Gilles Ehrmann

Gilles Ehrmann
Born
Pierre Germain Ehrmann

(1928-09-03)September 3, 1928
Metz
DiedMay 27, 2005(2005-05-27) (aged 76)
Paris
EducationÉcole nationale supérieure des arts décoratifs
Known forRéalités photographer
Notable workLes Inspirés et leurs demeures
MovementSurrealism, Humanist photography
ChildrenSabine (daughter)
Parents
  • Paul Georges Ehrmann (father)
  • Catherine Berthe Kirschmann (mother)
AwardsNadar Prize, 1963

Gilles Ehrmann was the pseudonym of French photographer and photojournalist Pierre Germain Ehrmann, who was born in Metz (Moselle) 3 September 1928 and died May 27, 2005, in the 15th arrondissement of Paris. Active 1950–2005, he published in major magazines, associated with the Surrealists, especially André Breton, exhibited frequently over five decades, and produced several books. His main themes were architecture, landscape and photojournalism.

Early life

Pierre Germain Ehrmann was the son of Catherine Berthe Kirschmann (born in 1891 in Fontoy), and Paul Georges Ehrmann (born in 1894 in Metz), a secretary, and was the younger brother of flautist Huguette Ehrmann (1926–1990). From 1934 to 1940 he attended primary school in Metz and his secondary education, over 1940–45,[1] was in Avignon where during World War II, Gilles Ehrmann took refuge with his mother while his father remained in Lorraine, a member of a Resistance network.[2]

Performer

In Avignon, Ehrmann made his stage debut, performing in Werther and as an extra in Carmen.

From 1946 to 1955, Ehrmann studied at the École nationale supérieure des arts décoratifs in Paris. He founded an avant-garde theatre troupe called "Ceux-là." From these years, he encountered surrealism through the friends of Jacques Hérold, particularly the poet Ghérasim Luca, who he met in 1952 and with whom he collaborated on several publications. He began a film, never completed, La Rue Plage, in 16mm, for which he was producer, screenwriter, and director.[1]

Photographer

From 1950 Ehrmann worked in photography using a large-format camera, the Thornton Picard.[1] In 1955, he illustrated the book by writer and poet André Verdet, Noir Provence, whose cover was designed by Picasso. In 1956, Verdet again approached him for a book on Saint-Paul-de-Vence,[3] with which Jacques Prévert collaborated and where, at the Hôtel La Colombe d'or, Ehrmann took portraits of Picasso, Chagall, etc. From 1956 he began collaborating with the magazine L'Architecture d'aujourd'hui thanks to meeting and photographing the work of constructivist and neo-plasticist sculptor André Bloc who founded the journal in 1930.[4] That year he photographed in the USSR for Editions du Cercle d'Art, and for Jacques Lanzmann's unpublished book. In 1959 he documented Jean Benoît's surrealist performance L'Exécution du testament du marquis de Sade at the Librairie Claude Oterelo, Paris, a series exhibited in 1996 and 2005.[5]

Réalités

In 1956,[6] or 1958,[7] he met Jacques Dumons, artistic director since April 1954 of the magazine Réalités,[7] and began regular collaborations with the magazine for reports on "La Jalousie," for which he staged three actors to produce a plausible documentary illustration; "Les Européens" (1958); "République de Guinée" (1958); "La Chance" (1960); "La Prison" (1960); "La mère de famille," (1961) etc.[1] Also for Réalités, he produced three reports on theatre, appreciation of which he had rediscovered thanks to the choreographer Maurice Béjart.

Through his love of art and poetry and his association with the Surrealists[8] —Jacques Prévert, who from c.1958 incorporated Ehrmann's photographs (some cut from Réalités) in his photocollages,[9] and André Breton in particular—he created enigmatic imagery for Réalités, often architectural views, landscapes ("Terres inviolées de l'équinoxe", November 1962; "3 o'clock in the morning at the polar circle"; August 1963; "Cendres, laves et pumices", September 1964), and compositions beyond straight reportage, many of them reproduced as double-page spreads.

Through dramatic compositions and photo-essays he conveyed a humanist empathy; "The Fate of Black Africa Is Being Played Out in Its Slums" (November 1959); or "Innocent, Justice Condemns Me" (November 1960); and the distress of Breton families in the Côtes d'Armor ("The Breton Calvary," August 1961),

As noted by his associate the Belgian architect André Jacqmain, Ehrmann's architectural photography is innovative;[10] one view (Réalités, November 1958) depicting the vault under construction for the National Center for Defense Industries and Techniques (CNIT), is made a geometric abstraction, and serene water reflections and aerial perspective effects mute the brute forms of an industrial site that appears in John Rothenstein's 1964 The World of Camera.[11] Ehrmann continued to publish in Réalités beyond 1965 including "Le Living Theatre", 1967.

Photobooks

Ehrmann's major book, Les Inspirés et leurs demeures ("The Inspired and Their Abodes"),[12] a study of visionary builders that was published in 1962, is a collector's item. From 1956 to 1960,[13] Ehrmann, often accompanied by his poet friends, created a collection of images and stories about these builders Gaston Chaissac, Fréderic Séron, Hyppolite Massé and Joseph Marmin, and images of their creations such as Palais Idéal of Ferdinand Cheval, the Rochers Sculptés by Abbé Fouré or the Maison Picassiette by Raymond Isidore, and the Bomarzo gardens in Italy. He visited the Palais idéal with Ghérasim Luca, the house of Raymond Isidore with Bréton,[14] and Chaissac with Benjamin Péret,[15] combining encounters, real or fictional, between poets of the written word and those of the built space to create a kind of osmosis between worlds considered parallel and to solicit, from his surrealist friends, the texts that would later accompany his photographs in the book, the first substantial work on the subject. It includes previously unpublished texts by Benjamin Péret, Gherasim Luca and Claude Tarnaud, and is prefaced by André Breton.[16] The latter evokes the visionary gesture of these “few isolated people, after all a very small number in the modern era, people who, for one reason or another, never crossed the threshold of the previous community and who, nevertheless, found themselves grappling with the irrepressible need to give substance to such an organisation of fantasies that inhabited them.”

Though the book won the Nadar Prize in 1963, George Raine notes that though Ehrmann was "one of the first persons to publicize M. Isidore's art [...] not many of the books were printed, and interest or knowledge of this art and works like it remained largely in the province of the French artistic community" before other, English-language publications spread knowledge of these 'naïve' architects and builders internationally.[17]

In 1960, Ehrmann and Jean-Pierre Sudre undertook a major project for the Esthétique industrielle group at the request of EDF. During this time he started a series of photographs of mummified bodies in the catacombs of Palermo for an unpublished book, Œdipe Sphinx (Oedipus the Sphinx), with the poet Ghérasim Luca, exhibited in 1981 at Galerie Agathe Gaillard, Paris, about which, in an interview with Hervé Guibert, he explained:

I wanted to tell a story about life, I sensed that death could very well advocate for life. Initially, while visiting the catacombs of Palermo, the subject intrigued me. I am not reporting, I am acting towards something.[18]

In 1962, he made an extensive trip to Lapland, and in 1968, photographed in Nepal.[1] Faire un Pas, published in 1993 by Hazan, contained photographs from these travels to Nepal, India, and Afghanistan

After the Breton's death in 1966, his wife asked Ehrmann to compile a photographic inventory of the studio at 42 rue Fontaine, images not published until thirty years later in 1997, with text by Julien Gracq.[19]

Reception

Jacques Dumons, art director of Réalités, described Ehrmann as "capable of putting any abstract theme into thoughtful and poetic images."[20]

Frank Horvat remembered Ehrmann as "dangling a cigarette from his lips, telling improbable stories. And when he encounters skepticism in his interlocutor's eyes, he doesn't stop; on the contrary, he adds more, at the risk of exhausting them."

André Breton in 1962 remembered:

When I only knew Gilles Ehrmann by sight—it was on one of the less frequented beaches of Ouessant—how many times did I notice his way of acting, wandering without losing his extreme vigilance to suddenly seize, on the fly, with a click, what could only be a happy play of light across the pebbles![21]

Frequently Ehrmann is referred to as not widely known,[22] or as did Miriam Rosen in Artforum in which she characterises him as "certainly not an unknown photographer", but "low profile", and of his style remarks that Faire un pas ("Take a step", of 1968) "record[s] groups of villagers in Northern India, Afghanistan, and Nepal with the fixity of Italian Renaissance frescoes."[23]

In her review in Le Monde, Valérie Cadet praised his work for "its hallmark of poetry and wandering," and what she saw as major influences, the portraitist August Sander, the modern American photographer Paul Strand, and the reporter Robert Capa.[24]

Historian Jean-Claude Lemagny identifies as his strength Ehrmann's rejection of "anything that displaces, anything that clings or adds to the simple and authentic presence of things and people," while Henri-Claude Cousseau credits him with a "discreet intransigence".[6]

Legacy

In his last years, Ehrmann made a maquette including a number of his prints from differfent series such as: Faire un pas (1962), Les inspirés et leurs demeures (1962), OEdipe-Sphinx (1960–1976) and in 2019, Gilles' daughter Sabine Ehrmann gave it among his archives to the Médiathèque du patrimoine et de la photographie (Media Library of Heritage and Photography).[25] The Médiathèque produced a facsimile, with the series' original layout and chronological sequence, to whch Matthieu Rivallin, assistant to the head of the department of photography, added a biography, and a text by the photographer's daughter.[26]

A 16mm colour film on the photographer, Gilles Ehrmann et la photographie (26 minutes) by Ehrmann's assistant Patrick Van Antwerpen was produced 1993,[27][28] but remained unfinished due to the subject's death, and a monograph by Jean-Luc Mercié appeared in 1998.[29]

Ehrmann himself remarked on his medium that:

In photography, there is a search for material that can lead to a dead end: a beautiful photo. But light transcends material. Colour easily produces a worldly hyperrealism, which is why it must be bleached to achieve a heightened luminosity.[24]

Selected solo exhibitions

  • 1951: Provence Noire, Tourrettes-sur-Loup.
  • 1960: Inspired and Their Homes, Les Deux Îles Gallery, Paris.
  • 1965, 19 June—1 September: Retrospective, designed by Claude Parent and with a catalogue designed by Jacques Dumons. Théâtre-Maison de la Culture, Caen[1][30][6]
  • 1970: Maison de la Culture, Suresnes, France (projection)[6]
  • 1971: Maison de la Culture, Rennes, France (projection; with Gherasim Luca)[6]
  • 1971: Galerie Albertus Magnus, Paris (projection; with Gherasim Luca)[6]
  • 1974 Festival de Fylkingen, Stockholm (projection; with Gherasim Luca)[6]
  • 1974: Maison de la Culture, Rennes, France (projection; with Gherasim Luca)[6]
  • 1975/6 12 December—21 February 21: Photographs of Gilles Ehrmann, Bibliothèque nationale, Paris[31]
  • 1975: Maison de la Culture, Firminy, France (projection; with Gherasim Luca)[6]
  • 1975: Musée d'Art Moderne de la Ville, Paris (projection; with Gherasim Luca)[6]
  • 1975: Comédie, Caen, France (projection; with Gherasim Luca)[6]
  • 1976, 24 April—7 June 7. Photographs of Gilles Ehrmann, Maison de la culture, Bourges[32]
  • 1976, 29 August—26 September: Photographs of Gilles Ehrmann, Norrköpings Museum, Norrköping, Sweden
  • 1976: Franska Institutet, Stockholm[6]
  • 1977 Centre Culturel Les Gemeaux, Sceaux, France[6]
  • 1977 Maison de la Culture, Rennes, France[6]
  • 1978: Musée d'Art Moderne de la Ville, Paris[6]
  • 1979: Maison des Arts et de la Culture, Creteil, France[6]
  • 1980: Galerie Agathe Gaillard, Paris[6]
  • 1981: Oedipe Sphinx, Galerie Agathe Gaillard, Paris[6]
  • 1981 Maison des Junes et de la Culture, La Souterraine, France[6]
  • 1981: Musée des Sables d'Olonne, France[6]
  • 1981: Palais de Chaillot, Paris[6]
  • 1981: Maison de la Culture, Amiens, France[6]
  • 1981: Musée de Chartres, France[6]
  • 1982, 5 August—30 September: Gilles Ehrmann: Photographs, Sainte-Croix Abbey Museum, Les Sables-d'Olonne
  • 1982: Oedipe Sphinx, Chaillot, Gémiers, Paris
  • 1982: Centre St. Martial, Angoulême, France[6]
  • 1983 Hotel d'Escoville, Caen, France[6]
  • 1983: Musée des Beaux Arts, Caen, France (projection; with Gherasim Luca)[6]
  • 1983: Centre Georges Pompidou, Paris (projection; with Gherasim Luca)[6]
  • 1985: Architecture contemporaine en Bretagne, travelled to Brest, Rennes and Nantes, France[6]
  • 1986: Galerie Agathe Gaillard, Paris[6]
  • 1986: Galerie de la Salle, Saint Paul de Vence, France[6]
  • 1993, 6 July—20 August. Gilles Ehrmann: retrospective, Musée Réattu, Arles (as part of the Rencontres de la photographie d'Arles)[2]
  • 1993/4, 14 December—6 February, Gilles Ehrmann: retrospective, Centre photographique d'Île-de-France[23]
  • 1998 July 3 - September 30, 1998: Gilles Ehrmann, curator Michel Roudie, Abbaye aux Dames, Saintes[20][31]
  • 1998/9, 7 October—16 March 16, 1999. Galerie du Château d'eau, Toulouse

Selected group exhibitions

Collections

  • Médiathèque du patrimoine et de la photographie, 11 rue du Séminaire de Conflans 94 220 Charenton-le-Pont[25]
  • Collection Frac Bretagne[49]
  • Centre Pompidou[50]
  • The Israel Museum, Jerusalem[51]
  • Collection Florence and Damien Bachelot
  • Collection Agnès B. La Fab. Galerie du Jour, Place Jean-Michel Basquiat, 75013 Paris
  • Bibliothèque Nationale, Paris; Musée d'Art Moderne de la Ville, Paris[6]
  • Fonds National d'Art Contemporain, Paris[6]
  • Musée des Sables d'Olonne, France[6]
  • Musée de Toulon, France[6]
  • Photothèque de Pret, Arles, France[6]
  • Nörrköpings Museum, Sweden[6]

Publications

  • Provence noire, texts by André Verdet, original cover Picasso, Paris, Cercle d'art, 1955, 143 p.
  • De Saint-Paul-de-Vence, text by André Verdet, Geneva, Pierre Cailler, 1956; 64 photographs by Gilles Ehrmann and a photomontage by Jacques Prévert.[3]
  • Ghérasim Luca, Crier taire sourire fou, Paris, 1961; artist's book: 37 photographs of G. Luca's cubomania by Gilles Ehrmann, mounted on Rives BFK paper, text entirely calligraphed by Pierre Boutillier; edition: 2 copies.
  • Ehrmann, Gilles (1962). Les inspirés et leurs demeures. Paris: Le Temps. OCLC 1059996.[16]
  • Ehrmann, Gilles (1993). Faire un pas. Fondation électricité de France. Paris: Hazan. ISBN 978-2-85025-327-0. Journal of a trip taken in 1968 to India, Afghanistan, and Nepal.
  • Gracq, Julien; Ehrmann, Gilles; Brenton, André, eds. (2003). 42 rue Fontaine - l'atelier d'André Breton. Paris: Biro. ISBN 978-2-87660-374-5.
  • Doisneau, Robert; Ehrmann, Gilles; Soubeyran, Charles, eds. (2004). Les révoltés du Merveilleux. Cognac: Le temps qu'il Fait. ISBN 978-2-86853-417-0.

References

  1. ^ a b c d e f Auer, Michèle; Auer, Michel (1985). Encyclopédie internationale des photographes de 1839 à nos jours =: Photographers encyclopaedia international 1839 to the present. Hermance, Switzerland: Editions Camera obscura. ISBN 978-2-903671-04-4.
  2. ^ a b Hazera, Hélène (22 August 1998). "Critique Photo. Portraits, natures mortes, paysages. Retrospective de l'oeuvre d'un proche des surrealistes. Ehrmann sort du cadre" [Photo review. Portraits, still lifes, landscapes. Retrospective of the work of a relative of the surrealists. Ehrmann steps out of the frame]. Libération (in French).
  3. ^ a b Verdet, André (1954-08-27). "Saint-Paul de Vence en Deux Histoires". Les Lettres françaises (in French). p. 8. Retrieved 22 September 2025 – via Bibliothèque nationale de France.
  4. ^ Delloye, Charles (May 1961). Entenza, John (ed.). "André Bloc, sculptor". Arts and Architecture. 78 (5). Los Angeles: John Entenza: 22–23.
  5. ^ Martin, Lee-Ann; Belmore, Rebecca; Musée national des beaux-arts du Québec, eds. (2005). Au fil de mes jours: Rebecca Belmore ... ; 4 février au 24 avril 2005. Québec: Musée national beaux-arts du Québec. pp. 38, 49, 141. ISBN 978-2-551-22443-2.
  6. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak Mandrey, Guy (1995). "Ehrmann, Gilles". In Marix Evans, Martin; Hopkinson, Amanda (eds.). Contemporary photographers. Contemporary arts series (3rd ed.). New York: St. James Press. pp. 293–294. ISBN 978-1-55862-190-9.
  7. ^ a b Mondenard, Anne de; Guerrin, Michel (2008). "Réalités": un mensuel français illustré, 1946-1978 ["Realities": an illustrated French monthly, 1946-1978] (in French). Maison européenne de la photographie. Arles Paris: Actes Sud Maison européenne de la photographie. pp. 77–8. ISBN 978-2-7427-7221-6.
  8. ^ Conley, K. (2021). "Surrealist Collections in Paris and Sussex". In Lusty, N. (ed.). Surrealism. Cambridge Critical Concepts. Cambridge, United Kingdom New York, NY: Cambridge University Press. pp. 131–150. ISBN 9781108495684.
  9. ^ Prévert, Jacques; Woimant, Françoise; Moeglin-Delcroix, Anne (1982). Les Prévert de Prévert: collages : catalogue de la collection de l'auteur: exposition, Bibliothèque nationale, Paris, 27 janvier-25 février 1982 [Les Prévert de Prévert: collages: catalogue of the author's collection: exhibition, National Library, Paris, January 27-February 25, 1982] (in French). Bibliothèque nationale de France. pp. 36, 37, 47, 52, 69, 118, 119. ISBN 9782717716214 – via Bibliothèque nationale de France.
  10. ^ Jacqmain, André (2005). L'imaginaire émergeant [The emerging imagination] (in French). Bruxelles: Archives dA̕rchitecture Moderne. pp. 16, 72, 177. ISBN 978-2-87143-156-5.
  11. ^ Rothenstein, John (1964). The world of Camera. London: Thomas Nelson & Sons. pp. 76–77. OCLC 17762941.
  12. ^ Montpied, Bruno (Winter 2001). "Outsider art, the Situationist utopia: a parallel". Southern Quarterly. 39 (1/2).
  13. ^ Doisneau, Robert; Ehrmann, Gilles; Soubeyran, Charles, eds. (2004). Les révoltés du Merveilleux. Cognac: Le temps qu'il Fait. ISBN 978-2-86853-417-0.
  14. ^ Soubeyran, Charles (2014). "Robert Doisneau, Gilles Ehrmann, Mario Del Curto : regards photographiques". In Boissière, Anne; Boulanger, Christophe; Faupin, Savine; Université Charles de Gaulle-Lille III; Lille métropole musée d'art moderne, d'art contemporain et d'art brut (eds.). Mythologies et mythes individuels: à partir de l'art brut. Esthétique et sciences des arts (in French). Villeneuve d'Ascq: Presses universitaires du Septentrion. pp. 163–172. doi:10.4000/books.septentrion.31065. ISBN 978-2-7574-0769-1. Retrieved 2025-09-17.
  15. ^ Chaissac, Gaston; Bonnefoy, Françoise; Galerie nationale du Jeu de Paume, eds. (2000). Chaissac: Paris, Galerie Nationale du Jeu de Paume, 11 juillet - 29 octobre 2000 (in French). Paris: Ed. du Jeu du Paume. p. 9782908901757. ISBN 978-2-908901-75-7.
  16. ^ a b Koenig, Raphael (2018). Art Beyond the Norms: Art of the Insane, Art Brut, and the Avant-Garde From Prinzhorn to Dubuffet (1922-1949) (Doctoral dissertation ed.). Harvard University, Graduate School of Arts & Sciences. pp. 125, 156, 264.
  17. ^ Raine, George (2 October 1977). "In Chartres, France M. Isadore made a palace for his spirit". The Salt Lake Tribune. Salt Lake City, Utah. pp. 11, 52.
  18. ^ Guibert, Hervé (1981-01-09). "Un entretien avec Gilles Ehrmann Une nuit lumineuse". Le Monde (in French). Retrieved 2025-09-22.
  19. ^ Ehrmann, Gilles; Gracq, Julien (2003). 42 rue Fontaine - l'atelier d'André Breton. Paris: Au Fil de l'Encre. ISBN 978-2-87660-374-5.
  20. ^ a b "Ehrmann, l'alchimiste du réel" [Ehrmann, the alchemist of reality]. Le Devoir (in French). Montreal, Quebec, Canada. 21 July 1998. p. 15.
  21. ^ Ehrmann, Gilles (1962). Les inspirés et leurs demeures. Paris: Le Temps. OCLC 1059996.
  22. ^ Lemagny, Jean-Claude; Mora, Gilles (1992). L' ombre et le temps: essais sur la photographie comme art [Shadow and time: essays on photography as art]. Collection essais & recherches (in French). Paris: Nathan. pp. 54, 215. ISBN 978-2-09-190653-9.
  23. ^ a b Rosen, Miriam (September 1994). "Reviews: Gilles Ehrmann, Centre Photographique d'Ile de France". Artforum. 33 (1).
  24. ^ a b Guerrin, Michel (2005-06-01). "Gilles Ehrmann, photographe français. Discreet and little-known artist of the 1950s-1970s, whose work is marked by poetic form and reportage, he died on Saturday, May 28. He was 76 years old" (in French). Retrieved 2025-09-22.
  25. ^ a b "Le fonds Gilles Ehrmann sur POP". mediatheque-patrimoine.culture.gouv.fr (in French). Retrieved 2025-09-17.
  26. ^ Rivallin, Matthieu (28 March 2025). Chauveau, Bernard (ed.). Gilles Ehrmann : Un Monde A Parcourir [Gilles Ehrmann: A world to travel] (in French). Couleurs contemporaines. ISBN 9782363063694.
  27. ^ Film-documentaire.fr. "Gilles Ehrmann et la photographie". www.film-documentaire.fr (in French). Retrieved 2025-09-22.
  28. ^ "Gilles Ehrmann, et la photographie – CBA". cbadoc.be (in French). Retrieved 2025-09-25.
  29. ^ Mercié, Jean-Luc; Ehrmann, Gilles (1998). Gilles Ehrmann photographe (in French). Cognac: Le temps qu'il fait. ISBN 9782868532817.
  30. ^ Ehrmann, Gilles; Théâtre Maison de la Culture de Caen (1965). Gilles Ehrmann, photographe: du 19 juin au 1er septembre 1965, Théâtre Maison de la Culture de Caen (in French). OCLC 31500213.
  31. ^ a b Cadet, Valerie (17 July 1998). "Gilles Ehrmann, photographe alchimiste du réel". Le Monde.
  32. ^ Ehrmann, Gilles; Breton, André; Luca, Gherasim (1976). Gilles Ehrmann. Bourges: Maison de la culture.
  33. ^ Pawek, Karl; Böll, Heinrich (1964). World exhibition of photography on the theme 'What is man?' 555 photos by 264 photographers from 30 countries. Translated by Bowles, Patrick. Hamburg: Gruner & Jahr. OCLC 1524037131.
  34. ^ "Aujourd'hui". Art et Architecture (55–56). January 1967.
  35. ^ "Scénographie de l'exposition "Exploration du futur" aux Salines d'Arc-et-Senans (1965). Photographe : Gilles Ehrmann". Bibliothèque Kandinsky. Retrieved 2025-09-24.
  36. ^ "The Creative Camera". San Francisco Chronicle. 26 November 1967. p. 229.
  37. ^ Hall, Jane (3 March 1968). "Hallmarks: Museum's Photography Exhibit a Fine Show". The News and Observer. Raleigh, North Carolina. p. 15.
  38. ^ "In Richmond Photographic Exhibition". The World-News. Richmond, Virginia. 6 June 1968. p. 8.
  39. ^ "'Cathedrale De Laon' by Gilles Ehrmann at Virginia Museum. Photography exhibit open". Culpeper Star-Exponent. Culpeper, Virginia. 24 June 1968. p. 3.
  40. ^ Pawek, Karl (1973). 3rd World exhibition of photography : the path to paradise. 434 photos from 86 countries by 170 photographers. Hamburg: Gruner & Jahr. OCLC 1347968.
  41. ^ Mathey, François; Musée des Arts décoratifs, eds. (1979). La famille des portraits: avec le concours du ... au Musée des Arts Décoratifs du 25 octobre 1979 au 15 février 1980. Paris: Musée des Arts Décoratifs. ISBN 978-2-901422-09-9.
  42. ^ France Ministère de la culture et de la communication (1980). 10 photographes pour le patrimoine : Boubat, Descamps, Dieuzaide, Ehrmann, Kempf, Laboye, Lattès, Ronis, Thersiquel, Walusinski. Paris: Ministère de la culture et de la communication. OCLC 10948171.
  43. ^ "Series 8 | A Finding Aid to the Zabriskie Gallery records, 1905-2011 | Archives of American Art, Smithsonian Institution". www.aaa.si.edu. Retrieved 2025-09-24.
  44. ^ Prévert, Pierre; Fondation nationale de la photographie (1981). Jacques Prévert et ses amis photographes. Lyon: Fondation nationale de la photographie. OCLC 11013367.
  45. ^ Camille, Michael (2009). The gargoyles of Notre-Dame: medievalism and the monsters of modernity. Chicago: University of Chicago Press. ISBN 978-0-226-09245-4.
  46. ^ Prévert, Jacques (1982). Les Prévert de Prévert: collages. Catalogue de la collection de l'auteur (in French). Paris: Bibliothèque Nationale. OCLC 1419353386.
  47. ^ "6 photographes chez Le Corbusier". www.centrepompidou.fr (in French). Retrieved 2025-09-24.
  48. ^ Staff, Exibart Editorial. "COLLECTION: 150 Photographs from the Bachelot Collection". Exibart Street. Retrieved 2025-09-22.
  49. ^ Pigeon, Adriana. "la collection en ligne". Frac Bretagne (in French). Retrieved 2025-09-22.
  50. ^ "Gilles Ehrmann". Centre Pompidou (in French). Retrieved 2025-09-17.
  51. ^ Ehrmann, Gilles (1960). "Portrait of Joyce Mansour. The Vera and Arturo Schwarz Collection of Dada and Surrealist Art in the Israel Museum". www.imj.org.il. Retrieved 2025-09-17.
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