{"title":"Thames \u0026 Hudson","description":"\u003cp\u003eKustantaja Thames \u0026amp; Hudson: valokuvakirjoja, mm. David Bailey, Sebastião Salgado ja Josef Koudelka.\u003c\/p\u003e","products":[{"product_id":"sexton-kinealy-the-irish-a-photohistory-1840-1940","title":"Sexton \u0026 Kinealy - The Irish: A Photohistory 1840–1940","description":"\u003cp\u003eHB, 224 pages, 271 illustrations\u003cbr\u003e\nThames \u0026amp; Hudson, 2002\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eThe first photographs of Ireland date from 1840 when no one could have foreseen the catastrophe that was about to unfold there. The Great Famine was to kill over a million Irish poor between 1846 and 1851, and force an even greater number to flee the horrors of their homeland. In the following decades, Irish political life was dominated by the struggle for land rights, for Home Rule, and ultimately for independence. As that story unfolds in this book we encounter inspirational leaders and impatient rebels, and their campaigns of persuasion and violence. We glimpse too the injustices that inspired them, and above all the mass eviction of destitute peasants from their homes and lands by the heavy hand of the law. Yet these images do much more than tell a gripping political story. They give an insight into a people, a landscape and a lost way of life. 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His pictures of dog walkers, priests, nuns and shopkeepers reveal and empathy to rival that of Doisneau and Brassai. Equally intriguing are his depictions of human activity with the participants gone: a vanished vernacular of chalked-up children’s games, of graffitied messages of love or anger to the world, street signs, peeling walls, window shutters and shop-front banners – signals from another age. Revealed here is a far broader range of photography than that on which Deakin’s reputation has rested so far. But the creative souls and maverick talents that frequented the streets of Soho in its heyday – Francis Bacon and Lucian Freud among them – make their appearance along with anonymous figures and strong faces from Paris and Rome. Both friends and stars appear in Robin Muir’s introduction, which describes both Deakin the man and Deakin the artist. Following his death in 1972 his work lay neglected for a number of years and his reputation dwindled. 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Magnum Magnum brings together the best work, celebrating the vision, imagination, and brilliance of Magnum photographers, both the acknowledged greats of photography in the twentieth century—among them, Henri Cartier-Bresson, Robert Capa, Eve Arnold, Marc Riboud, and Werner Bischof—and the modern masters and rising stars of our time, such as Martin Parr, Susan Meiselas, Alec Soth, and Donovan Wylie. And it shows the work at a breathtaking scale: the vast page size of Magnum Magnum gives the photos an impact never seen before in book form. Organized by photographer, the book harks back to the agency’s early days and the spirit that made it such a unique and creative environment, one in which each of the four founding members picture-edited the others’ photographs. Here a current Magnum photographer selects and critiques six key works by each of the sixty-nine featured photographers, with a commentary explaining the rationale behind the choice. 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