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NORBERT GHISOLAND: A FORERUNNER OF SURREALISM
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 © Norbert Ghisoland |
Norbert Ghisoland was born on 17 March 1878 at La Bouverie, a village in the Borinage district of Belgium. His father was a deep-seam coal-miner who wanted a better life for his sons: photography for one and carpentry for the other. When the photographer was killed in an accident, Norbert, the carpenter, took his place. In 1902, aged 24, he moved to another village called Frameries, a stone’s throw from La Bouverie, and opened his photographer’s studio at 43 Grand’Rue. Behind the studio’s two display windows was his family home, his studio and his darkroom. He would live and work here until his death on 2 November 1939.
In the early years of the twentieth century, a stream of ordinary people filed into the studio, for full-length portraits or photos for identity cards, taken in front of a trompe-l’oeil background or a simple white backdrop, with infinite grace under the attentive and tender eye of Norbert Ghisoland.
Alone or in groups, tens of thousands of people passed in front of his cameras: the middle-classes, miners, soldiers, monks and nuns, sports teams, people of all ages, sometimes even dogs. Norbert lent them clothes and accessories. He showed them the poses to adopt: sitting or standing with their hands folded or on their shoulders, with serious expressions. There is so much tenderness and emotion in these portraits. They don’t smile much: they came from the Black Country.
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Today some of them make us laugh, but in their eyes is an inescapable melancholy.Thousands of glass-plate negatives began to pile up in the attic. Norbert Ghisoland worked in a bedroom, lit with natural light that flooded into the studio through a glass roof. In total, he produced more than 90,000 glass-plate negatives, each numbered and filed in small cardboard boxes, of which the last 45,000 remain today.
Several years passed between Norbert’s death and the return of Edmond, Norbert’s son, from a prisoner-of-war camp in 1945, to take over his father’s business. Like his father, Edmond spent the rest of his life living and working in the same house and the same studio. In his photographs, the people have changed, as have their clothes: for these adults were the children and grandchildren photographed by Norbert. Celluloid film replaced the glass plates. But the story doesn’t stop there, for today Marc Ghuisoland (who spells his name with an additional “u”), Edmond’s son and Norbert’s grandson, continues to work in the same studio. His grandfather’s and father’s negatives are still piled up in the attic. Marc has switched to digital photography. One day he will close his studio and the glass plates will leave their attic home. But Marc will continue to look after them, as well as the celluloid negatives and the scans. We can only hope that someone from his region or his country will help him preserve this priceless heritage at last.
From Norbert Ghisoland’s extraordinarily poignant testimony to his contemporaries, from the coal-mining era, from this great work, here are a few chosen images…
Curator: Mary van Eupen
diChroma photography
This exhibition is organized by diChroma photography,
Paseo de los Parques, 27-8B 28109 Alcobendas-Madrid-Spain
www.dichroma-photography.com
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Number of photographs:
80 photos in wooden frames,
size : 58,5 x 78,5 cm
20 large-scale enlarged photo,
size: 111 x 168 cm
72 identity-card portraits,
size: 111cm x 204 cm
A slide-show of 300 identity-card
A collection of vintage prints.
Rental fee: $11,000 for 12 weeks
-Travel and expenses for the curator and the handler of the exhibition (from Brussels) for the installation and opening
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