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Composition, 1929
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Composition, 1929
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L’arbre qui marche, 1949
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Montage, 1929
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New York dans ma Barque, 1948
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Nu, Surimpression, ca. 1930

Maurice Tabard (1897-1984) Avant-garde photographer Maurice Tabard (born in Lyon) experimented with a number of techniques, including solarization, double exposure, and photomontage. Tabard’s father, a silk manufacturer and amateur photographer, left France with his son in 1914 to work in the silk mills of Paterson, New Jersey. The young Tabard worked as a silk designer during the day and studied painting at night. A few years later the Tabards moved to New York City, where Maurice studied briefly at the New York Institute of Photography.In 1922 Tabard joined the staff of the Bachrach Studio as a portrait photographer and worked in a number of cities, including Baltimore, Washington, D.C., and Cincinnati. Six years later he returned to France, establishing himself in Paris as a freelance portrait, fashion, and advertising photographer. During these years he became associated with Man Ray and René Magritte and began experimenting with solarization and double exposure. In 1929 his photographs were included in the Film und Foto exhibition of avant-garde photography and film in Stuttgart. Throughout the 1930s-50s Tabard continued to produce his own experimental work while pursuing various commercial jobsfor Deberny-Peignot publishers, Pathé Films, Gaumont Films, the French government, Harper’s Bazaar in Europe and the United States, and Paul Linwood Gittings Studio, New Yorkand worked as a freelance photographer from 1948-65. In the mid-1960s he retired from photography and in 1980 moved to Nice.
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Photomontage (Standing Nude With Superimposed Face)
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Room with Eye, 1930.
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Sans Titre, 1930.
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Double Exposition, 1930s
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L’oeuil et la plage

Maurice Tabard (12 de julio de 1897 – 23 de febrero de 1984) fue un fotógrafo francés. Comenzó a estudiar para músico pero no tuvo éxito, con diecisiete años su padre lo matriculó en el Instituto de Fotografía de Nueva York y comenzó a trabajar en esta ciudad. Regresó a París y se dedicó a la fotografía de modas colaborando con revistas como Le Jardin des Modes, Vu, Vogue y Bifur. En estos años conoció a Magritte y en 1931 realizó su fotografía más conocida que se titula Composition (surimpression) que se considera un ejemplo de trabajo surrealista.2 En 1933 realizó su primera exposición y sobre esa época conoció a Brassaï, André Kertész y Man Ray. Su obra se encontraba influenciada por la Nueva Visión y utilizaba recursos como la solarización, el fotograma o la sobreimpresión
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Untitled, 1932
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Sans titre 1932
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Sans titre 1931
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Fashion for Balmain 1949