Nationality: Hungarian | Born: 1896 - Died: 1963
Martin Munkácsi (born Mermelstein Márton; Kolozsvár, Hungary, May 18, 1896; died July 13, 1963, New York, NY) was a Hungarian photographer who worked in Germany (1928–34) and the United States, where he was based in New York City.
Munkácsi was a newspaper writer and photographer in Hungary, specializing in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi's innovation was to make sports photographs as meticulously composed action photographs, which required both artistic and technical skill. Munkácsi's legendary big break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for the Berliner Illustrirte Zeitung, where his first published photo was a race car splashing its way through a puddle. He also worked for the fashion magazine Die Dame. More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and famously Liberia, for photo spreads in the Berliner Illustrirte Zeitung. The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crosses over a boat whose passengers wave to the airship above. On March 21, 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for the Berliner Illustrirte Zeitung, he photographed Hitler's inner circle, although he was a Jewish foreigner. In 1934, the Nazis nationalized the Berliner Illustrirte Zeitung, fired its Jewish editor-in-chief, Kurt Korff, and replaced its innovative photography with pictures of German troops. Munkácsi left for New York, where he signed on, for a substantial $100,000, with Harper's Bazaar, a top fashion magazine. In a change from usual practice, he often left the studio to shoot outdoors, on the beach, on farms and fields, at an airport. He produced one of the first articles in a popular magazine to be illustrated with nude photographs. His portraits include Katharine Hepburn, Leslie Howard, Jean Harlow, Joan Crawford, Jane Russell, Louis Armstrong, and the definitive dance photograph of Fred Astaire. Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world. Berlin's Ullstein Archives and Hamburg's F. C. Gundlach collection are home to two of the largest collections of Munkácsi's work.
For most of his life, Martin Munkacsi was a madcap adventurer, Candide with a camera. In pursuit of great pictures during the 1930s and ’40s, the Hungarian-born photographer traveled from his home in Berlin and, later, New York to such far-flung places as London, Liberia, Rio de Janeiro, Hawaii, Turkey, Seville and San Francisco. To this day, Munkacsi’s prints of sporting events, leisure activities, fashion, portraiture and political events remain unrivaled for their energy and flair. Using a 4x5 reflex camera by Adams of London for portraits and a 4x5 speed graphic camera for the outdoors, he combined formal inventiveness with a crack reporter’s nose for a good story. His admirers included colleagues as different as photojournalist Henri Cartier-Bresson and Richard Avedon, the fashion photographer. Munkacsi’s mantra could not have been simpler. “My trick,” he wrote in 1935, “consists [of] discarding all tricks.” To be sure, his pictures of car races, amusement park rides and bathers in the surf as well as starlets like Greta Garbo, Leni Riefenstahl and Katherine Hepburn project an air of informality. “Never,” Munkacsi advised, “pose your subjects, Let them move about naturally.” At the height of the Depression he declared, “All great photographs today are snapshots.”