Early New Zealand Photography Images And Essays On The Great
- For the political scientist, see Ernst B. Haas and for Swiss rower see Ernst Haas (rower).
|Born||(1921-03-02)March 2, 1921|
|Died||September 12, 1986(1986-09-12) (aged 65)|
New York City, USA
|Spouse(s)||Antoinette Wenckheim (1951–1962)|
Cynthia Buehr Seneque (1962–1965)
|Children||Alexander Haas, Victoria Haas|
Ernst Haas (March 2, 1921 – September 12, 1986) was a photojournalist and a pioneering color photographer. During his 40-year career, the Austrian-born artist bridged the gap between photojournalism and the use of photography as a medium for expression and creativity. In addition to his prolific coverage of events around the globe after World War II, Haas was an early innovator in color photography. His images were widely disseminated by magazines like Life and Vogue and, in 1962, were the subject of the first single-artist exhibition of color photography at New York’s Museum of Modern Art. He served as president of the cooperative Magnum Photos, and his book The Creation (1971) was one of the most successful photography books ever, selling 350,000 copies.
Early life and education
Haas was born in Vienna, Austria, on March 2, 1921. He was the son of Ernst Haas, a high-level civil servant, and Frederike Haas-Zipser. He had an older brother named Fritz Haas.
Haas was raised in the grand cultural climate of Vienna before World War II. His parents, who placed great value upon education and the arts, encouraged his creative pursuits from an early age. His father enjoyed music and photography, his mother wrote poetry and aspired to be an artist. Haas became so proficient in painting and drawing that eventually his teachers had him act as a judge, rather than a participant, in artistic competitions among his peers. As a painter, he had particular interest in an artwork’s formal qualities, and developed a refined sense of composition and perspective.
From 1935 to 1938, Haas attended LEH Grinzing, a private school in Vienna, where he studied art, literature, poetry, philosophy, and science. World War II interrupted his formal education in 1938, when the school was closed following Germany’s invasion of Austria. The following year, Haas received his diploma from Rainier Gymnasium.
Haas was sent to a labor camp of the German army, working six hours a day in exchange for two daily hours of school attendance. He managed to leave the service in 1940 and returned to Vienna to study medicine. Haas was only able to complete one year of medical school before laws changed and he was forced out as a result of his Jewish ancestry.
Introduction to photography
Haas was uninterested in learning photography as a child, though his father—an avid amateur—tried to share his interest. Upon his father’s death in 1940, however, Haas first entered the darkroom, learning to print old family negatives. His interest grew, and he soon began to take his own photographs.
Though his formal education was complicated by the war, Haas was an autodidact and worked tirelessly to learn the medium. In 1941 as the “school photographer” of the Max Reinhardt Film Seminar, he managed to attend technical classes and developed a lifelong interest in filmmaking. Haas also took advantage of his family’s extensive library, as well as museums and libraries in Vienna. He studied philosophy and poetry, in particular, both of which informed his beliefs about the creative potential for photography.
A Poet’s Camera (1949), which combined poetry with metaphoric imagery by artists like Edward Weston, was particularly important to Haas’s early development. Many of his first extant photographs—close-ups of plants, water, and natural forms—reflect its influence.
Unsure of his career path, Haas realized that photography could provide both a means of support and a vehicle for communicating his ideas. He obtained his first camera in 1946, at the age of 25, trading a 20-pound block of margarine for a Rolleiflex on the Vienna black market. Of the decision, he later said:
I never really wanted to be a photographer. It slowly grew out of the compromise of a boy who desired to combine two goals—explorer or painter. I wanted to travel, see and experience. What better profession could there be than the one of a photographer, almost a painter in a hurry, overwhelmed by too many constantly changing impressions? But all my inspirational influences came much more from all the arts than from photo magazines.
In 1947 Haas presented his first exhibition at the American Red Cross in Vienna, where he had a part-time position teaching photography to soldiers. Taking a portfolio of his work to Zurich, he drew the interest of Arnold Kübler, an editor for the magazine du. After reviewing his photographs, Kübler introduced Haas to Swiss photographer Werner Bischof’s images of Berlin after the war. Bischof’s work was a revelation; inspired by its example, Haas began to consider how an image could simultaneously tell a story and function as an autonomous work of art. When Haas returned home, he similarly documented the war’s effects in Vienna, approaching the city as a serious reporter with a keen but empathetic eye. His photographs show the endurance of the human spirit despite the devastated urban environment.
Haas’s photographic output matured rapidly. He earned assignments from magazines like Heute, often working with fellow correspondent Inge Morath. In 1947, while scouting locations for a fashion shoot, Haas and Morath witnessed prisoners of war disembarking a train and began documenting their arrival. Haas’s images show the anticipation and grief of people searching for their lost relatives among the survivors. The resulting photo essay, “Homecoming,” was published in both Heute and Life magazine.
Warren Trabant showed Robert Capa, the war photographer, Haas’s “Homecoming” photographs before they were published. Upon reviewing his work, Capa invited the young photographer to travel to Paris and join the international photographic cooperative Magnum Photos, then two years old.Henri Cartier-Bresson, George Rodger, David “Chim” Seymour, Werner Bischof, and William Vandivert were already members.
At the same time, Haas was offered a staff photographer position at Life. Forced to choose between two opportunities, he decided he did not want to be limited by Life’s restrictive scope. As a Magnum photographer, Haas would have autonomy over the stories he decided to tell and where he traveled. Describing his decision in a letter to Life editor Wilson Hicks, Haas wrote “What I want is to stay free, so that I can carry out my ideas... I don’t think there are many editors who could give me the assignments I give myself...”
United States of America
After carrying out assignments in Vienna and London, Haas conceived of an extensive project about America. Visas to the United States were difficult to obtain, but in 1950 Robert Capa appointed him Magnum’s U.S. Vice President. With this position, Haas was able to obtain the proper documentation, and he arrived in New York in May of that year. The first images Haas took in the United States showed fellow immigrants arriving at Ellis Island. They showed people in transition, coming to an unfamiliar place and beginning a new life.
By the time of Haas’ arrival, the streets of New York had already become a popular subject for photographers who sought to document all aspects of life. His approach was less direct and confrontational than that of such contemporaneous colleagues as Lisette Model or William Klein. Wrote critic A.D. Coleman, “[Haas] was a lyric poet pursuing a photographic equivalent of gestural drawing, utilizing such photographic effects as softness of focus, selective depth of field, and overexposure to telling effect.”
While Haas would continue traveling the world for his work, he lived for the rest of his life in New York City.
Assignments for Life magazine
In 1952 Haas hitchhiked across the United States to White Sands National Monument in New Mexico, planning to photograph Native Americans. He was enchanted by the landscape and its unusual colors, different than anything he had experienced before. Working with the vast area’s changing light and clouds, Haas also photographed symbols, local details, and tourist oddities. His finished photo essay, published by Life as “Land of Enchantment” in a six-page spread, was well received by readers and prompted the magazine to invite another project. According to writer (and early Magnum employee) Inge Bondi, Haas’ Western chronicle was the first major story he created based on his own instinct and at his own financial risk.
Once back in New York, Haas purchased color film to begin a new project in the city. He had experimented with color as early as 1949, but this would be his first opportunity to work seriously with what was still a scarce and expensive medium. Haas spent two months photographing New York, and in 1953 Life published his vivid images. Titled “Images of a Magic City,” the sprawling 24-page story spanned two issues. According to critic Andy Grundberg, these images “brought photography into the precincts of abstract expressionism.”
Technique and innovations in color photography
Though Haas continued to use black-and-white film for much of his career, color film and visual experimentalism became integral to his photography. He frequently employed techniques like shallow depth of field, selective focus, and blurred motion to create evocative, metaphorical works. He became interested in, as he put it, "transforming an object from what it is to what you want it to be." Beyond the physical place, person, or object he depicted, Haas hoped to reflect the joy of looking and of human experience.
Haas supported his adventurous personal work with commercially viable photojournalism, advertising, and motion picture stills photography. While on such assignments, he would make his own photographs, translating his passion for poetry, music, painting, and adventure into color imagery. His reputation on the rise, Haas traveled the world, photographing the U.S., Europe, South Africa, and Southeast Asia in expressionistic color.
In the late 1940s, Haas switched from his medium format Rolleiflex to the smaller 35mm Leica rangefinder camera, which he used consistently for the rest of his career. Once he began working in color, he most often used Kodachrome, known for its rich, saturated colors. To print his color work, Haas used the dye transfer process whenever possible. An expensive, complex process most frequently used at the time for advertising, dye transfer allowed for great control over color hue and saturation.
As the technology of color photography evolved and improved during this period, audience interest in color imagery increased. Many of the magazines that published Haas’ work, such as Life, improved the quality of their color reproduction, and increasingly sought to include his work in the medium. Despite this progress, many photographers, curators, and historians were initially reluctant to consider color photography as art, given the technology’s commercial origins.
Leadership of Magnum
In 1954 Robert Capa, Magnum’s first president, was killed while on assignment covering the First Indochina War. That same year, Werner Bischof died in a car accident in the Andes. Following their deaths, Haas was elected to Magnum’s board of directors and traveled to Indochina himself to cover the war.
After the death of David “Chim” Seymour in Suez in 1959, Haas was named the fourth president of Magnum. He made significant and lasting contributions[which?] to the organization as its leader. Haas had a deep understanding of the cooperative’s mission and encouraged its members to strive for excellence and innovation. In a letter to the members of Magnum, he wrote:
Every one of us wants to take beautiful, striking, extraordinary pictures. Every one of us is struggling with his own style. Changes don’t come purely by will power alone, but they never come by being satisfied. Let us be more critical with each other: it will bring us closer. Let us find a new common denominator in the struggle, not to follow our own standards of invention. Don’t cover—discover!
In 1962 the Museum of Modern Art in New York presented a ten-year survey of Haas’s color photography. Titled Ernst Haas: Color Photography, the exhibition marked MoMA’s first solo-artist retrospective exhibition dedicated to color work, and took place during Edward Steichen’s final year as director of the museum's Department of Photography. It was realized by Steichen’s successor John Szarkowski, and consisted of about 80 prints including Haas’s motion studies and color essays. Of Haas’ revelatory color imagery, Steichen has said, “He is a free spirit, untrammelled by tradition and theory, who has gone out and found beauty unparalleled in photography.” No exhibition catalogue was produced at the time, but the original prints exist, allowing a much later "re-creation" of the exhibition.
Before his solo exhibition at MoMA, Haas had been included in Steichen’s exhibition The Family of Man, which premiered in 1955 and traveled to 38 countries.
Advertising and stills photography
Haas was a respected stills photographer for many films, including The Misfits, Little Big Man, Moby Dick, Hello Dolly, West Side Story, and Heaven's Gate. John Huston employed Haas as a second-unit director for his 1966 film The Bible: In the Beginning (a.k.a. The Bible), to visualize the section devoted to creation.
In addition to editorial journalism and unit stills work, Haas was also highly regarded for advertising photography, contributing groundbreaking campaigns for Volkswagen automobiles and Marlboro cigarettes, among other clients.
The Creation and other publications
Haas was inspired and fascinated by the natural world, and took photographs of the elements throughout his career. Inspired in part by his involvement in John Huston’s 1966 film The Bible, Haas conceived an ambitious, multi-year project to visualize the theme of the Earth’s creation, as described in a variety of religious texts, primarily the Old Testament. His book The Creation, first published in 1971, presented 106 color photographs made throughout the world, organized into an expressive, poetic sequence. The book was produced in multiple editions in numerous languages through 1988, selling over 350,000 copies to become one of the best-selling photography books of all time.
Haas also issued the monographs In America (1975), In Germany (1977), and Himalayan Pilgrimage (1978).
In 1980 Haas published a limited edition portfolio of dye transfer prints from The Creation with Daniel Wolf Press. He also began work on a book devoted to Japan and a project illustrating the poetry of Rainer Maria Rilke, whose writings inspired him throughout his life.
Posthumous books of Haas’ photographs include: Ernst Haas: Color Photographs (1989); Ernst Haas in Black and White (1992); Ernst Haas (Photo Poche), 2010; and Ernst Haas: Color Correction (2011).
Television appearances and teaching
In 1962, the year of his retrospective at the Museum of Modern Art, Haas was invited to write and host The Art of Seeing, a four-hour miniseries for National Public Television, then in its first year. Newsweek magazine praised its success as a television program, for Haas combined seeing with hearing. Throughout the series, Haas demonstrated what makes a successful photograph, illustrating how images can be transformed by the slightest variations of technique, perspective, or choice of tools and materials.
Haas also taught frequently at photography workshops, including the Maine Photographic Workshop, the Ansel Adams Workshop in Yosemite National Park, and the Anderson Ranch Arts Center near Aspen, Colorado.
Personal life and family
In 1951 Haas married the Hungarian countess Antoinette Wenckheim. They later divorced, and in 1962 Haas married Cynthia Buehr Seneque, an American editor. They had two children, Alexander and Victoria.
Gisela Minke, a German-born airline stewardess, was Haas’s companion for many years. She encouraged his interest in Tibet, and their travels resulted in the book Himalayan Pilgrimage. Six years before his death, he met Takiko Kawai, who he credited with introducing him to the culture and traditions of Japan.
Late life and death
In the early 1970s Haas became interested in creating audiovisual slideshows—long sequences of projected imagery with accompanying soundtracks, dissolving from one image into the next. "I love music," he explained, "and with my audiovisual presentation I can combine music and photography.”
After suffering a stroke in December 1985, Haas concentrated on layouts for two books he wanted to publish, one featuring his black and white photographs, the other his color. At the time of his death from a stroke on September 12, 1986, he had been preparing to write his autobiography.
Over his 40-year career, Haas established a remarkable legacy. His abstract aesthetic, use of color, and innovative use of technology remain vital and influential.
In 1958, Haas was listed as one of the 10 greatest photographers in the world by Popular Photography magazine, along with Ansel Adams, Richard Avedon, Henri Cartier-Bresson, Alfred Eisenstadt, Philippe Halsman, Yousuf Karsh, Gjon Mili, Irving Penn, and W. Eugene Smith. His importance to photography was underscored in 1986, when he won the Hasselblad Award just before his death.
A number of awards have been created in Haas’s honor, including the Ernst Haas Award for Creative Photography by the American Society of Media Photographers (ASMP); and the Ernst Haas Photographers Grant, funded by Kodak, at the Maine Photographic Workshops. In 1998 the Ernst Haas Studio archive was sent to London to be housed at the Hulton Getty Picture Library as part of a licensing agreement with Getty Images. In 1999 the Ernst Haas Memorial Collection was established at the Portland Museum of Art in Maine.
The Ernst Haas Estate is operated by his children, Alexander Haas and Victoria Haas.
- Newhouse Award from Syracuse University, 1958
- The Cultural Award from the German Society for Photography (DGPh), 1972
- Wilson Hicks Medal from the University of Miami, 1978
- Hasselblad Photographer of the Year, 1986
- Leica Medal of Excellence: Master of Photography, 1986
Publications by, or devoted to, Haas
- Mainichi Shinbun. Erunsuto Hāsu: Karā shashinten (エルンストハース カラー写真展). Tokyo: Seibu, 1962. (in Japanese)
- Ernst Haas. The Creation. New York: The Viking Press, 1971.
- Ernst Haas. In America. New York: The Viking Press, 1975.
- Ernst Haas. In Germany. New York: The Viking Press, 1977.
- Ernst Haas. Himalayan Pilgrimage, text by Gisela Minke. New York: The Viking Press, 1978.
- Ernst Haas. The Creation. Revised ed. New York: The Viking Press, 1983.
- Ernst Haas. Tenji sōzō: Za kurieishon (天地創造 ザ・クリエイション). Tokyo: Shogakukan, 1993. ISBN 4096800821. (in Japanese)
- Bryn Campbell. Ernst Haas. The Great Photographers. London: Collins, 1983. ISBN 0004119363.
- Ernst Haas. Ernst Haas Color Photography. New York: Abrams, 1989.
- Alexander Haas and Jim Hughes, eds. Ernst Haas in Black and White. Introduction by Jim Hughes. Boston: Little, Brown, 1992.
- Erunsuto Hāsu ten: Shashin de kanaderu shikasai no shi (エルンストハース展 写真で奏でる色彩の詩). Tokyo: Pacific Press Service, 1993. ISBN 4938635402. (in Japanese)
- Color Correction. Göttingen: Steidl, 2011. Edited by William A. Ewing. ISBN 978-3869301365. With an essay by Phillip Prodger.
Publications with contributions by Haas
- Edward Steichen, ed. The Family of Man. New York: The Museum of Modern Art, 1955.
- L. Fritz Gruber. Grosse Photographen unseres Jahrhunderts. Darmstadt: Deutsche Buch-Gemeinschaft, 1964.
- The Camera. Life Library of Photography. New York: Time-Life Books, 1970.
- Color. Life Library of Photography. New York: Time-Life Books, 1970.
- The Great Themes. Life Library of Photography. New York: Time-Life Books, 1970.
- Arnold Ehrlich. The Beautiful Country: Maine to Hawaii. New York: The Viking Press, 1970.
- Great Photographers. Life Library of Photography. New York: Time-Life Books, 1971.
- Photographing Children. Life Library of Photography. New York: Time-Life Books, 1971.
- The Studio. Life Library of Photography. New York: Time-Life Books, 1971.
- Cornell Capa, ed. The Concerned Photographer 2. New York: Grossman, 1972.
- The Grand Canyon. The American Wilderness, edited by Robert Wallace. New York: Time-Life Books, 1972.
- Frontiers of Photography. Life Library of Photography. New York: Time-Life Books, 1972.
- Photography Year/1973 Edition. New York: Time-Life Books, 1972.
- Cactus Country. The American Wilderness, edited by Edward Abbey. New York: Time-Life Books, 1973.
- Hellmut Andics and Ernst Haas. Ende und Anfang. Wien, Hamburg, and Düsseldorf: Paul Zsolnay and Econ Verlag, 1975.
- Photography Year/1975 Edition. New York: Time-Life Books, 1975.
- Venice. The Great Cities, edited by Aubrey Menen. Amsterdam: Time-Life Books, 1976.
- Photography Year/1976 Edition. New York: Time-Life Books, 1976.
- Roland Wolf. Was die Menschheit Bewegt: Ich und die Anderen. Munchen: proSport, 1977.
- Roland Wolf. Was die Menschheit Bewegt: Wir in unserer Welt. Munchen: proSport, 1977.
- Samuel S. Walker (text) and Ernst Haas (photographs). Realms of Light: A Collection of Poetry through the Ages. New York: Walker and Company, 1978. ISBN 0802706193.
- Bryn Campbell. Exploring Photography. London: British Broadcasting Corporation, 1978.
- The Editors of Eastman Kodak Company. The Joy of Photography. Reading, Mass.: Addison-Wesley, 1979.
- Roland Wolf. Zukunft unserer Kinder, 2 vols. Munchen: proSport, 1979.
- Helen Gee. Photography of the Fifties: An American Perspective. Tucson: Center for Creative Photography, The University of Arizona, 1980.
- Roland Wolf and Karl Wadosch. Lake Placid. 80 Munchen: proSport, 1980.
- Bryn Campbell, ed. World Photography. New York: Ziff-Davis Books, 1981.
- The Art of Photography. rev. ed. Life Library of Photography. Alexandria, Va.: Time-Life Books, 1981.
- Color. Rev. ed. Life Library of Photography. Alexandria, Va. Time-Life Books, 1981.
- Photography Year 1981 Edition. Alexandria, Va. Time-Life Books, 1981.
- Renate Gruber and L. Fritz Gruber. Das Imaginare Photo-Museum, dumont foto 3, Cologne: DuMont Buchverlag, 1981.
- Roland Wolf. Freiheit, Die Ich Meine, 2 vols. Munchen: proSport, 1981.
- Travel Photography. Rev. ed. Life Library of Photography. Alexandria, Va. Time-Life Books, 1982.
- George Walsh and Colin Naylor, Michael Held. Contemporary Photographers. New York: St. Martin s Press, 1982.
- Great Photographers. Rev. ed. Life Library of Photography. Alexandria, Va.: Time-Life Books, 1983.
- Photojournalism. Rev. ed. Life Library of Photography. Alexandria, Va.: Time-Life Books, 1983.
- Roland Wolf and Elfie E Wolf. Frieden. Nlunchen: proSport, 1983.
- Olympus Optical Co. One Moment of the World, Photovision, vol 2. Tokyo: Olympus,1984.
- Brian Brake, ed. Focus on New Zealand. Auckland, New Zealand: Collins,1986.
- Jay Maisel, ed. The Most Beautiful Places in the World: Impressions of Ten Master Photographers. New York: Friendly Press, 1986.
- International Center of Photography. Master Photographs From Pfa Exhibitions, 1959-67 New York International Center of Photography,1988.
- William Manchester, ed. In Our Time: The World as Seen by Magnum Photographers, W.W. Norton, 1989.
- Martin Harrison, ed. Appearances: Fashion Photography since 1945. New York: Rizzoli, 1991.
- "The Spanish West". 1994
- Time Books. Eyewitness, 150 Years Of Photojournalism. Richard Lacayo and George Russell. 1995. New York, N.Y.
- Magnum Landscape, Phaidon, London, 1996.
- Handy, Ellen. Reflections in Glass Eye. Bulfinch Press/ICP, New York, 1999.
|1947||American Red Cross Headquarters, Vienna, Austria|
|1960||Ernst Haas, Cologne, Germany, photokina|
|1962||Ernst Haas: Color Photography, New York, the Museum of Modern Art|
|1962||Ernst Haas: Color Photography, sponsored by Mainichi Newspapers, Japan|
|1963||Ernst Haas World of Color, sponsored by Eastman Kodak, exhibited on five different continents.|
|1964||Ernst Haas/Color Photography, St. Louis, Steinberg Hall, Washington University|
|1964||Poetry in Color, New York, The IBM Gallery|
|1965||The Art of Seeing, an exhibition organized by Kodak that traveled to Mexico, England, France, Germany, Austria, Spain, the Netherlands, Belgium, Finland, Southeast Asia, Japan, and Brazil|
|1968–1971||Angkor and Bali: Two Worlds of Ernst Haas, Asia House Gallery, New York. Under the auspices of The American Federation of Arts traveled to Grand Valley State College, Allingdale, Mich.; Royal Ontario Museum, Toronto; Stephens College, Columbia, Mo.; University of Manitoba, Canada; Kent School Kent, Conn.; University of Arkansas, Fayetteville|
|1971||The Creation, Rizzoli Gallery, New York|
|1972||Ernst Haas nach Krieg (After the War), Museum des 20 Jahrhunderts; Kulturhaus, Kulturamt der Stadt, Graz, Vienna and Graz|
|1972||Ernst Haas: Die Schöpfung (The Creation), photokina, Cologne|
|1973||Ernst Haas: Die Schöpfung (The Creation), Photomuseum im Munchner Stadtmuseum, Munich|
|1973||Ernst Haas (Returning Soldiers), Landesgalerie im Schloss Esterhazy, Eisenstadt|
|1973||Ernst Haas: Die Schöpfung (The Creation), Österreichisches Museum für Angewandte Kunst, Vienna|
|1973||The Creation, Kodak Gallery, London|
|1975||Ernst Haas: Postwar Photographs, 1945–1949, Austrian Institute, New York|
|1976||Ernst Haas, Space Gallery, New York|
|1976||Ernst Haas: An American Experience, International Center of Photography, and Port Washington Public Library, New York|
|1976–1977||Ernst Haas, La Fotogalería, Madrid|
|1978||In Deutschland, photokina, Cologne|
|1978||The Creation and Other Dyes, Space Gallery, New York|
|1980||The Creation, Elayne Art Gallery, Minneapolis, Elayne Art Gallery|
|1982||Ernst Haas: Heimkehrer (Returning Soldiers), Salzburg, Galerie Fotohof|
|1984||St. Louis Botanical Garden|
|1985||Ernst Haas, Western States Museum of Photography, Santa Barbara|
|1986||To See, To Be, Rochester Institute of Technology, Rochester|
|1986||Ernst Haas Photographs, Larry Kauffman Galleries, Houston|
|1986||Ernst Haas, Silver Visions Gallery, Newton Upper Falls, Mass.|
|1986||1921 Ernst Haas: 1986, Museum des 20. Jahrhunderts, Vienna|
|1987||Ernst Haas, Rshsska Konstslsjdmuseet, Gothenborg, Sweden|
|1992||Ernst Haas in Black and White, International Center of Photography, New York|
|1992||American Photographs 1950–1975, Howard Greenberg Gallery, New York|
|1993||Unpublished Black and White Images, A.O.I. Gallery, Santa Fe, New Mexico|
|1993||Ernst Haas in Black and White, The Camera Obscura Gallery, Denver, Colorado|
|1994||Rediscovery of a New Vision, A.O.I. Gallery, Santa Fe, New Mexico|
|1994||Ernst Haas in Black and White, Kathleen Ewing Gallery, Washington, D.C.|
|1994||Ernst Haas in Black and White, Etherton Gallery, Tucson, Arizona|
|1996||Ernst Haas (1921–1986) Photographien, Neue Galerie der Stadt Linz, Austria|
|1998||Only Time will Tell, Michael Hoppen Photography, London, U.K.|
|1999||Contour and Colour: Ernst Haas an Exhibition of Colour Photography, Connoly's, London, U.K.|
|2000||Ernst Haas: New York, Soho Triad Fine Arts, New York|
|2001||Ernst Haas: Color and Black and White, Ann Shanks Photography Gallery, Sheffield, MA|
|2001||Ernst Haas in Black and White, Ann Shanks Photography Gallery, Sheffield, MA|
|2001||Ernst Haas Reflections, Art of this Century|
|2002||Ernst Haas Reflections, Maison des Arts|
|2002||Ernst Haas: A Re-Creation Part 1 and Part 2, Bruce Silverstein Gallery, New York|
|2002||Ernst Haas Eine Welt in Trummern (A World in Ruins), Museum Der Moderne Rupetinum, Salzburg|
|2005||reCREATION: The first color photography exhibition at MoMA, Bruce Silverstein Gallery, New York|
|2006||Ernst Haas: Hollywood, Farmani Gallery, Los Angeles|
|2006||Ernst Haas: Total Vision, Atlas Gallery, London|
|2009||Force of Nature, Danese, London|
|2009||Ernst Haas: Color Correction, curated by William Ewing, New York Photo Festival, New York|
|2010||Exhibition from the book Color Correction, Arles Photo Festival, Arles, France|
|2011||The Creation, Portland Museum of Art, Portland, ME|
|2011||The Creation, Weston Gallery, Carmel-by-the-Sea, CA|
|2011||Ernst Haas, Basia Embiricos Gallery and Photo 12 Gallery, Paris|
|2011||Color Correction, Atlas Gallery, London|
|2011||Ernst Haas: A Photography Retrospective, Post war Vienna 1945–1948, Museum der Moderne, Salzburg|
|2011||History’s Big Pictures, Monroe Gallery, Santa Fe, NM|
|2011||Recent Photography Acquisitions, Corcoran Gallery of Art, Washington, DC|
|2012||Ernst Haas: Color Correction, Christophe Guye Galerie, Zurich|
|2012||Ernst Haas: Classics, Duncan Miller Gallery, Bergamot Station, Santa Monica, CA|
|1951||Memorable Life Photographs, The Museum of Modern Art, New York|
|1953||Postwar European Photography, The Museum of Modern Art, New York|
|1955||The Family New York, The Museum of Modern Art|
|1955||Biennale de la Photo et du Cinema de Paris, Grand Palais, Paris|
|1957–1958||Seventy Photographers Look at New York, The Museum of Modern Art, New York|
|1959||Photography at Mid-Century, George Eastman House, Rochester|
|1959||Photography in the Fine Arts, The Metropolitan Museum of Art, New York|
|1960||The Sense of Abstraction in Contemporary Photography, The Museum of Modern Art, New York|
|1960||The World as Seen by Magnum Photographers, organized by Magnum Photos with the cooperation of the Mainichi Newspapers of Japan and circulated throughout the world.|
|1960||Photography in the Fine Arts, The Metropolitan Museum of Art, New York|
|1964||Weltausstellung der Photographie (World Exhibition of Photography), Hamburg, Kunsthallen und Kulturinstituten.|
|1964||The Photo Essay, The Museum of Modern Art, New York|
|1965||IPEX, Gallery of Modern Art, New York|
|1966||American Photography: The Sixties, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska|
|1967||Photography in the 20th Century, The National Gallery of Canada, Ottawa, organized by The George Eastman House of Photography and traveled to the Mendel Art Center, Saskatoon; Sherbrook University Art Gallery, Sherbrooke, Quebec; The Agnes Etherington Art Center, Queens University, Kingston|
|1972–1973||Photography into Art: An International Exhibition of Photography, Camden Arts Center, London, sponsored by The Arts Council of Great Britain|
|1973||The Concerned Photographer 2, The Israel Museum, Jerusalem, organized by Cornell Capa in cooperation with The International Fund for Concerned Photography, traveled throughout Europe and the United States|
|1973||3. Weltaustellung der Photographie: Unterwegs Zum Paradies (3rd World Exhibition of Photography: The Path to Paradise), Hamburg|
|1974||Kreative Fotografie aus Östereich, Kulturhaus der Stadt Graz im Steirischen Herbst '74, Museum des 20, Jahrhunderts, Vienna|
|1975–1976||Color Photography: Inventors and Innovators, 1850–1975, Yale University Art Gallery, New Haven, CT|
|1976||photokina: Weltmesse der Photographie, Kunsthalle Kslnischer Kunstverein Forum, Cologne|
|1976||Reflections: Images of America, Rathaus, Vienna|
|1977||SICOF ’77, Sezione Culturale, Comune di Milano, Milan|
|1978||Mirrors and Windows: American Photography since 1960, The Museum of Modern Art, New York|
|1979||Celebration: New York in Color, Fifth Avenue Stores, New York|
|1979||Photographie als Kunst 1879–1979, Kunst als Photographie 1949–1979, Innsbruck, Linz, Graz, and Vienna; Tiroler Landesmuseum Ferdinandeum, Neue Galerie am Wolfgang Gurlitt Museum, Neue Galerie am Landesmuseum Joanneum, Museum des 20. Jahrhunderts..|
|1979||Venezia ’79: La Fotografia, exhibited at various locations throughout Venice|
|1980||Fotografia Arte e Uso (Photography, Art, and Usage), Museo de Arte de São Paulo, São Paulo|
|1980||Glanzlichter der Photographie: 30 Jahre photokina Bilderschauen (Highlights of Photography: 30 Years of Looking at Pictures), Photokina, Cologne|
|1980||I Sing the Body Electric, The Squibb Gallery, Princeton|
|1980–1981||New York, International Center of Photography; Tucson, University of Arizona; The Minneapolis Institute of Arts; Long Beach, The Art Galleries, California State University; Wilmington, Delaware Art Museum.|
|1982||Color as Form: A History of Color Photography, Corcoran Gallery of Art, Washington, D.C.; International Museum of Photography at George Eastman House, Rochester, New York|
|1983||Fotografie 83, Vienna, Stadthalle|
|1983–1985||Vienna, Graz, and Linz; Museum des 20. Jahrhunderts, Neue Galerie am Landesmuseum Joanneum und Kunstlerhaus, and Neue Galerie der Stadt Linz. Geschichte der Fotografie in Österreich. (The History of Photography in Austria).|
|1985||Photographs from the Magnum Archives 1932–1967, Pace/McGill Gallery, New York|
|1985||New York: The City and its People, Workers' Cultural Palace, Beijing|
|1986||In Spite of Everything, Yes, Hood Museum of Art, Dartmouth College, Hanover|
|1987||Le Temps d’un Mouvement: Aventures et Mesaventures, de l’Instant Photographie, Palais de Tokyo, Paris, organized by the Centre National de la Photographie|
|1988–1989||Master Photographs from “Photography in the Fine Arts” Exhibitions, 1959–1967, International Center of Photography, New York|
|1994||Magnum and the Cinema, London and Paris|
|1994||Magic Moments, 40 Years of Leica Photography, United States and Europe|
|1994||Appeal to this Age: The Photography of the Civil Rights Movement, 1954–1968, Howard Greenberg Gallery, New York|
|1995||Postwar Europe, 1945–1965, Art After the Flood, Barcelona, Spain|
|1995||Act II: Kissing, G. Ray Hawkins Gallery, Santa Monica, CA|
|1997||Masters in Photography: Alfred Eisenstaedt, Ernst Haas, André Kertész, Eugene Smith, Roman Vishniac, Uma Gallery, New York|
|1999||Ernst Haas and W. Eugene Smith, Ann Shanks Gallery, Sheffield, Massachusetts|
|2000||Photographing Maine: 1840–2000, Maine Coast Artists, Rockport, Maine|
|2000||Photographing Australia, Leica Gallery, New York|
|2000||Reflections in a Glass Eye, Works from the International Center of Photography Collection, International Center of Photography, New York|
|2000||Photographs of New York, Brooke Alexander, New York|
|2000||Edward Steichen, Haas photographs included in the partial recreation of the Family of Man Exhibition, Whitney Museum of Art, New York|
|2003||Planes, Trains, and Automobiles, Apex Fine Arts|
|2005||Remote Viewing Abstracted Worlds: Simon Aldridge, Ingrid Calame, Apt Steir, and Ernst Haas, Abstract Gallery|
|2005||Coney Island, Howard Greenberg Gallery, New York|
|2007||Easy Rider: Road Trip Across America, Yancey Richardson Gallery, New York|
|2007||First Contact: A Photographer’s Sketchbook, Bruce Silverstein Gallery, New York|
|2007||Marilyn Monroe: Life as a Legend, The Dayton Art Institute|
|2008||Paris in Color, D’hôtel De Ville, Paris|
|2008||The Enchanted Garden, Auckland Art Gallery|
|2009||Magnum’s First: A Re-Discovered Photo Exhibition, Monroe Gallery, New York|
|2010||Photographs from 1950 to 2010, Picto, 60th Anniversary|
|2010||Beyond Color: Color in American Photography, Bruce Silverstein Gallery, New York|
|2011||History’s Big Pictures, Monroe Gallery, Santa Fe, New Mexico|
|2012||New York in Color, Howard Greenberg Gallery, New York|
|2012||Cartier-Bresson: A Question of Colour, Somerset House, London|
Haas' work is held in the following public collections:
- Provincial Museum Voor Kunstambachten, Antwerp, Belgium
- New Zealand Center for Photography, Auckland, New Zealand
- Royal Society of Photography, Bath, UK
- Museum of Fine Arts, Boston, Massachusetts, US
- Mint Museum of Fine Art, Charlotte, North Carolina, US
- The Exchange National Bank of Chicago, Illinois, US
- Museum Ludwig, Cologne, Germany
- Erna and Victor Hasselblad Foundation, Goteborg, Sweden
- The National Museum of Art, Kyoto, Japan
- International Center of Photography, New York, US
- The Metropolitan Museum of Art, New York, US
- The Museum of Modern Art, New York, US
- Philip Morris Companies, Inc., New York, US
- Citibank Art Collection, New York, US
- Westinghouse Electric Corporation, Pittsburgh, Pennsylvania, US
- Reader's Digest, Pleasantville, New York, US
- Squibb Corporation, Princeton, New Jersey, US
- International Museum of Photography at the George Eastman House, Rochester, New York, US
- Kimberly-Clark Corporation, St. Louis, Missouri, US
- Missouri Botanical Garden, St Louis, Missouri, US
- Museum of Fine Art, St Petersburg, Florida, US
- Rupertinum Salzburger Museum, Salzburg, Austria
- Western States Museum of Photography, Santa Barbara, California, US
- National Museum of Art, Tokyo, Japan
- Museum Modern Kunst, Vienna, Austria
- Corcoran Gallery of Art, Washington, D.C., US
- National Portrait Gallery, Washington D.C., US
Notable Portrait Subjects
- Campbell, Bryn, ed. (1981). World Photography. Ziff-Davis Books. pp. 134–135.
- Capa, Cornell (1972). The Concerned Photographer 2. Grossman Publishers. pp. __.
- Coleman, A.D (2000). "A Painter in a Hurry: The Photography of Ernst Haas". Ernst Haas Website.
- Bondi, Inge (2000). "Biographical Essay". Ernst Haas Website. Ernst Haas Estate.
- Haas, Ernst (1971). The Creation. The Viking Press. p. 147.
- Hughes, Jim, Alexander Haas, ed. (1992). Ernst Haas in Black and White. Bulfinch Press.
- Ewing, William A. (2011). Ernst Haas: Color Correction. Steidl.
- Grundberg, Andy (14 September 1986). "Obituary of Ernst Haas". New York Times.
- ^ abcdefgBondi, Inge (2000). "Biographical Essay". Ernst Haas Website.
- ^ abcdeColeman, A. D. (2000). "Painter in a Hurry". Ernst Haas Website: The Photography of Ernst Haas.
- ^ abGrundberg, Andy (14 September 1986). "Obituary of Ernst Haas". New York Times.
- ^ ab"Ernst Haas: Color CorrectionArchived 2013-01-18 at the Wayback Machine.", LensCulture, 2012. Retrieved February 23, 2013.
- ^ abPress release for Ernst Haas: Color Photography (1962), reproduced here (PDF), MoMA. Retrieved February 23, 2013.
- ^ abRick Poynor, "Ernst Haas and the color undergroundArchived 2013-04-08 at Archive.is", Design Observer Group Observatory, January 19, 2012. Retrieved February 23, 2013.
- ^ abc"reCREATION: The first color photography exhibition at MoMA, 1962", Opinarte, 2005
- ^ ab"Ernst Haas", Hasselblad Foundation. Retrieved February 22, 2013.
- ^"The Cultural Award of the Deutsche Gesellschaft für Photographie (DGPh)". Deutsche Gesellschaft für Photographie e.V.. Accessed 7 March 2017.
- ^"Cartier-Bresson: A Question of Colour". Somerset House Trust. Retrieved 22 February 2013.
Friday, 1 November 2013 9:49am
Images and Essays
Edited by Angela Wanhalla & Erika Wolf
We are all participants in an increasingly visual culture, yet we rarely give thought to the ways that photographs shape our experience and understanding of the world and historical past. This book looks at a range of New Zealand photographs up to 1918 and analyses them as photo-objects, considering how they were made, who made them, what they show and how our understanding of them can vary or change over time. This emphasis on the materiality of the photograph is a new direction in scholarship on colonial photographs.
The writers include photographers, museum curators, academics and other researchers. Their essays are not intended as definitive readings but rather offer a variety of ways in which to read the images they have chosen. In the course of the book, they explore a host of issues related to the development of photography in New Zealand. World War I is the end point, as it coincided with profound cultural shifts with the expansion of the mass illustrated press and the rise of consumer photography, as well as a change in New Zealand's place in the world.
ANGELA WANHALLA is a senior lecturer in history at the University of Otago. She specialises in the histories of cultural encounter in New Zealand's colonial past, focusing on gender, race and colonialism in the nineteenth century, the indigenous history of the North American West, and the history of intimacy, particularly interracial relationships and hybridity. She is the author of In/visible sight: The mixed descent families of southern New Zealand (Wellington, 2009) and co-editor with Annabel Cooper and Lachy Paterson of The Lives of Colonial Objects (Otago University Press, 2015).
ERIKA WOLF lectures in art history and theory at the University of Otago. A graduate of Princeton and Michigan universities, her primary field of research is Soviet art and visual culture. She is the author of Koretsky: The Soviet photo poster, 1930–1984 (New York, 2012). She has recently extended her research to both historic and contemporary New Zealand photography.
Wayne Barrar, Roger Blackley, Gary Blackman, Chris Brickell, Barbara Brookes, Sandy Callister, Simon Dench, Jocelyne Dudding, Keith Giles, Jill Haley, Ken Hall, Ruth Harvey, Kerry Hines, Antje Lübcke, Brian Moloughney, Max Quanchi, Rebecca Rice, Cathy Tuato'o Ross, Simon Ryan, Angela Wanhalla, Christine Whybrew, Erika Wolf
Paperback, 240 x 190 mm, 208 pages, ISBN 978 1 877578 16 8, $50.00 / £29.50 UK
Out of print