of a terrible ordeal and thought they could rebuild everything", she said. She worked in various sectors: passionate about music, she portrayed the big names in music (Stravinsky, Britten, Casals, Getz) but also those of literature and art (Léger, Pougny, Giacometti, Rauschenberg, , Dubuffet, Sagan), cinema (Moreau), and fashion (Chanel). She also worked for several magazines and newspapers known in the United States and Europe for advertising and press orders (Vogue, Paris Match, Life, Time, Town and Country, Holiday, Newsweek, Picture Post, and Die Woche etc.). Her attention shifted toward documentary photography and she traveled not only in the United States but also in Egypt, India, Morocco, and Myanmar. Rapho agency From 1950, Weiss was represented by Agence Rapho, the leading French press agency managing the work of Robert Doisneau. He offered her a place in the agency after a meeting in the office of the director of Vogue. She befriended artists such as Cocteau, Utrillo, Rouault, and Lartigue. Amongst colleagues Doisneau, Boubat, Brihat, Dieuzaide, Brandt, Ken Heyman, Izis, Kertész, Karsh, Lartigue, Ronis, Savitry, and Elkoury, the only other woman at the Rapho agency was Janine Niépce. Nevertheless, the fact that Weiss was one of so few women then forging an independent career in photography was not a problem. Photojournalist , who worked with her on a story on the people of Omo (Ethiopia), commented: Although she is in a very masculine environment, she has really managed to be accepted immediately, to establish herself as what she is since: a very great photographer whom I esteem and admire“ Weiss's street photography, of children playing in the wasteland of her neighbourhood, Porte de Saint-Cloud and of Paris and its daily life, was produced independently of her magazine work, for love, and embraces the philosophy of humanist photography. At 28 she was recognised by Edward Steichen's inclusion of her in his "Post-War European Photography" at the Museum of Modern Art (MoMA). In 1954, the Art Institute of Chicago devoted a solo exhibition to her which toured the USA. Then Steichen included three of her photographs in the MoMA exhibition The Family of Man, which travelled the world and was seen by nine million visitors. The pictures typify those she took for herself: Intérieur d'église au Portugal ("Interior of a church in Portugal") of 1954 shows a child in white kneeling on the light-dappled tiled floor, face upturned in question toward her barefoot