Bill Brandt (1904-1983), a founding father of modernist photography and one of the ‘greats’ of British photography, believed in “the power of seeing the world as fresh and strange” and thought photographs could help people “see the world anew…as something interesting and exciting.” His images are atmospheric – a penchant was for sombre, brooding scenes, with strong tonal contrasts and dramatic formal compositions. His vision and reputation were cemented in the 1930s in London but drew on his time in Man Ray’s studio in Paris, which gave his work a psychological complexity, even latent surrealism. While his style is distinctive, he was known for the diversity of his subjects, from social class, to London in wartime, to Northern industrial towns during the depression, to portraits of British literary and artistic figures, to landscapes, to strange, sensual nudes on the Sussex coast.
Bombed Regency Staircase (1942)
Battersea Bridge (1930s)
Bombed Regency Staircase (1942) was part of his series photographing London during the Second World War. Although the subject is obviously bleak, Brandt brings to the staircase a startling vision and latent beauty, with its arresting contrasts of shadow and light and sweeping lines of the cast-iron banisters, which seem to twist back on themselves improbably. In Battersea Bridge (1930s), taken from a low angle, the curves of the River Thames and its shoreline have a sensual, organic quality, while the sharp distinctions in tone and bold horizontal line of the bridge with the bus add visual drama. Francis Bacon (on Primrose Hill, 1963) combines portrait and landscape, the receding diagonal of the wet path contrasting dynamically with the oddly tilted lamppost and with Bacon himself, who has a dour, introspective expression yet stands solidly against the stormy weather. There is a surreal sensibility here, the work seeming both familiar and strange, and a narrative quality – the image could be a still from a film about Bacon or one captured at a significant point in a story. These three photographs all attest to Brandt’s sophistication as an artist. “[The] viewer will sense himself in the presence of a rare concentration of thought and feeling,” observed Clive James in 1981.
Francis Bacon (1963)