In the fourth and final article in a series tracing the career of Michael Kenna, Michael discusses the influence of Czech photographer Josef Sudek, dubbed the ‘Poet of Prague’, who was best known for his lyrical and poetic black-and-white images of Prague, and intimate still life’s taken in and around his studio. Many of Sudek’s most memorable images were taken from the window of his small studio, documenting his humble courtyard during changing weather and light conditions. Sudek created a renowned series between 1940 and 1954 called Okno mého ateliéru (The Window of My Studio). Greatly concerned with print quality, Sudek preferred to make large-format contact prints of his work, and experimented with the demanding technique of pigment printing.
“Everything around us, dead or alive, in the eyes of a crazy photographer mysteriously takes on many variations, so that a seemingly dead object comes to life through light or by its surroundings.” Josef Sudek
Michael Kenna | Reflections of Josef Sudek (1896-1976)
“In my earlier, more experimental days, as a photographer, I sometimes used infra-red film and the effects were fascinating. The film captured a whole different spectrum of light which seems to emanate from within the subject matter, rather than just reflect onto and describe the surface. This is a quality of light that Josef Sudek was able to find without using this film. His light also seems to come from within the subject itself. Sudek's genius, at least for me, is manifested in his photographs of simple matters: leaves, water glasses, trees and views from his studio window. These images contain the mystery of the universe and visually embody William Blake’s words ‘To see a World in a Grain of Sand, And a Heaven in a Wild Flower’.
White Rose In A Glass 1952 © Josef Sudek
Sudek worked with a large format camera. He only had one arm to carry all his bulky equipment, and the quick digital phone snaps we can make today were not a possibility for him. Fortunately for us, Sudek focussed, paid attention and patiently concentrated. Pico Iyer describes this way of photographing to be akin to praying, and I agree with him. There is a stillness and gravity in Sudek’s work which draws us in and slows us down. It is a quality and intention for which I have the highest admiration and attempt to do myself. Sudek faithfully photographed in and around Prague all his life. His contact prints have both a delicate fragility and jewel like strength.
Evening On Charles Bridge, Prague circa 1950s © Josef Sudek
In 1982, I first went to Prague and searched for his more well-known locations, including St Vitus Cathedral, Charles Bridge and Vltava River. Over the years since, I have returned many times, always aware of his presence and continued influence on my work. I had a fleeting, young flirtation with Infra-Red, but it doesn't compare to the deep and longstanding romance I have experienced with Sudek's work since I first fell in love with it, over four decades ago.” Michael Kenna, 2020
Garden Rose, Monique’s Kindergarten, San Francisco, USA 1996 © Michael Kenna
Charles Bridge, Study 1, Prague, Czechoslovakia 1982 © Michael Kenna
Charles Bridge, Study 2, Prague, Czechoslovakia 1989 © Michael Kenna
