Francis Haar: a lifetime of images
"Francis Haar [1908-1997] practiced his art of photography and filmmaking in three distinctly different worlds. He started his first studio in his native Budapest; later he moved to Paris and from there he was invited to Japan. After twenty years working in the Orient -- interrupted by three years of activity in Chicago -- he settled in Honolulu in 1960. He brought with him from these previous experiences priceless riches and memories, reflected in all of his contemporary work.
"He emerged from the same artistic and cultural milieu which nurtured Laszlo Moholy-Nagy and Gyorgy Kepes, with whom he enjoyed a personal and artistic friendship. As with so many Hungarians, he became fluent and expert in the 'Language of Vision' and enthralled with the 'Vision of Motion.' When expressing himself verbally, his Hungarian accent is unmitigated, but when speaking visually, in photography or in cinematography, his message resonates with overtones from Japan and reverberates with the cosmopolitan sophistication of European and American big-city environments. Like other sensitive and receptive newcomers to Hawai'i, he became deeply attracted to the study of Hawaiian culture....
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"The city was in ruins except for some large buildings. " As he was speaking, he
began to shake out the contents of his backpack. "The large buildings are being
occupied by the American Occupation Forces as headquarters. " Out poured ...
Signal Corps in Tokyo, what was happening in newly occupied Japan, and I was
to take photographs to 7946 illustrate the Americans' stories. I worked for them for
six ... Women working for the American occupation forces liked to have. 66.
Women working for the American occupation forces liked to have their photos
taken in kimono. As Francis was busy with the Allied GHQ, much of the portrait
work like this was done by Irene. Francis on a picnic in Kamakura with his
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