First Color • Inge Morath • Magnum Photos

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Arts & Culture

First Color

Images from Inge Morath’s first decade of work in color photography

Inge Morath

Inge Morath | First Color Young girl on horseback during Romería de El Rocío. Andalusia, Spain. 1955. © Inge Morath | Magnum Photos
Inge Morath | First Color Gypsy family in County Kerry. Killorglin, Ireland. 1954. © Inge Morath | Magnum Photos
Inge Morath | First Color Group sit together in field. Basutoland, South Africa. 1955. © Inge Morath | Magnum Photos
Inge Morath | First Color Women in cafe. Vienna, Austria. 1961. © Inge Morath | Magnum Photos
Inge Morath | First Color Nomad women. Near Pasargadae, Iran. 1956. © Inge Morath | Magnum Photos
Inge Morath | First Color Ghost town in Nevada. Goldfield, USA. 1960. © Inge Morath | Magnum Photos
Inge Morath | First Color Woman pinching boy's ear. Certeze, Romania. 1958. © Inge Morath | Magnum Photos
Inge Morath | First Color Street corner at World's End. London, England. 1954. © Inge Morath | Magnum Photos
Inge Morath | First Color Dancing during Romería de El Rocío. Seville, Spain. 1955. © Inge Morath | Magnum Photos
Inge Morath | First Color Picador and Matador at the Plaza de Toros. Madrid, Spain. 1955. © Inge Morath | Magnum Photos
Inge Morath | First Color Man with a parrot. Shiraz, Iran. 1956. © Inge Morath | Magnum Photos
Inge Morath | First Color Driving in Nevada. Reno, USA. 1960. © Inge Morath | Magnum Photos
Inge Morath | First Color Onlookers. Mexico. 1959. © Inge Morath | Magnum Photos
Inge Morath | First Color Fishermen. Mahdia, Tunisia. 1959. © Inge Morath | Magnum Photos
Inge Morath | First Color U.N. troops at Israeli frontier. Gaza. 1960. © Inge Morath | Magnum Photos

“Inge Morath’s early color photographs, made in the 1950s and 1960s, show all the humor and keen perception that distinguishes her more familiar work in black and white. In addition, these images reveal a great degree of skill and sensitivity to the unique demands of working with color film. Morath exerts exquisite control at moments where a less disciplined artist might succumb to sentiment. In image after image, she finds the essential colorful detail that transforms an ordinary view into a lyrical metaphor”

Exert from Mary Panzer’s introductory essay.