Ina Bandy

Ina Bandy (born Ida Gurevitsch, 14 October 1903-1973) was a humanist photographer. Specialising in photographs of children, her work is held in the French National Archives and the Bibliothèque nationale de France.[1]

Biography

Bandy was born Ida Gurevitsch to a relatively non-religious Jewish family in Tallinn, Estonia, then a part of the Russian Empire.[2] Her family escaped to Moscow at the outbreak of war in 1914, but the Revolution of 1917 nevertheless claimed the life of one of her brothers.[3]

In the early 1920s, Bandy remained in Moscow while her mother accompanied her youngest brother Benjamin to Germany. At this time, Bandy met Nicolas Neumann (alias Nicolas Bandy), a Hungarian photographer who mentored her in photography. They married in 1925 but were to divorce later – even so, Ina Bandy would keep her pseudonym, moving to Germany before settling in France during the early 1930s. In Paris, she became a member of Alliance Photo, a photographic agency founded by René Zuber and directed by Maria Eisner, but she would cross into the zone libre at the outbreak of World War II.[1]

After World War II, Bandy went back to Paris and moved into the Hotel de Paix, where she set up her workshop on the ground floor.[3]

She produced photographic commissions for various newspapers and magazines such as ELLE, Médecine de France and Art News. While photographing a group of children living at a Paris Metro station for the Combat newspaper, Bandy met Robert Ardouvin, founder of ‘Les Amis des Enfants de Paris’. From 1948 the association housed underprivileged children in a village in Vercheny[4] and Bandy helped to photograph these children, remaining attached to the ‘Village D’Enfants’ until her death in 1973.[5]

In 1948, Ina Bandy also became a member of Le Groupe des XV, putting her in the company of other humanist photographers such as Willy Ronis and Sabine Weiss.[3][6]

Bandy also worked for organisations such as UNESCO, Air France, the French National Archives and the Louvre[3]. Her friendship with Régine Pernoud, a French medieval historian, would also lead her to take photographs of seals, medals, and medieval churches.[3]

Collections, exhibitions and published work

Collections

A collection of Bandy's photographs are held at the BnF[7] and the French National Archives.[1] She was commissioned by Régine Pernoud, conservator at the Museum of History in France between 1949-1974.[1]

The Courtauld Institute of Art also holds photographs by Bandy in the Conway Library.[8] They are currently being digitised by the Courtauld Institute of Art, as part of the Courtauld Connects project.[8]

Exhibitions

2006-2007: La photographie humaniste: 1945-1968 (curated by Laure Beaumont-Maillet, Francoise Denoyelle). Bibliothèque Nationale de France, Paris.[9]

2013: La vie a fleur d’objectif, a solo exhibition of Ina Bandy's works, the Gallery of the Alliance Française de Bruxelles-Europe, Brussels.[2]

Published work

Bandy has contributed photographs for various works written by André Malraux, including his three volumes on The Psychology of Art (published 1947-1949)[10][11]. Her photographs taken in Sri Lanka between 1955-1956 are used as sources for the illustrations in E. F. C. Ludowyk's book The Footprint of the Buddha.[12]

gollark: It's actually worse than *just* that though, because of course.
gollark: There are some other !!FUN!! issues here which I think organizations like the FSF have spent some time considering. Consider something like Android. Android is in fact open source, and the GPL obligates companies to release the source code to modified kernels and such; in theory, you can download the Android repos and device-specific ones, compile it, and flash it to your device. How cool and good™!Unfortunately, it doesn't actually work this way. Not only is Android a horrible multiple-tens-of-gigabytes monolith which takes ages to compile (due to the monolithic system image design), but for "security" some devices won't actually let you unlock the bootloader and flash your image.
gollark: The big one *now* is SaaS, where you don't get the software *at all* but remote access to some on their servers.
gollark: I think this is a reasonable way to do copyright in general; some (much shorter than now!) length where you get exclusivity, which can be extended somewhat if you give the copyright office the source to release at the end of this perioid.
gollark: This isn't really "repair"y, inasmuch as you can't fix it if it breaks unless you happen to be really good at reverse engineering.

References
  1. "FRAN_NP_052248 - Online catalogue". www.siv.archives-nationales.culture.gouv.fr. Retrieved 2020-07-16.
  2. ""La vie à fleur d'objectif" par Ina Bandy". Alliance française de Bruxelles-Europe (in French). Retrieved 2020-07-11.
  3. "Ina Bandy - Biographie". www.inabandy.org. Retrieved 2020-07-11.
  4. "La fondation - Fondation Robert Ardouvin". www.fondation-ardouvin.org. Retrieved 2020-07-11.
  5. "Ina Bandy - exposition "La vie à fleur d'objectif"". www.inabandy.org. Retrieved 2020-07-11.
  6. Sougez, Emmanuel; Sougez, Marie-Loup; Rochard, Sophie (1993). Emmanuel Sougez: l'éminence grise. Éditions Créaphis. p. 21.
  7. "Ina Bandy (1903-1973)". data.bnf.fr. Retrieved 2020-07-12.
  8. "Who made the Conway Library?". Digital Media. 2020-06-30. Retrieved 2020-07-12.
  9. Beaumont-Maillet, Laure; Denoyelle, Françoise; Versavel, Dominique (2006). La photographie humaniste, 1945-1968.
  10. Malraux, André (1949). The Psychology of Art: The twilight of the absolute. Pantheon Books.
  11. Malraux, André (1949). The Psychology of Art: The creative art. Pantheon Books.
  12. Ludowyk, E. F. C. (2013-05-13). The Footprint of the Buddha. Routledge. ISBN 978-1-135-02950-0.


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