion had capsized their boat 350 feet from shore. She could see that Murphy, stunned, was nearly drowning. A skilled swimmer, Morath stripped to her underwear and hauled the two men ashore by her bra strap while the hunt continued uninterrupted.
  • 1955
    In 1955 she published Guerre à la Tristesse, photographs of Spain, with Robert Delpire, followed by De la Perse à l'Iran, photographs of Iran, in 1958.
    More Details Hide Details Morath published more than thirty monographs during her lifetime. Like many Magnum members, Morath worked as a still photographer on numerous motion picture sets. Having met director John Huston while she was living in London, Morath worked on several of his films. Huston's Moulin Rouge (1952) was one of Morath's earliest assignments, and her first time working in a film studio. When Morath confessed to Huston that she had only one roll of color film to work with and asked for his help, Huston bought three more rolls for her, and occasionally waved to her to indicate the right moments to step in with her camera. Huston later wrote of Morath that she "is a high priestess of photography. She has the rare ability to penetrate beyond surfaces and reveal what makes her subject tick."
    In 1955 she was invited to become a full member of Magnum Photos.
    More Details Hide Details During the late 1950s, Morath traveled widely, covering stories in Europe, the Middle East, Africa, the United States, and South America, for such publications as Holiday, Paris Match, and Vogue.
  • 1953
    At Capa's suggestion, in 1953–54, Morath worked with Cartier-Bresson as a researcher and assistant.
    More Details Hide Details
    Morath divorced Birch and returned to Paris to pursue a career in photography. In 1953, after Morath presented her first large picture story, on the Worker Priests of Paris, to Capa, he invited her to join Magnum as a photographer.
    More Details Hide Details Her first assignments were stories that did not interest "the big boys." She went to London on an early assignment to photography the residents of Soho and Mayfair. Morath's portrait of Mrs. Eveleigh Nash, from that assignment, is among her best-known works.
  • 1951
    Morath was briefly married to the British journalist Lionel Birch and relocated to London in 1951.
    More Details Hide Details That same year, she began to photograph during a visit to Venice. "It was instantly clear to me that from now on I would be a photographer", she wrote. "As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes." Morath applied for an apprenticeship with Simon Guttman, who was then an editor for Picture Post and running the picture-agency Report. When Guttman asked what Morath wanted to photograph, and why, she answered that "after the isolation of Nazism I felt I had found my language in photography." After Morath had spent several months working as Guttman's secretary, she had an opportunity to take photographs. She sold her first photographs - of opening nights, exhibitions, inaugurations, etc. - under the pseudonym "Egni Tharom", her name spelled backwards.
  • 1949
    In 1949, Morath and Haas were invited by Robert Capa to join the newly founded Magnum Photos in Paris, where she started as an editor.
    More Details Hide Details Working with contact sheets sent into the Magnum office by founding member Henri Cartier-Bresson fascinated Morath. "I think that in studying his way of photographing I learned how to photograph myself, before I ever took a camera into my hand."
  • 1948
    After the Second World War, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant, first as Vienna Correspondent and later as the Austrian editor, for Heute, an illustrated magazine published by the Office of War Information in Munich.
    More Details Hide Details Morath encountered photographer Ernst Haas in post-war Vienna, and brought his work to Trabant's attention. Working together for Heute, Morath wrote articles to accompany Haas' pictures.
  • 1937
    Morath's first encounter with avant-garde art was the Entartete Kunst (Degenerate Art) exhibition organized by the Nazi party in 1937, which sought to inflame public opinion against modern art. "I found a number of these paintings exciting and fell in love with Franz Marc's Blue Horse", Morath later wrote. "Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts."
    More Details Hide Details After finishing high school, Morath passed the Abitur and was obliged to complete six months of service for the Reichsarbeitsdienst (Reich Labour Service) before entering Berlin University. At university, Morath studied languages. She became fluent in French, English, and Romanian in addition to her native German (to these she later added Spanish, Russian and Chinese). "I studied where I could find a quiet space, in the University and the Underground stations that served as air-raid shelters. I did not join the Studentenschaft (Student Organization)." Toward the end of World War II, Morath was drafted for factory service in Tempelhof, a quarter of Berlin, alongside Ukrainian prisoners of war. During an attack on the factory by Russian bombers, she fled on foot to Austria. In later years, Morath refused to photograph war, preferring to work on stories that showed its consequences.
  • 1923
    Born on May 27, 1923.
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Original Authors of this text are noted here.
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