第170期：马克·里布：于动荡中见优雅

想成为我们的主播，欢迎加微信 xdfbook 投稿。 一段美文，一首英文歌，或是一点生活感想，全由你做主。 《马克·里布：于动荡中见优雅 》 Marc Riboud, Photojournalist Who Found Grace in the Turbulent Marc Riboud, the celebrated French photojournalist who captured moments of grace even in the most fraught situations around the world, died in Paris on Tuesday. He was 93. Mr. Riboud’s career of more than 60 years carried him routinely to turbulent places throughout Asia and Africa in the 1950s and ’60s, but he may be best remembered for two photographs taken in the developed world. The first, from 1953, is of a workman poised like an angel in overalls1) between a lattice2) of girders while painting the Eiffel Tower—one hand raising a paintbrush, one leg bent in a seemingly Chaplinesque3) attitude. The second, from 1967, is of a young woman presenting a flower to a phalanx4) of bayonet5)-wielding members of the National Guard during an anti-Vietnam War demonstration at the Pentagon. Both images were published in Life magazine during what is often called the golden age of photojournalism, an era Mr. Riboud exemplified. A protégé6) of Henri Cartier-Bresson7), he was on the front lines of world events, including wars. Even so, Mr. Riboud did not consider himself a record keeper. “I have shot very rarely news,” he once said. Rather than portray the military parades or political leaders of the Soviet Union, for example, he was drawn to anonymous citizens sitting in the snow, holding miniature chess boards and absorbed in their books. Of the many hundreds of shots he published from Bangladesh, Cambodia, China, India, Japan, Pakistan and Turkey, only a handful are of figures written about by historians. Born on June 24, 1923, in St.-Genis-Laval, near Lyon, he was the fifth and, by his account, the most shy of seven children from a bourgeois family that expected him to take up a respectable vocation. It was his father, an enthusiastic traveler and amateur photographer, who led him astray by giving him a vest-pocket Kodak when Marc was a teenager. His first photographs were of the Paris Exposition in 1937. After World War II, in which he fought around Vercors8) as a member of the Resistance9), Mr. Riboud studied mechanical engineering at the École Centralein Lyon. He took a factory job in the nearby town of Villeurbanne10) after graduating in 1948. Not until he found himself taking pictures of a cultural festival in Lyon during a weeklong vacation in 1951 did he at last decide to commit to the unstable life of a freelance photojournalist. He moved to Paris in 1952. There he met Cartier-Bresson, who became his mentor. Already a celebrity in his field, this “salutary11) tyrant,” as Mr. Riboud called him, dictated “which books to read, what political ideas I should have, which museums and galleries to visit.” “He taught me about life and about the art of photography,” Mr. Riboud said. Among the lessons imparted was that “good photography” is dependent on “good geometry.” The Eiffel Tower photograph from 1953, the first that Mr. Riboud published, proves how well the pupil absorbed the lesson. In a radio interview more than 50 years later, he still recalled the caption given to the image by the Life copy writers: “Blitheful12) on the Eiffel.” In 1953, Cartier-Bresson nominated his protégé to join Magnum13), the photo collective he had helped found. Until 1979, when he left to go out on his own, Mr. Riboud traveled and photographed for the agency constantly. In 1955, he drove a specially equipped Land Rover to Calcutta from Paris, staying for a year in India. He was also one of the first Westerners to photograph in People’s Republic of China, and he spent three months in the Soviet Union in 1960. Throughout the 1950s and ’60s he documented the anticolonial independence movements in Algeria and West Africa, and during the Vietnam War he was among the few able to move easily between the North and South. Among the events he documented in recent decades were the return of Ayatollah Ruhollah Khomeini14) to Iran; the Solidarity movement in Poland15); the trial of Klaus Barbie16), the Gestapo chief in Lyon during World War II; the end of apartheid in South Africa; and the mood in the United States before the election of President Obama. During the last third of his life, Mr. Riboud was recognized by museums in many of the countries where he had worked. Photographs from his travels were collected in more than a dozen monographs, including Marc Riboud in China: Forty Years of Photography (1996). Among many other shows, Mr. Riboud was honored with exhibitions at the Art Institute of Chicago, in 1964, and the International Center of Photography in New York, in 1975, 1988 and 1997. He was the subject of retrospectives17) at the Musée d’Art Moderne de la Ville de Paris in 1985 and the Maison Européenne de la Photographie in Paris in 2004. Unlike some artists who resent that the public’s infatuation18) with a few of their works has turned them into clichés, Mr. Riboud did not mind describing the circumstances behind The Eiffel Tower Painter. No, he did not ask the workman to pose, he would answer patiently. To have spoken to the man might have caused him to slip. “I’ve always been shy, and I’ve always been trying to ignore the people I was photographing so that they ignore me,” he said. Of the flower girl at the Pentagon, a 17-year-old high school student named Jan Rose Kasmir, he ventured19), “I had the feeling the soldiers were more afraid of her than she was of the bayonets.” The immense popularity of these two photographs, assisted by countless reproductions, could well have warped20) perceptions of Mr. Riboud’s highly diverse body of work. And yet they did truly represent the gravitational bent of his personality. “I have always been more sensitive to the beauty of the world than to violence and monsters,” he wrote in an essay in 2000. “My obsession is with photographing life at its most intense as intensely as possible. It’s a mania, a virus as strong as my instinct to be free. If taste for life diminishes, the photographs pale, because taking pictures is like savoring life at 125th of a second.” In 1961, he married Barbara Chase, the American sculptor, poet and novelist. The marriage ended in divorce in the 1980s. Besides his second wife, Ms. Chaine, a journalist and author, Mr. Riboud is survived by two sons from his first marriage, David and Alexei; and a daughter, Clémence, and a son, Théo, from his second marriage. Mr. Riboud’s weakness21) for sentimental subjects and left-wing causes marred22) his reputation with some critics. But this optimism, coupled with his overt sympathies for the downtrodden and a working style that put an emphasis on freedom of movement, unencumbered by any equipment except a camera and his wits, also served to keep him photographing until the end of his life. Until a few years ago, he would begin each day by loading film into his Canon EOS 300. “My vision of the world is simple,” Mr. Riboud said when he was in his 80s. “Tomorrow, each new day, I want to see the city, take new photographs, meet people and wander alone.” 著名法国摄影记者马克·里布于周二(编注：英文原文发表于2016年8月31日)在巴黎逝世，享年93岁。他生前游走世界各地，即使在最动荡不安的环境中，也能捕捉到优雅的瞬间。 里布先生的摄影生涯长达60多年，在20世纪五六十年代，他时常前往亚非诸多动荡纷乱之地，然而他给世人留下最深刻印象的，却可能是他在发达国家拍摄的两张照片。 第一张照片拍摄于1953年，照片中一位身着工装裤的工人正在粉刷埃菲尔铁塔，他泰然自若地立于钢梁梯架之间——一手扬起油漆刷，一腿后弯，仿佛天使一般，有种卓别林式的风格。 第二张照片拍摄于1967年，照片中一位少女正向端着刺刀的国民警卫队士兵方阵献上一朵鲜花。当时五角大楼前正在进行一场反越战示威活动。 在那段常被称作摄影新闻黄金时代的时期，这两张照片都被刊登在了《生活》杂志上。里布先生成了这一时期的代表人物。 里布先生师从亨利·卡蒂埃-布列松，一直身处全球时事的一线，包括战争前线。即便如此，里布先生并不认为自己是新闻记录者。他曾说：“我很少拍摄新闻照片。” 比如，相比于前苏联的阅兵式或政治领袖，他更沉迷于拍摄那些坐在雪地里、拿着小棋盘、凝神于书本的无名百姓。 在他于孟加拉国、柬埔寨、中国、印度、日本、巴基斯坦和土耳其拍摄的上百张已发表的作品中，只有少数几张拍的是历史学家笔下的人物。 1923年6月24日，里布出生于里昂附近圣-热尼-拉瓦勒的一个中产之家，排行第五，按他自己的说法，他是七个孩子中最害羞的一个。家里人希望他有一份受人尊敬的工作。把他引入摄影“歧途”的是他的父亲。马克的父亲是一名狂热的旅行爱好者，也是一名业余摄影师。在马克十几岁时，他送给了马克一台袖珍的柯达相机。 里布最初的摄影作品的内容是1937年的巴黎世界博览会。第二次世界大战期间，他作为抵抗组织的一员在韦科尔一带战斗，战后进入里昂中央理工学院读机械工程。1948年毕业后，他进入附近维勒班市的一家工厂工作。 ………… 文章摘自：《新东方英语》杂志2016年11月号