1968 L’Oeil Objectif; Muse ́e Cantini, Marseille
1972 Boubat/Brassaı ̈/Cartier-Bresson/Douisneau/Izis/Ronis;
French Embassy, Moscow
1975 Le Mobilier Urbain; Bibliotheque Historique de la
Ville de Paris, Paris
1977 Six Photographes en Quete de Banlieu; Pompidou
Centre, Paris
1982 Counterparts: Form and Emotion in Photographs;
Metropolitan Museum of Art, New York and traveling
1986 De Vogue a femme; Rencontres Internationales de la
Photographie, Arles
Selected Works
Two Children Fetching the Milk, Gentilly, 1932
The Brothers, 1937
In the Strictest Intimacy, Montrouge, 1945
Sidelong Glance, 1948
Waltzing on Bastille Day, Paris, 1949
The Kiss at City Hall, 1950
Mademoiselle Anita at La Boule Rouge, 1951
The Accordionist, Rue Mouffetard, 1951
Picasso at the Table, 1952
Kids at the Place Herbert, 1957Further Reading
Cendrars, Blaise.La banlieue de Paris. Paris: Editions Pierre
Seghers, 1949.
Doisneau, Robert.Robert Doisneau: Photographs. London:
Gordon Fraser Gallery, 1980.
Hamilton, Peter.Robert Doisneau: A Photographers Life.
New York, London and Paris: Abbeville Press, 1995.
Hamilton, Peter.Robert Doisneau: Retrospective. London:
Cartago, 1992 and Paris: Paris Muse ́es, 1995.
Routmette, Sylvain.Robert Doisneau. Paris: Centre nationale
de Photographie, 1983; London: Thames & Hudson, 1991.
Trois Secondes d’eternite (Three Seconds of Eternity). Paris:
Contrejour, 1979 and 1990.KEN DOMON
Japanese
One of the most influential and respected Japanese
photographers, Ken Domon worked from the 1940s,
photographing Japanese military activities for the
government, to the 1960s, capturing vivid images of
contemporary social issues. Throughout his career,
Domon pursued several motifs, as he called them,
including children, Buddhist statues, and portraits.
Although Domon is most famous for advocating
‘‘realism photography,’’ the significance and range
of his work and influence extend well beyond this
call, manifesting his preeminent stature in the larg-
er sphere of photographic history.
Born in 1909 in Sakata-city, located in the north-
ern part of the Japanese archipelago, Domon dreamt
about becoming a painter when he was young. How-
ever, after seeing works by Gu Kaizhi, a Chinese
literary painter, Gomon realized the limitations of
his talent in that medium. On his mother’s sugges-
tion, in 1933 Domon apprenticed with a prominent
commercial photo studio in Tokyo. During this
two-year apprenticeship Domon learned basic
techniques of photography and availed himself
of the numerous journals stacked in the back of
the studio. He was fascinated by images by La ́szlo ́
Moholy-Nagy and other artists of the Modernist
era. Domon’s position as an apprentice at a com-
mercial portrait studio and his taste for artistic
and journalistic photography presented him with
a dilemma that he could not resolve, and he
decided to leave studio practice.
In 1935, Domon joinedNihon Koˆboˆ, a photo-
graphic agency led by Natori Yoˆnosuke, an editor
known for his difficult personality. Although Na-
tori constantly confronted Domon with harsh criti-
cisms and engaged in accusatory emotional dramas,
the experience with their publicationNippon,an
English magazine designed to promote Japanese
culture abroad, equipped Domon with new skills
and experience as a photographer. Around this
time, Domon began using a 35 mm Leica camera,
instead of a medium format view camera. In 1939,
Domon left Nihon Koˆboˆover a dispute with Natori
and began working for the International Associa-
tion for the Promotion of Culture, a government-
sponsored agency. The trip to Murou-ji temple in
Nara at the end of 1939 with the art historian
Muzusawa Sumio started Domon’s lifelong pursuit
of a motif—Buddhist statues and temples—and theDOMON, KEN