It was with its first book, Paris at Night, today a modern classic, that Brassai had its established reputation. Some of the pictures in this book are defined with clearness and shining light, while others capture the fog of the rainy nights. It has the ones that portray the life obscure of the world of the criminals. To the measure that Brassai created more pictures of the parisiense life, its fame was if becoming international. Its pictures on what today we call grafitagem or pichao, carried through in walls of building in ruins, had been object of its ' ' one-man show' ' in the Museum of Modern Art of New Iorque. On the subject it affirmed: ' ' ' ' the thing that is magnificent about photography is that it can produce images that stirs up emotion based on the subject to matter alone.' ' ' ' Other individual presentations had occurred in Biblioth-That Nationale in Paris, in George Eastman House in Rochester, and the Art Institute in Chicago. Its work was enclosed in many international exhibitions and published in many magazines.

It was the last person to receive the England? s P.H. Emerson Award of the proper one. is interesting to notice that Brassai continued its work in other arts as drawing, poetry, and sculpture. Albums of its drawings and a volume of poetry, Les Pro after of Marie, had been published, and had an exposition with 50 sculptures of it in Paris. Together with other great artists contemporaries? Picasso, Moore, Calder, and Noguchi, Brassai received the honroso invitation to create a 23 mural of X 10 feet for the palace of UNESCO in Paris. Brassai left important affirmations on photograph, amongst which: ' ' We should try, without creasing you the sewing press ourselves constantly by leaving our subjects and even photography itself from teams you the teams, in to order that we may eats back you them with reawakened zest, with the virginal eye.

That is the most precious thing we can possess.' ' ' ' The night suggests, does not teach. The night finds in them and it surprises in them for its queerness; it liberates in us the forces that, during the day, are dominated by razo.' ' (Brassa) Sees the article with photos in mine blog WordPress AntonioLimJr.WordPress Brassai (1899-1984) Photo of BrassaiAmantes in a woollen coffee Place d? Italie, Brassai, 1932Foto nocturnal of BrassaiHomens confidenciando, BrassaiBijoux, BrassaiHoly Week, Seville, BrassaiLes escaliers of montmartre, 1936, BrassaiNevoeiro (Foggy), Brassai, 1934.BibliografiStepan, Peter. 50 Photographers you should know. Prestel, Munich, 2008, pp. 92-93.Stepan, Peter. Woollen Iconos Photograph? El Siglo XX. Electa, 2006, pp. 52-53. Consulted in 19/12/09 to the 14:33 hs. Consulted in 19/12/09 to the 14:33 hs.