{"id":11163,"date":"2016-04-06T14:16:05","date_gmt":"2016-04-06T13:16:05","guid":{"rendered":"http:\/\/www.revuenoire.com\/en\/?p=11163"},"modified":"2016-10-10T16:04:25","modified_gmt":"2016-10-10T15:04:25","slug":"pierre-verger-photo","status":"publish","type":"post","link":"https:\/\/www.revuenoire.com\/en\/pierre-verger-photo\/","title":{"rendered":"Pierre Verger – Photo"},"content":{"rendered":"
\n
\n\t
\"\u00a9<\/a>
\u00a9 photo Pierre Verger, Belem, Brazil 1947<\/figcaption><\/figure>\n<\/div>\n<\/div><\/div><\/div>
\n
\n\t

PHOTO<\/h3>\n

(through all the world - Africa, Caribbean, South America, Brazil, Usa, Asia, Europe)<\/p>\n

\u00a0<\/p>\n

born in\u00a01902 in Paris\u00a0- died in\u00a01996 in Salvador de Bahia,\u00a0Brazil<\/p>\n

\u00a0<\/p>\n

active from\u00a01932 to 1962\u00a0app.<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

The most human photographer loving world. A respectful and tender glance from a still virgin time. A rediscovery of the photographer Pierre Verger, before his revival in Fatumbi (initiated in Vodoo worship).<\/p>\n

\u00a0<\/p>\n

In 1932, at the age of thirty, Pierre Verger decided to leave everything and travel, devoting himself to photography. He was to become one of the great photographers of this time, publishing photographs of peoples all over the world. His vision of Humanity transcends all traditions and all differences. Driven by this same curiosity and love of the world he also became one of the first to research into Vodoo and the history of the negro slave trade between Africa and Americas. The 210 photographs presented in this book tell the sensitive and moving tale of a great talent still today unknown.<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

\n
\n\t

[run the slideshow below]<\/p>\n

\n
\n
\n
    \n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n
  • \"\"<\/li>\n <\/ul>\n <\/div>\n \n <\/div>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div>
    \n
    \n\t

    He attends George-Henri Rivi\u00e8re, Michel Leiris (who open him the African world to the Ethnographic Trocadero Museum in Paris as the evenings of \"Negro Dance\"), the \u201cJacques Pr\u00e9vert band\u201d, and humaniste photographers of the time (Zuber, Boucher, Feher, Bellon then Capa with whom he founds the agency Alliance Photo). He works for teh newpapers Paris-Soir, Daily Mirror, Paris Match, Paul Hartmann publisher\u2026 His view of humanity transcends all folklore and differences.<\/span><\/p>\n

    \u00a0<\/p>\n


    Turned off by the horror of the Sino-Japanese war where he photographs for the agency Alliance Photo, and the position of voyeurism as a press photographer, he gives up this type of photography and continues to travel freely without any purpose other than meeting with others. From continent to continent, from Africa to Americas, he met Alfred Metraux, Roger Bastide... <\/span><\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    In 1948, Theodore Monod (then director of IFAN Dakar) requires him to write notes next to his photographs.<\/span><\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    He becomes thus researcher on the Yoruba worship in Africa and Brazil (cf \u201cGods of Africa\u201d Revue Noire editions) and later member of CNRS (scientific research centre). this allows him to finally live more easily. <\/span><\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    But, according to him, he loses the \u201cspontaneousness of its glance on the world\u201d. He then gradually gives up photography, its \"active unconscious\" that he rediscovers in preparing this book, made at our request, of loving photographs of others.<\/span>body.<\/span><\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    Pierre Verger has been published extensively in his life, first in the press for years 1930-50. Then pictures in books dealing with different countries mainly from his friend the publisher Hartman. Also since 1953 in scientific publications on relationship of the Africans from the 2 continents (Africa and Brazil) and their religions.<\/span><\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    Then come the more mainstream books about voodoo where images have an important place. Illustrative pictures or photographies per se, the choice is still hesitant. From 1980, Corupio Editions in Brazil have published the works of Pierre Verger.<\/span><\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    In 1993, Revue Noire Editions publishes \"Le Messager, The Go-Between\", 30 years of photography in love with the world, which will rediscovered the photographer in the West.<\/span><\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    PUBLIshing<\/h2>\n

    \u00a0<\/p>\n

    'En Espagne' - by\u00a0M. Legendre - Hartman, Paris - 1935<\/p>\n

    'Italie, des Alpes \u00e0 Sienne' - by\u00a0J.L. Vaudoyer - Hartman - 1936<\/p>\n

    'South Sea Islands' - Condon Routlege &\u00a0 sons, Londres - 1937<\/p>\n

    'Au Mexique' - Introduction by\u00a0acques Soustelle - Paul Hartman, Paris - 1938<\/p>\n

    'Fiestas y Danzas en el Cuzco y en los Andes' - Editorial Sudamerica, Buenos Aires - 1945<\/p>\n

    'Incas of Peru' - Pochohontas Press, Chicago - 1950<\/p>\n

    'Br\u00e9sil' - by\u00a0A. Bon and\u00a0M. Gautherot, introduction A. Lima - Paul Hartman, Paris - 1951<\/p>\n

    'Congo Belge' - by\u00a0C. d\u2019Ydewalle - Paul Hartman, Paris - 1952<\/p>\n

    'L\u2019influence du Br\u00e9sil au Golfe du B\u00e9nin' - M\u00e9moire 27 de l\u2019IFAN, Dakar - 1953<\/p>\n

    'Le Japon, entre la tradition et l\u2019avenir' - by\u00a0Georges Duhamel - Mercure de France - 1953<\/p>\n

    'Dieux d\u2019Afrique' - Paul Hartman, Paris\u00a0 - 1954<\/p>\n

    'Bahia de tous les po\u00e8tes' - Guilde du Livre, Lausanne - 1955<\/p>\n

    'Premi\u00e8re c\u00e9r\u00e9monie d\u2019initiation au culte des Orisha Nago \u00e0 Bahia, au Br\u00e9sil' - in Revista do Museu Paulista, vol. IX, S\u00e1o Paulo - 1955<\/p>\n

    'Indiens pas morts' - Delpire, Editions Hoa Qui Paris - 1956<\/p>\n

    'Ha\u00efti, la terre, les hommes et les dieux' - Baconnerie, Neuchatel - 1957<\/p>\n

    'Notes sur le Culte des Orish\u00e1 et Vodoun \u00e0 Bahia, la Baie de Tous les Saints, au Br\u00e9sil et sur l\u2019ancienne C\u00f4te des Esclaves' - M\u00e9moire 51 de l\u2019IFAN - 1957<\/p>\n

    'Cuba' - Paul Hartman, Paris\u00a0 - 1959<\/p>\n

    'Grandeur et d\u00e9cadence du culte de Iyami Osoronga (Ma m\u00e8re la sorci\u00e8re), chez les yoruba' - in Journal de la Soci\u00e9t\u00e9 des Africanistes, tome 35, Paris - 1965<\/p>\n

    'The Yoruba high god' - in Od\u00fa, University of If\u00e9, Il\u00ea-If\u00e9, Ibadan - 1966<\/p>\n

    'Les c\u00f4tes d\u2019Afrique Occidentale entre Rio Volta et Rio Lagos (1515-1773)' - in Journal de la Soci\u00e9t\u00e9 des Africanistes, tome 38, Paris - 1968<\/p>\n

    'Flux et reflux de la traite des n\u00e8gres entre le golfe de B\u00e9nin et Bahia de todos os santos' - Th\u00e8se de 3\u00b0 cycle - Mouton, Paris - 1968<\/p>\n

    'Trance & convention in Nago-Yoruba spirit mediumship in Africa' - in Spirit Mediumship in Africa, London - 1969<\/p>\n

    'Automatisme verbal & communication du savoir chez les Yoruba'- in L\u2019Homme tome XII, Paris - 1972<\/p>\n

    'Trade relations between the bight of Benin and Bahia' - Ibadan University Press, Ibadan - 1976<\/p>\n

    'Retratos da Bahia' - Editora Corrupio, Salvador - 1981<\/p>\n

    'Lendas dos Orix\u00e1s' - illustration E. Guerra - Editora Corrupio, Salvador - 1981<\/p>\n

    'Noticias da Bahia' - Editora Corrupio, Salvador - 1981<\/p>\n

    'Oxossi, o Ca\u00e7ador' - illustration E. Guerra - Editora Corrupio, Salvador - 1981<\/p>\n

    'Orix\u00e1s, Deuses Iorub\u00e1s na Africa e no Novo Mundo' - Editora Corrupio, Salvador - 1981<\/p>\n

    'Orisha, Les dieux yorouba en Afrique et au Nouveau Monde' - Editions A.M. M\u00e9taili\u00e9, Paris\u00a0 - 1982<\/p>\n

    '50 anos de Fotografia' - Editora Corrupio, Salvador - 1982<\/p>\n

    'Lendas africanas dos orix\u00e1s' - with illustrations by\u00a0Caryb\u00e9 - Editora Corrupio, Salvador - 1985<\/p>\n

    'Fluxo e Refluxo do Tr\u00e1fico de Escravos entre o Golfo de B\u00e9nin e a Bahia de Todos os Santos' - Editora Corrupio, Salvador - 1987<\/p>\n

    'Centro Hist\u00f3rico de Salvador' - Editora Corrupio, Salvador - 1989<\/p>\n

    'Pierre Verger, photographies' - Editions du D\u00e9sastre - 1989<\/p>\n

    'Pierre Verger, le Messager-The Go-Between' - Editions Revue Noire, Paris - 1993<\/p>\n

    'Le pied \u00e0 l\u2019\u00e9trier', letters\u00a0between Alfred M\u00e9traux and\u00a0Pierre Verger de 1946-1963, editor\u00a0Jean-Pierre Le Bouler, Editions Michel Place, Paris - 1994<\/p>\n

    'Dieux d\u2019Afrique', re-edition of the 1954 Hartmann book, Editions Revue Noire, Paris - 1995<\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    FILMS<\/h2>\n

    \u00a0<\/p>\n

    'Les moll\u00e9cules sacr\u00e9es' - film\u00a0by\u00a0Jean Lalier and Monique Toselo - ORTF, Paris - 1971<\/p>\n

    'Africains du Br\u00e9sil et Br\u00e9siliens d\u2019Afrique' - film\u00a0by\u00a0Yannick Bellon - ORTF, Paris - 1975<\/p>\n

    'Les Orisha' - film\u00a0by\u00a0Monique Toselo - TV2, Paris - 1985<\/p>\n

    'A t\u00fan pade' - video by Jos\u00e9 Guerra - Corrupio - 1989<\/p>\n

    'Pierre Verger, photographe' - talk with\u00a0Pascal Martin Saint L\u00e9on,\u00a0Paris Audiovisuel - La Maison Europ\u00e9enne de la Photographie, Paris - 1993<\/p>\n

    \u00a0<\/p>\n

    Recent EXhibitions\u00a0<\/h2>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    'Alliance Photo, une agence photographique fran\u00e7aise 1934-1940' \u00a0(with\u00a0photographs by Pierre Verger, Pierre Boucher, Ren\u00e9 Zuber, Emeric Feher, Denise Bellon). Biblioth\u00e8que historique de la Ville de Paris, Michael Gunther - 1988<\/p>\n

    'Pierre Verger, 1932-1962', Mus\u00e9e de l'\u00c9lys\u00e9e de Lausanne (Suisse), Revue Noire - 1993<\/p>\n

    'Pierre Verger Le Messager', Mus\u00e9e des Arts africains et oc\u00e9aniens, Revue Noire, Paris - 1993<\/p>\n

    'Pierre Verger', H\u00f4tel de Sully (Paris) Patrimoine de la Photographie 2005<\/p>\n

    Biennale de Paris, Palais de Tokyo, 2012<\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    Revue Noire Publishing<\/h2>\n

    \u00a0<\/p>\n

    \"Pierre<\/a>
    Pierre Verger - Le Messager - The Go-Between<\/figcaption><\/figure>\n

    \u00a0<\/p>\n

    \"Dieux<\/a>
    Dieux d'Afrique (Africa Gods), Pierre Verger<\/figcaption><\/figure>\n

    .<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

    Pierre Fatumbi Verger (1902 Paris – 1996 Salvador de Bahia, Brazil) – humanist photographer, he is initiated at Yoruba and Orisha cults (in Africa and Brazil). He travels and photographs all over the world (Africa, Caribbean, Brazil, South America, Usa, Asia, Europe).<\/p>\n","protected":false},"author":2,"featured_media":10519,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[69],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11163"}],"collection":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/comments?post=11163"}],"version-history":[{"count":0,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11163\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media\/10519"}],"wp:attachment":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media?parent=11163"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/categories?post=11163"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/tags?post=11163"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}