The little-known colour photography of Vivian Maier

Unearthed gems — The late photographer, who worked in total seclusion throughout her life, left behind 40,000 colour slides which had never been seen – until now.

When legendary American photographer Vivian Maier died in 2009 at the age of 83, she left behind some 40,000 Ektachrome colour slides that had gone unseen and unpublished. Thankfully, a new exhibition and monograph – titled Vivian Maier: Colour Photographs  – showcase the stunning works made by the artist, who worked in total seclusion throughout her life. 

For more than 40 years, Maier work as a nanny on Chicago’s wealthy North Side. Her job gave her the ability to hit the streets with her camera and take portraits of modern life during the second half of the 20th century. 

“Look closely art the many self-portraits Vivian Maier made, and you will see her disguises, her cloak of invisibility,” photographer Joel Meyerowitz writes in the book’s foreword. “She’s as plain as an old-fashioned school marm. She’s the wallflower, the spinster aunt, the ungainly tourist in the big city… except… she isn’t!”

As a photographer, Maier served no one but herself. Liberated from the demands of a commercial or fine art career, she took artistic freedom to its ultimate height, indulging in the pleasures of colour photography long before it was embraced by the art world. 

“Colour was the language of corporate and commercial artwork and photography,” says Giles Huxley-Parlour, gallerist. “Your holiday brochures in the 1970s, supplements in newspapers, and postcards were in colour, and art was in black and white.”

Untitled, c. 1977 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York

Self-Portrait, Chicago Area, June 1978 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York

“The art establishment: critics, photographers, and museum curators, didn’t consider colour to be worth considering because it was tainted with commerciality. It’s madness if you think about it, but that’s the way it was. I doubt Vivian Maier had a sense of any snobbery in the art world given her position.”

Maier’s life is largely a mystery – one that continues to enthral art historians and collectors for her precision of vision found throughout her prolific archive.

“I have looked through many photographers archives in my career and most have 20 good pictures, 50 nearly very good pictures, and that’s it – even the big names – and the rest is quite forgettable,” Huxley-Parlour says. “Vivian Maier’s hit rate for a good photograph is off the charts. She was blessed with an extraordinary genius.”

Maier’s gifts are particularly resonant in the colourwork, where her poetic sensibilities are enhanced by a rich sense of humour that may have come from her choice of camera. “She was using a Rolleiflex for the black and white photographs – quite a big camera you look down into from your waist so it doesn’t allow for much spontaneity,” Huxley-Parlour says. “Whereas colour was 35mm, a lighter, smaller camera up by the eye that enables you to move about more quickly and snap away.” 

Maier made it a point to be anonymous in the creation of her work. She mastered the art of anonymity and in doing so, her archive speaks the power true independence affords – to be liberated to create anything the heart desires, knowing that, in and of itself, is enough. 

Self-Portrait, 1961 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York

Chicago, February 1976 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York

Chicago, April 1977 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York

Chicago 1962 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York

Chicago 1977 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York

Self-Portrait, Chicagoland, October 1975 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York

Untitled, c. 1977 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York

Vivian Maier: Colour Photographs is on view at Huxley-Parlour, London, through September 14.

Follow Miss Rosen on Twitter.

Enjoyed this article? Like Huck on Facebook or follow us on Twitter


You might like

Vibrant book covers against bleak, rocky hills and buildings; 'Babylon' and 'Albion' text in bold lettering.
Culture

Dalia Al-Dujaili: “When you’re placeless, nature can fill the void”

Babylon, Albion — As her new book publishes, the British-Iraqi author speaks about connecting with the land as a second-generation migrant, plants as symbols of resistance, and being proud of her parents.

Written by: Zahra Onsori

Three orange book covers with the title "Foreign Fruit" against a dark background.
Culture

Katie Goh: “I want people to engage with the politics of oranges”

Foreign Fruit — In her new book, the Edinburgh-based writer traces her personal history through the citrus fruit’s global spread, from a village in China to Californian groves. Angela Hui caught up with her to find out more.

Written by: Angela Hui

A punk rock band performing on stage, with a female lead singer belting into a microphone. Behind them, a colourful mural with graffiti-style text.
Music

Meet the hair-raised radicals of Berlin’s noise punk scene

Powertool — In his new zine, George Nebieridze captures moments of loud rage and quiet intimacy of the German capital’s bands, while exploring the intersections between music, community and anti-establishment politics.

Written by: Miss Rosen

Surfers against sewage protest box floating in water with people swimming around it.
© Alex Brown / Surfers Against Sewage
Sport

The rebellious roots of Cornwall’s surfing scene

100 years of waveriding — Despite past attempts to ban the sport from beaches, surfers have remained as integral, conservationist presences in England’s southwestern tip. A new exhibition in Falmouth traces its long history in the area.

Written by: Ella Glossop

Energetic music performance on stage with colourful lighting, smoke and audience.
Culture

Southbank Centre reveals new series dedicated to East and Southeast Asian arts

ESEA Encounters — Taking place between 17-20 July, there will be a live concert from YMO’s Haruomi Hosono, as well as discussions around Asian literature, stage productions, and a pop-up Japanese Yokimono summer market.

Written by: Zahra Onsori

Huck 79

We are all Mia Khalifa

How humour, therapy and community help Huck's latest cover star control her narrative.

Written by: Alya Mooro

Huck is supported by our readers, subscribers and Club Huck members. It is also made possible by sponsorship from:

Signup to our newsletter

Sign up to our newsletter to informed with the cutting edge of sport, music and counterculture, featuring personal takes on the state of media and pop culture from Emma Garland, former Digital Editor of Huck, exclusive interviews, recommendations and more.

Please wait...

Accessibility Settings

Text

Applies the Open Dyslexic font, designed to improve readability for individuals with dyslexia.

Applies a more readable font throughout the website, improving readability.

Underlines links throughout the website, making them easier to distinguish.

Adjusts the font size for improved readability.

Visuals

Reduces animations and disables autoplaying videos across the website, reducing distractions and improving focus.

Reduces the colour saturation throughout the website to create a more soothing visual experience.

Increases the contrast of elements on the website, making text and interface elements easier to distinguish.