The expansive and intimate collection wasn’t found until after the fashion photographer’s death
was a famously private man, keeping a markedly low profile throughout his lifetime in spite of the widespread acclaim he garnered as a fashion photographer in the 60s and 70s. His modus operandi was one of constant, quiet observation, whether capturing glorious Kodachrome studies of the New York City streets or lensing models for the likes of. “There’s a great story that Grace Coddington tells in her biography,” Margit Erb, director of the Saul Leiter Foundation, tells AnOther.
“Saul was self-taught in art history and he loved the French Impressionists, and the work of Matisse, Vuillard, Bonnard,” Erb notes of the images’ painterly quality, from the lighting to the masterfully casual composition and pose. “He was a painter too and you can see various themes carried over from those artists into his photographs. Bonnard, for example, painted his wife taking a bath, a very sweet domestic portrayal that is reflected in these works. It’s women doing their everyday thing.
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