New Wave

Raymond Cauchetier’s New Wave: A Book Review and an Exhibition

 

This exhibition celebrates not only the 95th birthday of Raymond Cauchetier but also the publication of a new monograph on his work as the on-set photographer on the films of the New Wave. I have asked John Kirkwood, who studied Truffaut for his University thesis, to review both the book and the exhibition.

new wave

Raymond Cauchetier’s New Wave

Raymond Cauchetier, Foreword by Philippe Garner,

Edited by James Hyman

ISBN: 9781851497911

Publisher: ACC Editions

Size: 300 mm x 240 mm

Pages: 240

Illustrations: 160 b&w

Hardback

£40.00

 

From1959 to 1968 Raymond Cauchetier was the on-set photographer for some of the key films of the New Wave movement which swept through French cinema in the late fifties and early sixties and whose influence is still felt in world cinema today.

 

Dispensing with studio sets, these young filmmakers took their cameras onto the streets and into real locations. Jean Seberg and Jean-Paul Belmondo actually wandered down the Champs-Elysees in Godard’s A Bout De Souffle; Jeanne Moreau and Jules et Jim ran across a real bridge and cycled through real countryside and not a back-projected one.

 

Cauchetier has caught some of the most memorable images of what was a very exciting era of change.

 

________________

 

Raymond Cauchetier’s New Wave, James Hyman Photography, 16 Savile Row, London W1, until 15th August 2015

Jeanne Moreau, Henri Serre and Oskar Werner in Truffaut's Jules et Jim (Charenton-le-Pont).  Copyright Raymond Cauchetier, Courtesty James Hyman Gallery

Jeanne Moreau, Henri Serre and Oskar Werner in Truffaut’s Jules et Jim (Charenton-le-Pont).
Copyright Raymond Cauchetier, Courtesty James Hyman Gallery

This wonderful exhibition features a selection of images which capture a very special time and place in world cinema. Jean-Paul Belmondo and Jean Seberg stroll down the Champs-Elysees; Anouk Aimée vamps as Lola; Francois Truffaut and Francoise Dorleac seem to be amicably enjoying themselves (they were); Jeanne Moreau laughs with Truffaut.

Francoise Dorleac and Francois Truffaut shooting La Peau Douce (Rambouillet).  Copyright Raymond Cauchetier, Courtesty James Hyman Gallery

Francoise Dorleac and Francois Truffaut shooting La Peau Douce (Rambouillet).
Copyright Raymond Cauchetier, Courtesty James Hyman Gallery

Cauchetier was a very lucky man and I would love to have swapped places with him! He said at the opening of this exhibition that he had no plan in mind when he was on set that he was just taking pictures. Little did he know that many of them would become some of the most iconic images of twentieth-century cinema even becoming as famous as the films themselves.

Anouk Aimee in Jacques Demy's Lola (Nantes) (1)  Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Anouk Aimee in Jacques Demy’s Lola (Nantes) (1)
Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Francois Truffaut, Jules et Jim, 1961.  Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Francois Truffaut, Jules et Jim, 1961.
Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Jean-Paul Belmondo and Jean Seberg in a still from Godard's from A Bout de Souffle (2)  Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Jean-Paul Belmondo and Jean Seberg in Godard’s A Bout de Souffle (2)
Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

 

http://www.jameshymangallery.com

BOOK REVIEW: Gods and Heroes

Gods and Heroes Masterpieces from the École des Beaux-Arts, Paris

Emmanuel Schwartz, Emmanuelle Brugerolles and Patricia Mainardi

Published by GILES in association with the American Federation of Arts
Price — UK£39.95/US$59.95
ISBN — 978-1-907804-12-0

 

G&H-0602-Cover

This book, which records an eponymous touring exhibition in the USA, is a great celebration of the important role that the École des Beaux-Arts, Paris had on European art in the 17th-19th centuries.
As I explained in my blog (01/12/13) about the Wallace Collection’s exhibition The Male Nude: Eighteenth-century drawings from the Paris Academy the École’s role was to prepare the most promising artists for their future role in painting for patrons – royal, ecclesiastical or state. Their training included depicting the world of gods, classical or biblical, and heroes, real and mythological and they were taught to reflect the ideology and aesthetic taste of their time.
The École is not only a repository for works by some of the great French artists that studied there but also for those of other great European artists such as da Vinci, Durer, Rembrandt and Van Dyck. It is a book which is a visual and informative delight for all who are interested in painting, drawing and sculpture.