I am looking for an adjective to qualify Micheline Pelletier, and I find: intrepid, she is intrepid. In front of the snake that swings over her bed in Equatorial Africa where, in 1973, at 20, she photographs the pygmies, or in front of stubborn Lech Walesa, who refuses to leave his chair to appear in the series of portraits of the Nobel Peace prizes, she remains undisturbed. Thanks to this, no one could dissuade her from undertaking this series which, logically, seemed unrealizable and to devote almost two years to it. The portraits of the twenty-five Nobel Peace Prize winners bear...
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