Photography and technical material of full light.

After the second world war, in an artistic context marked by the development of the naive art or informal, number of photographers makes a commitment in a celebration of the very material. In 1956, Pierre Cordier invents the chimigramme, a technique which in full light and without enlarger, combines the physics of the paint (varnish, wax, oil) and the chemistry of the photography (revelation, fixative spray).

Eminent member of the revival of the German experimental photography according to war, Heinz Hajekhalke makes a commitment at the same time on the ways of the photographic abstraction.

Using techniques very differences as the collage(sticking) or the pictorial covering(collection) of the photographic surface, the English artist Nigel Henderson also realizes in this period some matériologiques experiments. After the series of graffiti, begun(affected) in the 1930s, Brassaï pursues its long survey(investigation) on the walls of cities.

Fascinated by the wealth of textures and structures of these taken the freshness, scaled, cracked surfaces, he devotes indefatigably to the fact that the philosopher Gaston Bachelard described glue of " musing on the material.