Swiss photographer, born in Zurich in 1924.
Introverted and difficult personality, it exerted an influence almost mythical among youth in Zurich, although voluntarily and to age relatively early to stop taking photographs.
With only 18 years was initiated in the art of photography as an Assistant of the also Swiss Gotthard Schuh, to travel to the United States where he/she was hired at Harper's Bazaar, at the time working for Fortune or Life in 1947. But, frustrated to the pressure which accounted you for works commissioned by magazines, it sought and obtained the Guggenheim scholarship, so no American in receiving it became the first photographer. Thus, after helping Steichen with its famous exhibition "The Family of man", in 1955 made a photographic tour of the United States. With 35 mm camera photographed the American scene in respects more seemingly useless: cars, street posters, the road stops, lonely highways and streets wet...; "photography is a solitary journey" and Frank caught up with its objective pictures able to dispense with the word pointless making any explanation. Their images were disturbing; its structural organization loose and often seems from a casual iare. Despite being "decisive moments" your images departed from the bressonian mood from the moment that fled from beauty to capture a severe ordinary realism by nasty u that would be.
The result was at the beginning a terrible host. The Americans, as well as titled the work, gave the impression to the critics of being an attack on American optimism under images where is reproached him having chosen deliberately sordid, the neglected and the desolate to represent United States. Frivolous printing because those disenchanted images are much more than that: the representation of a world of loneliness, existential given an empty of meaning, because although it got the vital domestic, he/she did it with a wonderful point of unpredictable and intense poetry. Its takes spoke of it and, through them, he/she confessed the unfinished, so vague, subtle, miserable, the indistinct that forms the true fabric of our way of seeing. He/She shared, and at the time forced the Viewer to confess the truer and more usual that there is in the ordinary everyday visual. It can be said that in each of his photographs, he/she was inside and he/she had gone out to photograph it. It is not to judge a quality exterior view. Not interested in already "decisive moments" but moments "between", to which the solitary goal by Frank gives meaning and harmony.
From Frank emerges that photographer who not only enjoyed the photo "Touché" lavished Bresson, but the significance of the moment was re - re - write it, mean it. The opportunity to photograph is not surprise a blatant world, but a world previous to the sense and thinking. Photography notes, from Frank, to show the existence of what is expected, that existence which dwells and penalty out of ideas. From Frank, the fact itself does not exist, they are pictures 'open' - in the sense of Doisneau- and, as such, open to all applicable, understanding directions the not having any sense: ".. .lo essential should not come my movements, such as the decisive moment, but my own interior".
Its intense reflection on photography made him, in the 1970s, depart from it and tipping over in the film. His great success was revolting her loneliness as an individual in an indifferent society. The photographs do not show beautiful General images but the peculiarity, both irreducible and trivial, of every being and every situation. Robert Frank was the photographer of introspection, lover of pictorial lyrical abstraction and such -Kooning or Kline-, transformed into domain possible accidents, Splattering paint, or the brightness of the light on your small 35 mm camera lens
In February 2005 the Macba (Museum of contemporary art of Catalonia) held a major exhibition of the Swiss photographer which could be observed in two hundred seventy of his most representative works. In June 2007, he/she was awarded with prize PHotoEspaña 2007.