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Laura-Alvin Guillaume was born in Paris in 1879.
She did her studies at the Molière high school,
which was a very well frequented high school,
whose education was aimed at young girls,
and particularly adapted to those who had passions for arts.
So she practiced music since her young age.
She went to a music career.
She met her very young husband.
We have two esthetes, one is a pianist and the other will become a composer.
When she married Alvin Guillaume, she became Laura Guillaume,
and as it was done at the time, she kept the name and the name of her husband
to stick to her name,
to become Laura Alvin Guillaume,
and to sign even by her initials, which became LAG.
At the beginning of the 1930s, Laura Alvin Guillaume had two caskets.
She was both a photographer,
who had a studio in the 16th arrondissement,
but also head of state service.
She will also be named director of the first national film.
The official posts that Laura Alvin Guillaume occupies
can be similar to the person who took pictures at the time,
at some point, the most important post.
She is an actor of the state until in 1940,
when she officially retired,
not her photographic retirement,
but her official retirement.
She was a great practitioner,
a great photographer,
and very resembling,
the photographic story began with Alvin Guillaume with his husband
through the decorative micrography,
which initially is from the micrography photo
and which she will be renamed after micrography,
since she herself was collector of microscopic preparation.
That is to say that Laura Alvin Guillaume
photographed the preparations of her husband,
but all of this stops
at the publication of decorative micrography,
which coincides with the death of her husband in 1929.
When Laura Alvin Guillaume began to work for Vogue in 1922,
she began to make fashion photographs
and at the same time portrait photographs.
She makes portrait photographs, including
of the particulars, at the Rue du Ranlag.
When she leaves the Rue du Ranlag to go to the boulevards
to work these days,
she makes, therefore, at the flank of the city
that she occupies, a workshop that she can accommodate
to make it at least what she wants.
It's a little bit of the time-lapse
of Alvin Guillaume.
She will photograph André Gide Ruvano,
Henri de Monterland comes home,
Paul Valérie, everybody is there.
She makes a lot of nude photographs,
both at private and publishing ends.
She has professional models,
but also private people who live in her house.
It's really an atelier's activity of photographs
and somewhere to paint photographs
that she practices for 30 years.
She is a writer at the Décorateur Artists' Society.
She frequent the members of the Union of Modern Artists.
She works with them.
She makes lamps, either with the micrographies
or with the photographs of these flowers.
She makes parades, extraordinary,
with shooting done by the mills,
which can be of the year.
Laurel Maguillot published in 1933
advertising photographs
and advertising professionals.
When she started advertising photographs,
it was the beginning of modern advertising.
It was no longer advertising.
Laurel Maguillot explains
that a advertising photograph
can be of text.
That is to say, a advertising message
only by a construction,
by a staging.
We find two types of books
in the production of Laurel Maguillot,
the Common Editions Books.
During the occupation,
the French state published
a number of works,
political characters, of course,
and especially new drawings of French intelligence
that aim to glorify
this new French intelligentsia
that we will put forward.
We find two main illustrators,
Laurel Maguillot and Robert Douaneau.
We call Laurel Maguillot
simply because she is present,
because she is known.
And next to that,
we find books by artists,
which is called the Book of Philips.
She writes, at the end of her life,
in the only autobiographical letter
that we have of her,
I made her accept the photograph
in the bibliography.
They are extremely precious.
The shooting is very limited.
Sometimes, we have two or three copies.
It is the case of the Narcissus.
And then, behind the tests of Laurel Maguillot,
there is the Fresson workshop
which offers pigmented tests
that is to say, inalterable.
It was mainly for us to show,
to question, first of all,
an era, a story of taste,
and to show that in the photography field
there is a character at this time
who occupies the top of the pavé,
so to speak.
So for us, it was important
to be able to understand the work
of André Cortès, to keep in mind
that, at the same time,
if there is a name in photography
that is known, it is that of Laurel Maguillot.
Laurel Maguillot is imposed in an era.
She imposes photography
and she imposes a career
for Saint-Anon.
