Martin Parr, the renowned photographer whose vibrant images captured quintessential British life, has died at the age of 73.
Jenni Smith, director of the Martin Parr Foundation, confirmed to BBC News that he passed away on Saturday at his home in Bristol.
In a statement, the foundation expressed that he would “be greatly missed” and noted that he is survived by his wife Susie, daughter Ellen, sister, and grandson. The family has requested privacy during this time.
Parr gained prominence in the mid-1980s with “The Last Resort,” a compelling study of working-class individuals on holiday in New Brighton, Merseyside.
Parr’s work was celebrated for capturing the minute details of everyday life. His photographs, often playful and humorous, also provoked debate and discussion.
“I make serious photographs disguised as entertainment,” he remarked to The Architectural Review in 2020.
“I try to point out when I find universal truths. Truth is subjective, but it’s the world how I found it.”
For over five decades, Parr’s photographs observed the quiet rituals and absurdities of British life, from desolate seaside towns to village fêtes and modern shopping centers, with an ostensibly detached yet amused and sympathetic eye.
He was known for employing a color-saturated palette reminiscent of postcards from the 1950s and 1960s.
His New Brighton photographs were intended to capture a moment in time and challenge perceptions of social classes.
The collection showcased both the best and worst of seaside experiences, with images of day-trippers picnicking amidst litter and the rundown amenities that characterized the Wirral town at the time.
However, these acclaimed seaside shots became subject to controversy, as he himself acknowledged earlier this year in anticipation of a new film about his life.
“People from London and the South East, they really didn’t know what places in the North looked like,” Parr stated.
“The litter was quite terrible, but they just weren’t used to it, so it was almost like it was my fault that the place looked so scruffy.”
Last month, in an interview with AFP, he warned that the world needs the kind of satire captured in his images now more than ever.
“The state we’re all in is appalling,” he said. “We’re all too rich. We’re consuming all these things in the world. And we can’t. It’s unsustainable.”
Diane Smyth, editor of the British Journal of Photography, hailed Parr as a “giant of post-war photography” in a tribute on Instagram.
“He was a hoot – always up for a call, especially if it was very early, and always very direct. He did he own thing, worked incredibly hard, helped others along the way – a life well-lived.”
Jonathan Stephenson, a collaborator on art and design projects with Parr, told BBC News that he died peacefully while watching football, adding that he was “a firm and loyal friend.”
“It was a massive privilege – and continually inspiring – to engage with Martin’s eyes and mind,” he said. “Martin’s enthusiasm for everyday life was infectious.”
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