El Morocco, 1955
Garry Winogrand (American, 1928–1984)
Gelatin silver print
I grew up seeing this image everywhere. Then, to see it hanging at the Met, I understood why. The composition is as perfect as any High Renaissance painting. We do not see him. We see her reaction. And it is feral, urban, specific to the Cafe Society of the NYC Supper Clubs of the 40s and 50s, and universal in its emotional life. It is one of the images that took the camera on its very long journey from novelty to its rightful destination as an instrument of serious art.
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