{"id":935,"date":"2024-08-15T15:15:10","date_gmt":"2024-08-15T15:15:10","guid":{"rendered":"https:\/\/dev.m-bochum.de\/?page_id=935"},"modified":"2024-08-15T15:43:39","modified_gmt":"2024-08-15T15:43:39","slug":"evelyn-hofer-dublin","status":"publish","type":"page","link":"https:\/\/dev.m-bochum.de\/index.php\/evelyn-hofer-dublin\/","title":{"rendered":"Evelyn Hofer – Dublin"},"content":{"rendered":"

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Im Jahr 1967 portraitiert Evelyn Hofer die Stadt Dublin, wieder in gemeinsamer Arbeit mit V.S. Pritchett. Wie bereits in den zuvor erschienen Publikationen versucht sie den Charakter Dublins in Architektur- und Stadtansichten, besonders aber auch in Portraits einzufangen.
\nDie Stra\u00dfen und Geb\u00e4ude oder die weite Sicht \u00fcber die Stadt offenbaren Hofers Interesse an Oberfl\u00e4chen, die in besonderes Licht getaucht sind. Zudem zeichnen sich die in Dublin entstandenen Arbeiten durch einen sensiblen Umgang mit Farbe aus. Besonders in Phoenix Park on a Sunday<\/i> und Girl with Bicycle<\/i> spielt die Farbe innerhalb der Komposition eine entscheidende Rolle. So wirken die roten Str\u00fcmpfe des M\u00e4dchens wie bewusst gesetzte Farbakzente.<\/p>\n

Ausgehend von f\u00fcnf Dublin-Fotografien Hofers komponierte David Fennessy 5 Hofer Photographs<\/b><\/a> f\u00fcr Violoncello.<\/p>\n

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Evelyn Hofer, Dublin<\/i> 1966
\nEvelyn Hofer hast been working as a photographer since the mid 1940s. Her work is inextricably bound up with the books she illustrated in the late 1950s and 1960s for acclaimed authors such as mary McCarthy and V.S. Pritchett, unforgettably evoking the atmosphere of places like Dublin, London and New York.<\/p>\n

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Evelyn Hofer’s photographic work covers a wide spectrum of subjects and genres. She has distinguished herself as a photographer of architecture, interiors, landscapes, but also for her sinsitive still lifes and portraits. She is uncompromising in her commitment to honesty and directness in her pictures, exhibiting a deep empathy and understanding that allows her to bring out the innate beauty in her subjects. She seems to have an intuitive talent for getting to the core of each object or person she photographs. One senses that she takes plenty of time to get to know her subject before taking up her camera. She needs time to arrive at where she wants to be, to become part of what she is trying to capture or to generate a certain closeness to her subject.<\/p>\n

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In a letter to her friend V.S. Pritchett Evelyn Hofer clearly states her impressions at the end of her several month stay in Dublin:
\n„You and so many others say that Dublin is one of the most beautiful cities in Europe – this, from the very beginning, I never felt… However – I found the people much more fascinating – and have taken a great deal of portraits and have perhaps come closer to them than in any of the other books.“<\/i> (29 January 1966)<\/p>\n

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Produced in 1967, the Dublin book differs from the others in several ways. First, in this book Hofer began to use color imagery in a uniquely creative and even emotional way, and secondly, in Dublin she responded vividly to the people as well as the buildings. The most compelling portraits in the book are of people she met in her travels – waiters, hotel maids, soccer players, gravediggers, and street children. The architecture and light were present in both black and white and color.
\n(extracts from the text from Kim Sichel, in the monograph edited by Susanne Breidenbach)<\/p>\n