Louis Stettner’s life was divided between New York and Paris, and he was firmly rooted in both cities. His work is thus reminiscent of the aesthetics of both New York street photography and traditional French urban photography, with his social concerns and determination to reflect human dignity always at the forefront. His passion for social and political issues, as well as the history of his craft, led him to work in various forms, including photography, writing, collage, sculpture and painting.
Born in New York, Stettner gained recognition for his 1946 series on the New York subway, which was noticed by photographer Sid Grossman. This earned him a place at the Photo League school, where he met Willy Ronis, who invited him to curate an exhibition of French photography in New York. Close to Édouard Boubat and Brassaï, Stettner moved to Paris from 1947 to 1952, a period he considers one of the happiest in his life, leading him to settle there permanently in 1990. Travelling to Europe and Mexico revealed a growing interest in the human form and gesture. However, it was in New York in the 1950s, that Stettner produced two of his most accomplished series: 'Penn Station' and 'Nancy, the Beat Generation'. Until the 2000s, he continued to explore urban life in New York and Paris, portraying it in an increasingly fragmented way.