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Paris + Klein [Hardcover]

William Klein
5.0 out of 5 stars  See all reviews (1 customer review)

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Book Description

March 2003
William Klein always dreamed of living in Paris, like Henry Miller, Gertrude Stein, and other like-minded artists and writers. In 1948, stationed by the United States Army in Paris, he stayed--and fled his family and America to become a painter. He quickly found another family and recognition for his talent. Today, one is tempted, like critic Anthony Lane, to say that he is "the American in Paris." PARIS + KLEIN gathers together hundreds of photographs shot by Klein from the time he first picked up a camera in the 1960s until he put it down, momentarily, to put together this book. In his signature color and black-and-white compositions, jostled to the brim with more information than a single camera lens was ever expected to take in, we find: men in the street, celebrities, demonstrations, fashion, the police, politics, races, the métro, soccer, death. . .The whole life of a capital seen through the lively, acidic, melancholic, humorous, ironical, and moving eyes of William Klein.
It takes a Klein to widen our eyes; if he remains unabashed about his game plan to get in your face, that is because the faces of Parisians are a more reliable guide to the place. . .than any map of the Métro. -- Anthony Lane, The New Yorker

Essay by Anthony Lane.

Hardcover, 346 pages, 13.5 x 10 in. 241 color& 91 b/w illustrations


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5.0 out of 5 stars Buy it! July 30 2003
Buy it! Buy it! Buy it! At the time of this writing, it's his only work in print. A unique --- and underdiscussed --- voice in photography. A welcome alternative to Ansel Adams.
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Amazon.com: 2.0 out of 5 stars  1 review
9 of 14 people found the following review helpful
2.0 out of 5 stars Redundant hyperactivity that ultimately disappoints Jun 5 2005
By A photographer - Published on Amazon.com
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William Klein's work has influenced a lot of photographers for about 50 years. His style of "in your face" photography is now the predominant style for fashion and reportage. It's not really surprising that this book is in the same style he adopted in the 1950s, but it is disappointing. The problem, for me, is that Klein's work here is mimicing those who mimic him. There's nothing here you didn't see done in last month's "Vanity Fair" by some other photographer.

From the inside front cover to the back dust jacket photograph, this is a disconnected, hodge-podge of mob scenes. Some would say it's "dynamic". For me it's hyperactive, nervous and grating. It's a page-turner book. You turn the pages quickly to get through it as fast as possible. While some of the black and white pictures are passable, the color photographs are garish in their blaring, overdone saturation that screams, "Look at me!"

In my opinion, anyone or any thing that has to scream to get attention doesn't really deserve to get it.

This is supposed to be Klein's impression of the Paris where he lives and the Paris he says he loves. Okay. I'll pass. There's nothing in this Paris to love.
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