Роман Вишняк: Фотограф исчезнувшего мира.

Russian American photographer

Roman Vishniac ('/v//ɪ//ʃ//n//i//æ//k/; Рома́н Соломо́нович Вишня́к; August 19, 1897 – January 22, 1990) was a Russian American photographer, best known for capturing on film the culture of Jews in Central and Eastern Europe before the Holocaust. A major archive of his work was housed at the International Center of Photography until 2018, when Vishniac's daughter, Mara Vishniac Kohn, donated it to The Magnes Collection of Jewish Art and Life at the University of California, Berkeley. Vishniac was a versatile photographer, an accomplished biologist, an art collector and teacher of art history. He also made significant scientific contributions to photomicroscopy and time lapse photography. Vishniac was very interested in history, especially that of his ancestors, and strongly attached to his Jewish roots; he was a Zionist later in life. Roman Vishniac won international acclaim for his photos of shtetlach and Jewish ghettos, celebrity portraits, and microscopic biology. His book A Vanished World, published in 1983, made him famous and is one of the most detailed pictorial documentations of Jewish culture in Eastern Europe in the 1930s. the images and accompanying documents comprising ICP's "Roman Vishniac Rediscovered" traveling exhibition. In October 2018, Kohn donated the Vishniac archive of an estimated 30,000 items, including photo negatives, prints, documents and other memorabilia that had been housed at ICP to The Magnes Collection of Jewish Art and Life, a unit of the University of California at Berkeley's library system.

Vishniac was born in his grandparents' dacha outside Saint Petersburg, in the town of Pavlovsk, and grew up in Moscow. To live in this city was a right granted to few Jews but the Vishniac family lived there because Solomon Vishniac, Roman's father, was a wealthy manufacturer of umbrellas, and his mother, Manya, was the daughter of affluent diamond dealers. Vishniac also had a sister, Katja. During the summer months, the Vishniac family left Moscow, as it became uncomfortably hot, and they retreated to a dacha a few miles outside the city. As a child, Vishniac was fascinated by biology and photography, and his room was filled with "plants, insects, fish and small animals". On his seventh birthday, he got a microscope from his grandmother, to which he promptly hooked up a camera, and by which he photographed the muscles in a cockroach's leg at 150 times magnification. Young Vishniac used this microscope extensively, viewing and photographing everything he could find, from dead insects to animal scales, to pollen and protozoa. Beginning in 1914, he spent six years at the Shanyavsky Moscow City People's University (now Russian State University for the Humanities) in Moscow. At the institute he studied zoology. In his free time, he studied Far Eastern Art at the University of Berlin. Vishniac researched endocrinology and optics, and did some photography (see right). In Berlin
he often gave lectures on naturalism. Vishniac developed and printed these pictures in his darkroom in his Berlin apartment. Further trips to Eastern Europe were undertaken between 1935 and 1938, again at the behest of the JDC.

The Vishniac family fled from Lisbon to New York City in 1940, He managed to do some portraiture work with mostly foreign clients; but business was poor. It was during this time, in 1942, that he took one of his most celebrated portraits, that of Albert Einstein. He arrived at Einstein's home in Princeton, New Jersey, getting into the scientist's study with the ruse of bringing regards from mutual friends in Europe, and photographed him while the scientist was not paying attention to him, occupied in thought. Einstein later called this portrait his favourite. In 1946, Vishniac divorced Luta, and the next year he married Edith Ernst, an old family friend. A few years later, he gave up portraiture and went on to do freelance work in the field of photomicroscopy. he wrote to Eleanor Roosevelt (First Lady at the time), asking her to visit the exhibit, but she did not. He also sent some of his photographs to the President, for which he was politely thanked. Of the 16,000 photographs taken in Eastern Europe by Vishniac, only 2,000 reached America. Most of these negatives were carefully hidden by Vishniac and his family; others were smuggled in by Vishniac's good friend Walter Bierer through Cuba. In his seventies and eighties, Vishniac became "Chevron Professor of Creativity" at Pratt Institute (where he taught courses on topics such as the philosophy of photography Items in his collection included a 14th century Buddha, Chinese tapestries, Japanese swords, various antique microscopes, valued old maps and venerable books. He taught Oriental and Russian art, general philosophy and religion in science, specifically Jewish topics, ecology, numismatics, photography and general science at City University of New York, Case Western Reserve University before his death from colon cancer on January 22, 1990. To photograph small villages in these mountains, Vishniac claimed he carried heavy equipment (Leica, Rolleiflex, movie camera, tripods), 115 pounds (52 kilograms) by his estimate, on his back, up steep roads, trekking many miles. peeking out through an enlarged button hole of his coat, >

When using a Leica for indoor shots, Vishniac sometimes brought a kerosene lamp (visible in some of his work) if there was insufficient light, keeping his back to a wall for support, and holding his breath. he escaped by jumping from the second floor at night and creeping away, avoiding broken glass and barbed wire. These photos were sent to the League of Nations in Geneva to prove the existence such camps. and a book of the photos was published.

Vishniac's photographs from the 1930s are all of a very distinct style; they are all focused on achieving the same end: capturing the unique culture of Jewish ghettos in Eastern Europe, especially the religious and impoverished. Gene Thornton, writer for The New York Times, called them "somber with poverty and with the gray light of European Winter". These pictures, all in black and white, were done with available light or sometimes a lantern, Indeed, "There is a grainy realism to Vishniac's photographic style. We can almost finger the coarse textures of coats and shawls; the layers of fabric worn by the people seem more related to tree bark than to the well pressed wool suit worn by an occasional elegant passerby." For this work, Roman Vishniac has received the Memorial Award of the American Society of Magazine Photographers in 1956. A Vanished World has won the National Jewish Book Award in the visual arts category in 1984; The Only Flowers of her Youth was deemed "most impressive" at the International Photographic Exhibition in Lucerne in 1952; and the Grand Prize for Art in Photography, New York Coliseum.

There has been criticism of Vishniac's work, focusing on the lack of diversity of his subjects in his work from Eastern Europe and quality of his composition. It has been argued that he should have also photographed wealthier Jews, in addition to the poor Jews in ghettos. Thornton criticized his photographs for their unprofessional qualities, citing "errors of focus and accidents of design, as when an unexplained third leg and foot protrudes from the long coat of a hurrying scholar."