1951 Memorable Life Photographs; Museum of Modern
Art, New York, New York
1965 12 International Photographers; Gallery of Modern
Art, New York, New York
1978 Photos from the Sam Wagstaff Collection; Corcoran
Gallery of Art, Washington, D.C., traveling (United
States and Canada)
1979 F1eeting Gestures: Dance Photographs; International
Center of Photography, New York, traveling (United
States and Europe)
Life: the First Decade 1936–1945; Grey Art Gallery,
New York University, New York, New York (toured the
United States)
1980 Photography of the 50s;International Center of Photo-
graphy, New York, New York, and traveling
1982 Lichtbildnise: Das Portrat in der Fotografie; Rhei-
nisches Landesmuseum, Bonn, Germany
1983 Photography in America 1910–1983; Tampa Museum,
Tampa, Florida
1984 Sammlung Gruber; Museum Ludwig, Cologne, Germany
2003 Jump! Photographers Get off the Ground; National
Gallery of Australia, Canberra, Australia, traveling
Selected Works
Andre Gide, 1936
Albert Einstein, 1947
‘‘Dali Atomicus,’’ 1948
Marc Chagall Venice, 1951
Marilyn Monroe, 1952Further Reading
Halsman, Philippe.Dali’s Mustache. New York: Simon &
Schuster, 1954, and reissued in Paris: Flammarion, 1994.
Halsman, Philippe.The Frenchman. New York: Simon &
Schuster, 1949.
Halsman, Philippe. Halsman Portraits. New York:
McGraw-Hill, 1982.
Halsman, Philippe.Halsman on the Creation of Photo-
graphic Ideas. New York: Ziff-Davis, 1961.
Halsman, Philippe.Halsman: Sight and Insight. Garden
City, NY: Doubleday, 1972.
Halsman, Philippe.Philippe Halsman’s Jump Book. New
York: Simon & Schuster, 1959.
Halsman, Philippe. ‘‘Psychological Portraiture.’’Popular
Photography51 (December 1958).
Halsman, Philippe, Jane Halsman Bello, Steve Bello, and
Mary Panzer. National Portrait Gallery.Philippe Hals-
man: A Retrospective. Boston: Bulfinch Press, 1998.
Halsman, Yvonne, and Philippe Halsman.Halsman at
Work. New York: Harry N. Abrams, 1989.
Spencer, Ruth. ‘‘Philippe Halsman.’’ British Journal of
Photography10 October (1975).HIROSHI HAMAYA
Japanese
Hiroshi Hamaya is one of the great names of photo-
journalism in Japan, of a similar stature to Ken
Domon and Ihee Kimura. His strongest contribution
to twentieth century photography, however, is his
series of aerial views of wild and dramatic landscapes,
including pioneering shots of Mt. Everest. Born in
Tokyo, Hamaya began his career in photography in
- In 1933, he worked in a photography depart-
ment of an aviation laboratory, where it might be
assumed that he acquired his taste for aerial photo-
graphy. Self-taught, he became a freelance photogra-
pher in Tokyo in 1937, his pictures capturing both
the changes of the city and the changes of the people
during the inter-war years. After the defeat of Japan
in World War II, Hamaya focused on the country’s
reconstruction with modern urban architecture. It
was during this period the elements of Hamaya’s
mature style began to be codified, with two major
publications attesting to this new aesthetic:Yukiguni
(Snow Country),1956andUrah Nihon (Japan’s
Back Coast), 1957. Yet his photographic thinking
and his original style only emerged some years later.
Yukiguniis a work of long gestation. In 1939,
Hamaya was sent to Takada in the Niigata area in
order to make a report about a military camp.
During his first stay, he met an ethnologist, Keizo
Shibusawa, who impressed Hamaya with his
knowledge and rigorous sense of observation.
Applying this knowledge, Hamaya visited this
region over a ten-year period, centering his interest
for the most part on a village called Kuwadoridani,
near Takada. His choice of subject matter encom-
passed a broad sampling of photographic topics:
candid studies of villagers, daily life, farm work,
and scenic views of the area covered in snow. In
this manner, he describes the life in the village
during various commemorations and ceremonies,
like the winter Festival of Fire, also showing the
relation between the peasants and their divinities.
The pictures reveal the deep respect that links theHAMAYA, HIROSHI