La fotografía como documento social . Gisèle Freund


Gustavo Gili

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Photography, which can often be interpreted as an element of knowledge and as a work of art, as well as information and art, is an instrument of communication subject to many vicissitudes and to all kinds of manipulations. The history of photography cannot be only the history of one technique. It can be said that Photography as a social document (Photographie et Societé, 1974) is not only the most important work of the author, but undoubtedly the most ambitious and profound, because of the tone of the analysis of the facts that she tells us as a sociological, political and artistic history of Photography, from its precursors to the present day.

Gisèle Freund (Berlin 1908-Paris 2000) left Germany in 1933 and settled in Paris, where she received her doctorate in sociology. His abundant and remarkable work as a photographer and portraitist of the European intellectual elite, as well as his important theoretical reflection on this medium, have brought him prestige and fame recognized throughout the world. In 1936, he presented (and later published) his doctoral thesis The Photography and the Middle Classes in France during the 19th century, an essay on Sociology and Aesthetics, at a time when this type of work was unusual, much less signed by a woman. She was also the author of France (1945), Mexique Précolombien (1954), James Joyce in Paris. His Final Years (1965), Le Monde et ma Caméra (1970) and Mémoires de l'Oeil (1977). His portraits of James Joyce, Henri Matisse and Virginia Woolf became icons. He has also made famous reports around the world for Time and Life magazines, among others.

Photography as a social document

Gisèle Freund

Gustavo Gili


FotoGraphy Collection

13 x 20 cm

208 pages

ISBN: 9788425218811


2011 (1st edition , 15th printing) 

5 Items

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