VU (magazine)

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Vu: l'illustré français
Vu (magazine) N ° 77.JPG
description popular political magazine
language French
publishing company Desfossés – Néogravure
Headquarters Paris
First edition March 21, 1928
attitude May 29, 1940
Frequency of publication weekly
Editor-in-chief Carlo Rim, Louis Martin chauffeur
editor Lucien Vogel
ZDB 1019147-1

Vu ( German  Erblickt ) was a French political consumer magazine that existed from 1928 to 1940. A total of 638 large-format issues were published. The Berliner Illustrirte Zeitung was one of her role models . Both placed particular emphasis on quality photos. In 1931, Vu began to enclose an international press review called Lu (German: read), which was translated into French and which was incorporated into Vu in 1937 . After the seizure of power in Germany , the paper offered emigrants in Paris a professional home.


Lucien Vogel (1886–1954) was the founder and publisher. His father was the Franco-German painter and illustrator Hermann Vogel .

Lucien Vogel, journalist, publisher and political activist, had previously founded several newspapers, including the fashion magazine Gazette du Bon Ton in 1912 . At the International Applied Arts Exhibition in Paris in 1925, he was responsible for the Soviet pavilion, which was devoted to constructivism . When he founded Vu , he was inspired by the Berliner Illustrirten. Like her, Vu attached great importance to good photos. Modern printing techniques such as heliogravure and the large format of the magazine of 28 by 37 centimeters enabled a layout and an elaborate presentation that was unusual for the times .

The modern conception of the magazine caught the attention of the international media scene. Experts consider Vu to be one of the forerunners of the great American magazines Life and Look .

The editorial office was located in Paris at the posh Avenue des Champs-Élysées number 65-67. The editors-in-chief changed frequently, among them were Carlo Rim and Louis Martin – Chauffier. The title was designed by the typographer and set designer Cassandre , the name Vu became VU in its layout . The painter Alexander Liberman temporarily acted as art director before moving to New York .


Vu's political orientation was clearly positioned: against fascism , Francoism and National Socialism .

In May 1933, Vu was the first to show pictures of the German concentration camps Dachau and Oranienburg , which Lucien's daughter Marie-Claude Vogel had photographed. She later married the editor-in-chief of the daily newspaper l'Humanite Paul Vaillant-Couturier. Because of her work in the Resistance , she was later deported to Auschwitz herself and testified as a witness at the Nuremberg trials after the war .


Photographers included Henri Cartier-Bresson , co-founder of the Magnum photo agency ; André Kertész , Brassaï , Germaine Krull , Robert Capa and his partner Gerda Taro , Marcel Ichac , Man Ray , Eli Lotar , Laure Albin Guillot , James Abbe , Berenice Abott , Margaret Bourke-White and François Kollar . Lucien Vogel was available as a direct contact for all photographers.

The end

In 1940, an insurmountable conflict between Vu and Lucien Vogel shareholders brought the magazine down. It was about the political orientation of the paper in relation to the dictatorship of Franco after the end of the Spanish Civil War . Lucien Vogel was released. That sealed the end of Vu .


  • Ulrich Hägele: Alexander Liberman, Marcel Ichac, Marc Real. The illustrated VU and its photo fitters 1930 to 1936. Contributions to history. Aesthetics of Photography . In: Photo History Issue 110, Volume 28, 2008.
  • Michel Frizot, Cédric de Veigy: Vu, le magazine photographique (1928–1940). La Martinière, Paris 2009, ISBN 978-2-7324-3751-4 (English translation Vu, the story of a magazine that made an era. Thames & Hudson, London 2009, ISBN 978-0-500-54383-2 ).

Web links

Commons : Vu  - collection of images, videos and audio files

Individual evidence

  1. Wolfgang Kemp : History of Photography from Daguerre to Gursky. Verlag CH Beck, Munich 2011, ISBN 978-3-406-62348-6 , pp. 54, 63f, 66, 69f.