Taking photographs in Morocco was done historically, but the limitations were greater than in many other places. Religious beliefs have always restricted the willingness of Moroccans to appear in photographs, as well as how much of themselves they will reveal. Although the light (as painters have impressed us) is remarkable there, that light does little to help black and white images. Until fairly recently, the technology of color photography was not good enough to attract serious work by photographers.The introductory essay provides many interesting perspectives on Moroccan photographers. "Morocco is a snare for photographers." "It seduces them with its light . . . ." "It attracts them with its mystery and lavishes its legendary hospitality on them . . . ."
Despite this, most of the photographs focus on the people of Morocco. There are lots of luscious landscapes there, but few appear in this volume. Also, Morocco seems rich in architectural detail in its mosques and palaces. These are reasonably well represented. The markets are amazing in their vitality, and the volume has one remarkable panorama that captures this. You feel like you're on the set of some big budget Hollywood movie.
In the beginning, these photographs had to be of people who were willing to be photographed. So the models are usually blacks, Jews, and people who practice the lowest professions. Even with this, most people are covered up so that few glimpses of the person emerge. That only increases the sense of mystery.
The essays give a good sense of each of the major photographers presented in this volume, and add to your understanding of the work.
Why, then, did I grade the book as a 3 star book? Well, while the photography is often good, little of it is outstanding. The relative lack of color photographs and landscapes is a missed opportunity.
For example, Harry Gruyaert's color Essaouira from 1976 is brilliant and makes you ache for more. This image has a man in an alley way with his red fez standing out in making him an individual. The rich colors of the ground and the walls are similar to the color of his skin, and provide a sense of continuity between nature and man. The composition is wonderful, and the execution is close to perfect.
Similarly, Michael Kenue's Clouds in the Desert from 1996, (while in black and white} makes you yearn for more images of sky and desert. Surely, there must have been more photographers who were drawn to that subject matter in this nation with large deserts.
I suspect that the book's concept evolved around the difficulties of doing human studies, and tried to stay with that area as much as possible. Perhaps the book should have been titled to reflect that focus on the hidden face and body behind the voluminous clothing.
Here are my other favorites in this extensive collection:
Henri Duveyrier, Fez, 1885
Anonymous, Moroccan Woman, c. 1880
Anonymous, Woman Dressed in a Haik, c. 1880
Attributed to A.J. Valentine, Young Man and Tambourine, c. 1890
Anonymous (monogrammed J.P.), Countrywoman, c. 1880
Gabriel Veyre, Fantasia, 1901
Marcelin Flandrin, In the Souks of Marrakech, c. 1910-1930
Marcelin Flandrin, Casbah of Talaat N'Yacoub in the Goundaja, c. 1910-1930
Rene Bertrand, Marrakesh, after 1933
Andrew Steiner, Snake Charmer, 1933
Andre Steiner, Untitled, 1933
Jean Beaucenot, Moulay-Idriss, c. 1934-1939
Bernard Rouget, Fantasia Horemen, c. 1950
Bernard Plossu, Untitled (second one), 1975
Alain Coccaroli, High Atlas, Mossneat Tin Mel, 1994
Bernard Deschamps, High Atlas, Former Casbah of Ali Benhouddou, 1999
After seeing this collection, I encourage you to return to that eternal question: Which is more intriguing, that which is fully accessible or that which is virtually inaccessible? Most people would argue the latter. See what your reaction is to the mystery of who the Moroccans are.
Enjoy the lure, but focus on the beauty and the truth that are available to you!
