There is no such thing as a bad Masats photograph; each one holds value. This sentiment rings especially true when considering the work of Ramon Masats, a photographer who passed away in 2024. Masats's photography exists in a league of its own, capturing the essence of a bygone era with unparalleled skill and insight.
In 1957, Masats boldly photographed a dictator's event, showcasing his courage and artistic vision. His work presents a comprehensive social fresco of Spain in black and white—a nation metaphorically on its knees with arms crossed. This was a Spain where travel was a luxury afforded to few, where young gentlemen rode horses while hundreds toiled, and where threats were made in the name of God.
Masats's photographs are characterized by their depth, meaning, criticism, positioning, irony, and subtle malice. His most famous image, likely referring to his iconic shot of a goalkeeper priest, encapsulates this multifaceted approach. Each photograph in his collection invites viewers to reflect on the social and political climate of the time.
Masats used a Leica camera with a 21mm lens to capture his iconic photograph “Seminario, Madrid, 1960”. Interestingly, he once revealed that he had not taken a photograph for 12 years, having lost hope and fallen out of love with the medium. This period of disillusionment adds another layer of complexity to his body of work.
One of Masats's favorite photographs “Tomelloso, Ciudad Real, 1960” depicted a woman painting the limits of her world—a powerful metaphor for the constraints of the era. This image, like many others in his collection, speaks to the restricted nature of life during that time in Spain.
In 1957, Masats boldly photographed a dictator's event, showcasing his courage and artistic vision. His work presents a comprehensive social fresco of Spain in black and white—a nation metaphorically on its knees with arms crossed. This was a Spain where travel was a luxury afforded to few, where young gentlemen rode horses while hundreds toiled, and where threats were made in the name of God.
Masats's photographs are characterized by their depth, meaning, criticism, positioning, irony, and subtle malice. His most famous image, likely referring to his iconic shot of a goalkeeper priest, encapsulates this multifaceted approach. Each photograph in his collection invites viewers to reflect on the social and political climate of the time.
Masats used a Leica camera with a 21mm lens to capture his iconic photograph “Seminario, Madrid, 1960”. Interestingly, he once revealed that he had not taken a photograph for 12 years, having lost hope and fallen out of love with the medium. This period of disillusionment adds another layer of complexity to his body of work.
One of Masats's favorite photographs “Tomelloso, Ciudad Real, 1960” depicted a woman painting the limits of her world—a powerful metaphor for the constraints of the era. This image, like many others in his collection, speaks to the restricted nature of life during that time in Spain.
Ramon Masats portrayed an era where observation had to be conducted carefully, almost secretly. His work serves as a testament to a time when scrutiny was necessary, and every glance held potential consequences.
Through his lense, Masats not only documented history but also provided commentary on the social and political landscape of Spain during a challenging period.
Through his lense, Masats not only documented history but also provided commentary on the social and political landscape of Spain during a challenging period.
