Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid, Spain; Rupertinum Museum, Salzburg, Austria. Morath's first encounter with avant-garde art was the Entartete Kunst ( Degenerate Art) exhibition organized by the Nazi Party in 1937, which sought to inflame public opinion against modern art. "I found a number of these paintings exciting and fell in love with Franz Marc's Blue Horse", Morath later wrote. "Only negative comments were allowed, and thus began a long period of keeping silent and concealing thoughts." [6]

The Award is administered by the Magnum Foundation as part of its mission to expand creativity and diversity in documentary photography, in cooperation with the Inge Morath Estate. her family established the Inge Morath Foundation to preserve and share her legacy. [ citation needed] Danube – Festival of Central European Culture, London, UK; Museen d. Stadt Regensburg, Regensburg, Germany Ingeborg Hermine Morath ( German: [ˈɪŋəbɔrk ˈmoːraːt] ⓘ; 27 May 1923 – 30 January 2002) was an Austrian photographer. [2] In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955. Morath was the third wife of Pulitzer Prize-winning playwright Arthur Miller; their daughter is screenwriter/director Rebecca Miller. Retrospective, Neue Galerie Linz, Austria ;America House, Frankfurt, Germany; Hardenberg Gallery, Velbert, Germany; Galerie Fotogramma, Milano, Italy; Royal Photographic Society, Bath, UK; Smith Gallery and Museum, Stirling, UK; America House, Berlin, Germany; Hradcin Gallery, Prague, Czech Republic.For some reason, she held the violets over her head as she ran down the street, as if they were going to protect her from the bombs that were falling,” says Miller. “To me, that is so classic of my mother, because they were something that was beautiful, that might protect her… She thought of art as a protection from violence and ugliness.” The 60s in America, of course, was the despair and the secret hope of a lot of European intellectuals. The freedom, the local inventiveness, the friendliness, charmed them. And Inge, I know, was pleasantly surprised by how dear the people were. Of course, most people were to her; she was very affectionate toward people, and they reacted in a similar way. However, it was a difficult trip because she couldn’t eat meat and Henri liked more delicate cooking. So they were driven half mad by the carrots and the apples and the tea. And they arrived in Reno half starved and ready to work. The recovery of Inge Morath’s color work provides the opportunity to greatly expand our knowledge of Morath’s working techniques as a photographer. In some cases, although their original sequences have been lost, it is now possible to restore photo-essays from which the color pictures had been removed. In so doing, we gain a deeper insight into Morath’s method as we watch her decide when and where to use color film. We see when she recognized that only color could relay the message she wanted to send. Morath always remained positive in the face of adversity, whether it was political or personal. As a colleague, Morath was “an empathic explorer,” says Susan Meisalas, who joined Magnum in 1976. Meisalas remembers sitting beside Morath at Magnum meetings: “[She would be] whispering ideas or laughing about how serious we all were as we faced the challenges of keeping our extended ‘family’ together.” A primary focus of the IM Foundation has been to showcase stories and images that offer us an in depth look into Inge Morath’s photographic career. During the 1950’s, Inge worked on many stories that were commissioned by magazines and publications. She used each as an opportunity to build upon her extensive personal work when she travelled and completed these assignments.

Magazines may have wanted colour images, but colour was not seen as an art form, as Jinx remembers. ‘The idea of photography being “art” is a much more recent concept,’ she says. ‘The purpose of photography was to document, to show the world what the world was about. It was expensive to make a good colour print and while Inge loved using colour, like other photographers of the period she wasn’t overly concerned about making colour prints’. Previously a finalist of the Inge Morath Award in the years 2016 and 2019, she continues to pursue this expanding body of work. She says:

So I was invited to join Magnum, first for a year as an associate, then as a full member. There followed many years of constant travel, shooting stories in different parts of the world, as well as industrial work, stills for movies and theatre, fashion, works for art magazines shot with big cameras and, more and more, portraits. In 1956, my first book Fiesta in Pamplona appeared. And so it has really more or less been going on until today. Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid; Rupertinum Museum, Salzburg The couple collaborated on several projects together, including the book In Russia (1969) and Chinese Encounters (1979), which documented their travels through the Soviet Union and the People’s Republic of China. Morath was disciplined and prepared extensively by studying the language, art and literature of the country she was working in. Miller later wrote that to “travel with her was a privilege because [alone] I would never have been able to penetrate that way.” members of Magnum Photos established the Inge Morath Award in honor of their colleague as an annual award. It is administered by the Inge Morath Foundation, and is given to a woman photographer under the age of 30, to support her work towards the completion of a long-term project. Kynoch, Gabby (22 December 2020). "Inge Morath - Austrian Photographer". Hundred Heroines . Retrieved 27 June 2023.

Morath was born in Graz, Austria, to Mathilde (Wiesler) and Edgar Morath, scientists whose work took them to different laboratories and universities in Europe during her childhood. Her parents had converted from Catholicism to Protestanism. First educated in French-speaking schools, Morath relocated in the 1930s with her family to Darmstadt, a German intellectual center, and then to Berlin, where Morath's father directed a laboratory specializing in wood chemistry. Morath was registered at the Luisenschule near Bahnhof Friedrichstraße. Born in Graz, Austria, a century ago on May 27, 1923, Morath lived in several countries throughout her life. Her parents were Nazi sympathizers, and as scientists their work took them to labs and universities all over Europe. She grew up in the shadow of Nazi Germany, and her first encounter with modern art was in 1937 at the notorious Entartete Kunst exhibition organized by the Nazi Party in Munich, consisting of 650 pieces of ‘Degenerate Art’.

Since 2012 Salzburg, Austria has an "Inge-Morath-Platz" in tribute to the photographer. It is also the location of the Fotohof, a photographic institution which has collaborated with her since the beginning of the 1980s [25] In James Goode’s 1963 book, The Story of ‘The Misfits’– a day-by-day account of the shoot – he hints at the friendly atmosphere the photographers and the actors shared in: It was a rare phenomenon to find somebody so young who had such inherent ‘star quality’, he continues: “As a result of her success, Audrey Hepburn has already acquired the extra incandescent glow which comes as a result of being acclaimed, admired, and loved. Yet while developing her radiance, she has too much innate candor to take on that gloss of artificiality Hollywood is apt to demand of its queens.” Tulic, Sumeja. "The pioneering legacy of Inge Morath - 1854 Photography". www.1854.photography . Retrieved 27 June 2023. A murit de cancer în 2002, la vârsta de 78 de ani. [13] Monografii (selectiv) [ modificare | modificare sursă ]

Inge also documents the daily life of Parisians, young and old. Her interest in architecture of Paris gives a grand voice to the inanimate. The intentional play between these historical structures and the people is undeniable. She wants to represent Paris as an individual, alive with history, beauty, and quirkiness. A city famously known to be one the most romantic in Europe has here also been translated into a one that is rich and vibrant with culture, arts, and nostalgia. After re-locating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America. Morath’s achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the element of playful surrealism that characterizes Morath’s work from this period. It was motivated by a fundamental humanism, shaped as much by the experience of war as by its lingering shadow over post-war Europe. This motivation grows, in Morath’s mature work, into a motif as she documents the endurance of the human spirit under situations of extreme duress as well as its manifestations of ecstasy and joy. After finishing high school, Morath passed the Abitur and was obliged to complete six months of service for the Reichsarbeitsdienst (Reich Labour Service) before entering Berlin University. At university, Morath studied languages. She became fluent in French, English and Romanian in addition to her native German (to these she later added Spanish, Russian and Chinese). "I studied where I could find a quiet space, in the University and the Underground stations that served as air-raid shelters. I did not join the Studentenschaft (Student Body)." [7] Retrospective, Neue Galerie Linz, Austria;America House, Frankfurt, Germany; Hardenberg Gallery, Velbert, Germany; Galerie Fotogramma, Milano, Italy; Royal Photographic Society, Bath, UK; Smith Gallery and Museum, Stirling, UK; America House, Berlin, Germany; Hradcin Gallery, Prague, Czech Republic.members of Magnum Photos established the Inge Morath Award in honor of their colleague as an annual award. It is administered by the Inge Morath Foundation, and is given to a woman photographer under the age of 30, to support her work towards the completion of a long-term project. [ citation needed] This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. ( August 2018) ( Learn how and when to remove this template message) Morath was briefly married to the British journalist Lionel Birch and relocated to London in 1951. That same year, she began to photograph during a visit to Venice. “It was instantly clear to me that from now on I would be a photographer”, she wrote. “As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes.” Morath divorced Birch and returned to Paris to pursue a career in photography. Inge Morath was born in Graz, Austria, in 1923. After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor for Heute, an Information Service Branch publication based in Munich. All her life, Morath would remain a prolific diarist and letter-writer, retaining a dual gift for words and pictures that made her unusual among her colleagues. https://www.bundeskanzleramt.gv.at/agenda/kunst-und-kultur/preise/staatspreis-fuer-kuenstlerische-fotografie.html , accesat în 14 noiembrie 2019 Lipsește sau este vid: |title= ( ajutor)