Analysis Of The Statue Of Marshal Ney In The Fog

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The photo “Statue of Marshal Ney in the Fog” was taken by the famous artist Brassaï in 1932, one year before the publishing of his book “Paris de Nuit”, a collection of night photographies of the French capital, mostly representing empty gardens and streets in the rain and fog. The picture, featured in the collection, is a clear example of his early artistic period, which coincides with his first approach to photography itself.
In the scene we can see the main element, a monument representing the illustrious French military commander Michel Ney (which gives the title to the entire work), positioned on the extreme left, dominating the mid and upper third, while in the lower one it is possible to notice a round fence that encircles the
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Undoubtedly, without that luminous minutia, the picture wouldn’t have the same appeal.The photo is generally soft, since it doesn’t convey plenty of details (given the evident atmospheric disturbances) but when focusing on the main physical components present in the scene, in particular, the intricate decor on the fringe of the fence, it is possible to notice an unexpected sharpness, probably achieved with more precision in post-production. Because of that, the use of colours and lights appears to be particularly relevant. The exploitation of hidden backlight sources in this night photography gives the perception of a much stronger and dramatic contrast, enriching the smooth grayscale palette used for the background. The boldly black silhouette stands out majestically in the dense grey mist, and the letters of the sign appear with some sort of mystic grandeur, also acting as a key light point. It’s impossible not to focus on them and not to notice their evident difference, their belonging to different “worlds”.The depiction of neon is also significant: this kind of light is blueish and extremely cold. Consequently, it’s the complete opposite of the typical warm light provided by lampposts, always used to portray Paris by night to convey a sense of romanticism.
Moreover, the picture is not exactly frontal, as the angle of the fence suggests: this slight curvature accentuates, even more, the

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