Archive for the 'fashion photography' Category

09
Oct
14

Exhibition: ‘Sharp, Clear Pictures: Edward Steichen’s World War 1 and Condé Nast Years’ at The Art Institute of Chicago

Exhibition dates: 24th June – 13th October 2014

 

Brave man, hanging over the side of a rickety biplane at 15,000 feet taking aerial photographs during World War One but just look at the images he brought back, especially the hellish Untitled (Vaux) (1918-19, below). I’m still not that convinced by his portraiture. The technical proficiency is magnificent (lighting, set, costume) but they are just too styled for me – the cat in the top left corner of Noel Coward (1932, below), the bowler hat of Charles Chaplin (1931, below) and the double shadow of Fred Astaire in Funny Face (1927, below) coupled with bands of light/dark and tons of “atmosphere” (certainly not sharp and clear!) which echo the mannerisms of Pictorialism. I see little modernist aesthetics and advertising tactics in these photographs. They are beautiful but they leave me unengaged. I much prefer the advertising photography in the next posting, much more angular and modern. You will have to wait and see what it is!

Marcus

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Many thankx to The Art Institute of Chicago for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

“At the start of World War I in 1914, Edward Steichen was a pioneering champion of art photography – catapulting to fame as a leading member of the Photo Secessionists and as cofounder of the trailblazing magazine Camera Work. Yet by the early 1920s, Steichen had rejected the soft focus, dreamy landscapes and portraits of his early years in favor of realist photographs made for informational purposes or popular consumption. This turning point was first marked by his role in World War I as chief of the Photographic Section of the American Expeditionary Forces from 1917 to 1919; and was fully realized in his subsequent work as lead photographer at Condé Nast publications from 1923 to 1937.

While on military duty, Steichen helped adapt aerial photography for intelligence purposes, implementing surveillance programs that had a lasting impact on modern warfare. He later reflected: “The wartime problem of making sharp, clear pictures from a vibrating, speeding airplane ten to twenty thousand feet in the air had brought me a new kind of technical interest in photography… Now I wanted to know all that could be expected from photography.” Steichen began to value photography’s capacity to transmit and encode information, and he soon proved his savvy as a collaborator and producer rather than a solitary auteur – new skills that enabled his subsequent groundbreaking career in magazines. Upon his return to New York in 1923, Steichen joined Condé Nast publications, creating iconic fashion photographs and celebrity portraits for Vogue and Vanity Fair. Over a period of nearly 15 years he created images that redefined the field through their clever use of modernist aesthetics and advertising tactics, becoming an influential impresario who promoted photography as a mass-media tool.

Focusing on rarely seen Steichen photographs drawn from the Art Institute’s collection, this exhibition includes a unique album of over 80 World War I aerial photographs assembled and annotated by Steichen himself as well as a group of iconic glamour portraits and fashion photographs done for Condé Nast, featuring notable figures such as Greta Garbo, Fred Astaire, and Gloria Swanson.”

Text from The Art Institute of Chicago website

 

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'Bomb Dropped From Airplane' 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
Bomb Dropped From Airplane
1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York.

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'In Chateau Thierry Sector showing service bridges destroyed by retreating enemy forces' September 7, 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
In Chateau Thierry Sector showing service bridges destroyed by retreating enemy forces
September 7, 1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'In Chateau Thierry Sector showing service bridges destroyed by retreating enemy forces' (detail) September 7, 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
In Chateau Thierry Sector showing service bridges destroyed by retreating enemy forces (detail)
September 7, 1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'Concrete landing platform for airplanes at Puxieux (each strip about 50 ft. wide by 250 ft long), crescent shape mass was formed by the pile of broken concrete when the platform was removed, altitude 15,000 ft.,' August 23, 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
Concrete landing platform for airplanes at Puxieux (each strip about 50 ft. wide by 250 ft long), crescent shape mass was formed by the pile of broken concrete when the platform was removed, altitude 15,000 ft.,
August 23, 1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'Concrete landing platform for airplanes at Puxieux (each strip about 50 ft. wide by 250 ft long), crescent shape mass was formed by the pile of broken concrete when the platform was removed, altitude 15,000 ft.,' (detail) August 23, 1918

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
Concrete landing platform for airplanes at Puxieux (each strip about 50 ft. wide by 250 ft long), crescent shape mass was formed by the pile of broken concrete when the platform was removed, altitude 15,000 ft., (detail)
August 23, 1918
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A. 'Untitled (Vaux)' 1918/19

 

Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF) and Major Edward J. Steichen, A.S.A.
Untitled (Vaux)
1918-19
Gelatin silver print, from loose-leaf album of aerial photographs from the Photographic Section, Air Service, American Expeditionary Forces, World War I
The Art Institute of Chicago, gift of William Kistler
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Mary Duncan in "Lilly,"' 1931

 

Edward Steichen
Mary Duncan in “Lilly”
1931
The Art Institute of Chicago, bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

 

“Throughout his extensive career, famed photographer Edward Steichen (1879-1973) championed photography’s multiple roles – from his earliest efforts to promote American photography as an equal among the modern fine arts, to his groundbreaking work for the magazine industry. A new exhibition at the Art Institute of Chicago, Sharp, Clear Pictures: Edward Steichen’s World War I and Condé Nast Years, on view from June 28 – September 28, 2014, in Galleries 1-4, examines a crucial period in Steichen’s career, when he rejected the painterly Pictorialist aesthetic of his early years in favor of a straight, information-based approach. This turning point was first signaled by Steichen’s role in World War I, as chief of the Photographic Section of the American Expeditionary Forces from 1917 to 1919, and was fully realized in his work as lead photographer at Condé Nast Publications from 1923 to 1937.

Focusing on rarely seen Steichen photographs drawn from the Art Institute’s collection, this exhibition includes a unique album of over 80 World War I aerial photographs assembled and annotated by Steichen himself as well as a group of iconic glamour portraits and fashion photographs done for Condé Nast, featuring such early Hollywood royalty as Mary Pickford, Greta Garbo, Fred Astaire, Charlie Chaplin and Gloria Swanson, as well as key historical figures like Winston Churchill.

Prior to WWI, Edward Steichen was a pioneering champion of art photography – he had a leading reputation in the Photo Secession movement in New York, and, along with his mentor Alfred  Stieglitz, had cofounded its trail-blazing fine-art journal Camera Work. Together, they opened the Little Galleries of the Photo-Secession, later 291, which first presented Picasso, Bråncusi, and a range of progressive photographers to the American public. In 1906, seeking a change, Steichen moved to Voulangis, France, with his family, where he immersed himself in European modern art. They remained there until the outbreak of the war in 1914, when, under the threat of advancing German troops, they fled home to the United States.

In July 1917, Steichen entered active duty with the goal of becoming “a photographic reporter, as Mathew Brady had been in the Civil War,” but he quickly abandoned this romantic notion to help implement the newest weapon of war – aerial photography. While on military duty, Steichen helped adapt aerial photography for intelligence purposes, implementing surveillance programs that had a lasting impact on modern warfare. He later reflected: “The wartime problem of making sharp, clear pictures from a vibrating, speeding airplane ten to twenty thousand feet in the air had brought me a new kind of technical interest in photography… Now I wanted to know all that could be expected from photography.” Steichen began to value photography’s capacity to transmit and encode information, and he soon proved his savvy as a collaborator and producer rather than a solitary auteur – new skills that enabled his subsequent groundbreaking career in magazines.

Following his military discharge in 1919, Steichen returned to Voulangis, where for a period of three years he created work that embraced clear focus, close cropping, and other techniques of modernist photography. Upon his return to New York in 1923, Steichen joined Condé Nast Publications, creating iconic fashion photographs and celebrity portraits for Vogue and Vanity Fair. In undertaking this challenging endeavor, the organizational and technical skills Steichen gained during his time in the military and in Voulangis proved invaluable.

Steichen championed the cultural and economic potential of celebrity, fashion, and advertising photography, creating images that became the foundation for contemporary magazine photography. Over a period of nearly 15 years he created images that redefined the field through their clever use of modernist aesthetics and advertising tactics, becoming an influential impresario who promoted photography as a mass-media tool.”

Press release from The Art Institute of Chicago website

 

Edward Steichen. 'Self-Portrait with Brush and Palette' 1902

 

Edward Steichen
Self-Portrait with Brush and Palette
1902
The Art Institute of Chicago, Alfred Stieglitz Collection
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Mary Pickford' 1924

 

Edward Steichen
Mary Pickford
1924
The Art Institute of Chicago, Bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Fred Astaire in Funny Face' 1927

 

Edward Steichen
Fred Astaire in Funny Face
1927
The Art Institute of Chicago, Bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Noel Coward' 1932

 

Edward Steichen
Noel Coward
1932
The Art Institute of Chicago, bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Charles Chaplin' 1931

 

Edward Steichen
Charles Chaplin
1931
The Art Institute of Chicago, Bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Lily Pons' 1932

 

Edward Steichen
Lily Pons
1932
The Art Institute of Chicago, bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Winston Churchill' 1932

 

Edward Steichen
Winston Churchill
1932
The Art Institute of Chicago, Bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

Edward Steichen. 'Greta Garbo and John Gilbert' 1928

 

Edward Steichen
Greta Garbo and John Gilbert
1928
The Art Institute of Chicago, bequest of Edward Steichen by direction of Joanna T. Steichen and George Eastman House
© 2014 The Estate of Edward Steichen/Artists Rights Society (ARS), New York

 

 

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T: (312) 443-3600

Opening hours:
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Thursday, 10.30 – 8.00
Friday, 10.30 – 8.00
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The museum is closed Thanksgiving, Christmas, and New Year’s days.

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10
Sep
14

Exhibition: ‘Cecil Beaton at Wilton’ at Wilton House, Wiltshire and ‘Cecil Beaton at Home: Ashcombe & Reddish’, at The Salisbury Museum

Exhibition dates: Cecil Beaton at Wilton: 3rd May – 14th September 2014
Cecil Beaton at Home: Ashcombe & Reddish: 23rd May – 19th September 2014

Bright Young Things, Costume Balls And Country House Parties
From The Roaring ’20s To The Swinging ’60s
An Exhibition Of Cecil Beaton Photographs
Designed And Curated By Jasper Conran

 

What a gay old time!

Frippery and finery taken by that dandy doyen of chic Cecil Beaton, partying in a highly structured class society that is seemingly oblivious to the approaching horrors of the Second World War (which only adds to the photographs air of insouciance). It must have been so much fun.

The thing is, Beaton was a talented artist who captured it all with total aplomb. To go from the haughty, stylish Georgia Sitwell, Renishaw (1930, below) to the Arcadian beauty of Rex Whistler (1927, below); from the formal organisation of The 15th Earl and Countess of Pembroke dressed for the coronation of George VI (1937, below) to the classic beauty of Princess Natasha Paley (1930s, below); or the structure and stillness of Alice von Hofmannsthal (1937, below) to the vivaciousness and movement of Lady Plunket (Dorothé) and Mr Maurice (1937, below) – takes a consistency of vision and an understanding of craft that few photographers possess.

The photograph of  Lady Plunket is particularly astonishing… to see this composition in the twinkling of an eye: the movement, the joy, the flower in the hair, the women with the crossed legs in the background, and just the sheer grace of the couple, he suspended on one foot, she flying through the air. Unforgettable.

Marcus

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Many thankx to Sotheby’s, Wilton House and The Salisbury Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

East Front of Wilton House

 

East Front of Wilton House
© Wilton House Trust

 

'Cecil Beaton at Wilton House' installation view

 

Cecil Beaton at Wilton installation view
© The Cecil Beaton Studio Archive

 

Cecil Beaton. 'Edith Olivier, Mayor of Wilton, as Queen Elizabeth I for a pageant at Wilton' 1932

 

Cecil Beaton
Edith Olivier, Mayor of Wilton, as Queen Elizabeth I for a pageant at Wilton
1932
© Cecil Beaton Archive, Sotheby’s

 

Edith Maud Olivier MBE (31 December 1872 – 10 May 1948) was an English writer, also noted for acting as hostess to a circle of well-known writers, artists, and composers in her native Wiltshire… Olivier had lived with her father and younger sister Mildred, and it was after Mildred died in 1927 that she started to engage a broader social circle. She formed a profound friendship with Rex Whistler and acted as a frequent hostess to an elite, artistic, and largely homosexual, social set which included Cecil Beaton, Siegfried Sassoon, William Walton, and Osbert Sitwell.

Her first novel, The Love Child was published in 1927, and was followed by further novels, biographies, including one of Alexander Cruden, and the autobiographical Without Knowing Mr Walkley. (Text from Wikipedia website)

 

Cecil Beaton. 'Georgia Sitwell, Renishaw' 1930

 

Cecil Beaton
Georgia Sitwell, Renishaw
1930
© Cecil Beaton Archive, Sotheby’s

 

Georgia Doble, the Canadian-born wife of Sacheverell Sitwell, was born in 1906 to a banker of Cornish descent. She met Sitwell at a party in 1924 while participating in the social gaiety of the London season. Georgia was familiar with Sitwell’s Southern Baroque Art and enjoyed his company, but she waited almost a year before accepting his marriage proposals. They were married in Paris on October 12, 1925. Their first son, Reresby, was born in 1927 and his younger brother, Francis, in 1935.

Georgia found it difficult to blend in with the Sitwell family, which had more than the usual share of dynamics. She did her best to play the self-assigned role of muse, but Sitwell was not a social man and Georgia missed the busy whirl of London. She attended many social events without him, which led to a great deal of friction between them. They both had affairs over the years, but remained deeply attached to one another throughout their lives. Georgia died in 1980.

 

Cecil Beaton. 'Lady Plunket (Dorothé) and Mr Maurice' 1937

 

Cecil Beaton
Lady Plunket (Dorothé) and Mr Maurice
1937
© Cecil Beaton Archive, Sotheby’s

 

Cecil Beaton. 'Stephen Tennant (1906-1987), William Walton (1902-1983), Georgia Sitwell (1905-1980), Zita Jungman (1903-2006), Rex Whistler (1905-1944) and Cecil Beaton (1904-1980), Wilsford, 1927' 1927

 

Cecil Beaton
Stephen Tennant (1906-1987), William Walton (1902-1983), Georgia Sitwell (1905-1980), Zita Jungman (1903-2006), Rex Whistler (1905-1944) and Cecil Beaton (1904-1980), Wilsford, 1927
1927
© Cecil Beaton Archive, Sotheby’s

 

Stephen James Napier Tennant (21 April 1906 – 28 February 1987) was a British aristocrat known for his decadent lifestyle. During the 20s and 30s, Tennant was an important member – the “Brightest”, it is said – of the “Bright Young People.” His friends included Rex Whistler, Cecil Beaton, the Sitwells, Lady Diana Manners and the Mitford girls. He is widely considered to be the model for Cedric Hampton in Nancy Mitford’s novel Love in a Cold Climate; one of the inspirations for Lord Sebastian Flyte in Evelyn Waugh’s Brideshead Revisited, and a model for Hon. Miles Malpractice in some of his other novels.

Sir William Turner Walton OM (29 March 1902 – 8 March 1983) was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera. His best-known works include Façade, the cantata Belshazzar’s Feast, the Viola Concerto, and the First Symphony.

Zita Jungman‘s accounts of her fellow bright young things of the 1920s stress their high vocal pitch and decibel level – “shrieking”, “screaming”, “howling with laughter”. So it is significant that when, in 1926, Cecil Beaton met Zita, who has died aged 102, in the Gargoyle Club, Soho, he responded to her quietness and understanding. She was, he wrote, a “thoroughly unflashy” original… The antics of the bright young things were relatively innocent: bottle parties, fancy dress balls and pageants, with cocktails and fast cars. The Jungman girls, along with clever Alannah Harper, Eleanor Smith and Loelia Ponsonby, staged treasure hunts, using their connections to arrange a fake edition of the Evening Standard or Hovis loaves baked to order with clues inside. 

Enter aspirant photographer Beaton. He had spotted the sisters at a performance of Edith Sitwell’s Facade, and met Zita again in Venice rehearsing for a ball. Alannah Harper modelled for him; Zita followed. He was financially thrilled. “They certainly would get into the papers … so very saleable.” She spent hours before the lens in the Beaton house: “She loved doing her hair in various exotic ways and looked quite beautiful and quite extraordinarily funny. She is a perfect young lady.”

Beaton described the sisters as “a pair of decadent 18th-century angels made of wax” and wrote of Zita: “With her smooth fringes, and rather flat head, like a silky coconut, like a medieval page, and with her swinging gait, she looks very gallant, very princely. But she can, if she wishes, easily become a snake-like beauty, with a mysterious smile and a cold glint in her upward slanting eyes.” Her reaction to the pictures was to “lay back in a chair looking at them for ages, never speaking, just occasionally grunting a grunt of satisfaction”.

Text by Veronica Horwell in The Guardian, Friday 3 March 2006

 

Cecil Beaton. 'Rex Whistler' 1927

 

Cecil Beaton
Rex Whistler
1927
© Cecil Beaton Archive, Sotheby’s

 

Reginald John “Rex” Whistler (24 June 1905 – 18 July 1944) was a British artist, designer and illustrator.

Reginald John Whistler was born in Britain on 24 June 1905, at Eltham, Kent, the son of Harry and Helen Frances Mary Whistler. In May 1919 he was sent to boarding school at Haileybury, where he showed a precocious talent for art, providing set designs for play productions and giving away sketches to prefects in lieu of “dates” (a punishment at Haileybury, similar to “lines” whereby offenders are required to write out set lists of historical dates).

After Haileybury the young Whistler was accepted at the Royal Academy, but disliked the regime there and was “sacked for incompetence”. He then proceeded to study at the Slade School of Art, where he metStephen Tennant, soon to become one of his best friends and a model for some of the figures in his works. Through Tennant, he later met the poet Siegfried Sassoon and his wife Hester, to both of whom Whistler became close.

Upon leaving the Slade he burst into a dazzling career as a professional artist. His work encompassed all areas of art and design – from the West End theatre to book illustration (including works by Evelyn Waugh and Walter de la Mare, and perhaps most notably, for Gulliver’s Travels) and mural and trompe-l’oeil painting. Paintings at Port Lympne Mansion (within Port Lympne Wild Animal Park), Plas Newydd, Mottisfont Abbey and Dorneywood among others, show his outstanding talent in this genre. During his time at Plas Newydd he may well have become the lover of the daughter of the 6th Marquess of Anglesey, the owner of the house, who had commissioned him to undertake the decorative scheme. Whistler and Lady Caroline Paget are known to have become very close friends and he painted numerous portraits of her, including a startling nude. Whether this painting was actually posed for or whether it was how Whistler imagined her naked is a matter of debate.

His most noted work during the early part of his career was for the café at the Tate Gallery, completed in 1927 when he was only 22. He was commissioned to produce posters and illustrations for Shell Petroleum and the Radio Times. He also created designs for Wedgwood china based on drawings he made of the Devon village of Clovelly. Whistler’s elegance and wit ensured his success as a portrait artist among the fashionable; he painted many members of London society, including Edith Sitwell,Cecil Beaton and other members of the set to which he belonged that became known as the “Bright Young Things”. His murals for Edwina Mountbatten’s 30-room luxury flat in Brook House, Park Lane, London were later installed by the Mountbattens’ son-in-law, decorator David Hicks, in his own houses.

Whistler’s activities also extended to ballet design. He designed the scenery and costumes for Ninette de Valois and Gavin Gordon’s Hogarth-inspired 1935 ballet The Rake’s Progress.

When war broke out, although he was 35, Whistler was eager to join the army. He was commissioned into the Welsh Guards as Lieutenant 131651. His artistic talent, far from being a stumbling block to his military career, was greatly appreciated and he was able to find time to continue some of his work, including a notable self-portrait in uniform now in the National Army Museum. In 1944 he was sent to France following the D-Day landings.

In July he was with the Guards Armoured Division in Normandy as the invasion force was poised to break out of the salient east of Caen. On the hot and stuffy 18 July his tank, after crossing a railway line, drove over some felled telegraph wires beside the railway, which became entangled in its tracks. He and the crew got out to free the tank from the wire when a German machine gunner opened fire on them, preventing them from getting back into their tank. Whistler dashed across an open space of 60 yards to another tank to instruct its commander, a Sergeant Lewis Sherlock, to return the fire. As he climbed down from Sherlock’s tank a mortar bomb exploded beside him and killed him instantly, throwing him into the air. He was the first fatality suffered by the battalion in the Normandy campaign.

Text from the Wikipedia website

 

Palladian Bridge at Wilton House

 

Palladian Bridge at Wilton House
© Wilton House Trust

 

 

“Sotheby’s and Wilton House will pay tribute to the life and work of the photographer, writer and Oscar-winning designer Cecil Beaton (1904-1980) with a new exhibition of photographs from Sotheby’s Cecil Beaton Studio Archive, designed and curated by Jasper Conran. Capturing the spirit of country house parties and costume balls, the exhibition will showcase previously unseen images from one of Britain’s most celebrated photographers, giving a fascinating glimpse into his life and a vivid portrait of a charmed age.

Staged at Wilton House in Wiltshire where Beaton was entertained by his friends the Pembroke family at grand parties and pageants for over 50 years, the exhibition will run between 18th- 21st April and 3rd May – 14th September 2014.

Described as “a worldly Peter Pan” who never aged1, Cecil Beaton – the acclaimed photographer for Vogue and Vanity Fair - was at the forefront of the fashion for costume and pageantry which swept through British society in the 1920s. Immortalised in the Noël Coward song ‘I’ve been to a marvellous party’, “Dear Cecil arrived wearing armour/Some shells and a black feather boa…,” Beaton was renowned for his flair for fancy dress and costumery, later winning Oscars, Academy and Tony awards for his designs. He invited friends from all over the world to legendary parties at his Wiltshire home Ashcombe, where guests arrived “in the knowledge that they were to exchange reality for a complete escape into the realms of fantasy.”2

As fancy dress became a popular feature of country house parties, and costume balls a highlight of the social calendar, Beaton seamlessly integrated his high-society personal life with his professional artistic quest to experiment with photography and fashion. Using the settings of Britain’s grandest country houses as the perfect backdrop, Beaton persuaded his friends to sit for him in their exotic costumes, often designed by him, for these most unconventional of photographs.

This fascinating collection of photographs will be displayed in a new exhibition space, especially renovated for the event at Wilton House. Situated just a few miles from Beaton’s country houses Ashcombe and Reddish, Wilton was the location for costume balls and theatrical events enjoyed and photographed by Beaton for over 50 years. Despite being pushed into a river at the first Ball he attended there in 1927, Beaton later became great friends with the Earls of Pembroke. Over time he photographed and chronicled the lives of three generations of the family in the surroundings of the house which he described as “perhaps the most wonderful piece in all Wiltshire’s heritage of domestic architecture… at every time of year, in all weathers, unfailing in its beauty.”3 On 14th January 1980, just three days before his death, Beaton celebrated his 76th birthday with a lunch party hosted by the family.

 

The Cecil Beaton Studio Archive 

Sotheby’s is the privileged guardian of the Cecil Beaton Studio Archive, a matchless repository of over 100,000 negatives, 9,000 vintage prints and 42 scrapbooks from the celebrated photographer’s personal collection. Cecil Beaton negotiated the transfer of his private archive to Sotheby’s in 1977 in order to preserve its role for future generations. Today, the collection – some of which is still stored in Beaton’s original filing cabinets – is available for use as a picture library, lending images to be reproduced on the printed page and for exhibition worldwide.

Further photographs from the Cecil Beaton Studio Archive will be displayed at Salisbury Museum’s exhibition Cecil Beaton at Home: Ashcombe & Reddish between 23rd May – 19th September 2014. This exhibition will bring together original photographs, artworks and possessions from Cecil Beaton’s two Wiltshire homes, Ashcombe and Reddish which served as retreats, inspirations, and stages for impressive entertaining, to present a fascinating picture of Beaton’s extraordinary life.”

1 Hugo Vickers, Cecil Beaton: The Authorised Biography, Introduction, p. xxiii
2 Cecil Beaton, Ashcombe: The Story of a Fifteen-year Lease, p. 33
3 Cecil Beaton, Ashcombe: The Story of a Fifteen-year Lease, p. 35

Press release from Sotheby’s

 

Cecil Beaton. 'Cecil Beaton on the Palladian bridge at Wilton House, September 1968' (detail) 1968

 

Cecil Beaton
Cecil Beaton on the Palladian bridge at Wilton House, September 1968 (detail)
1968
© Cecil Beaton Archive, Sotheby’s

 

Cecil Beaton. 'Alice von Hofmannsthal, Ashcombe, 1937, in her Costume for "The Gardener’s Daughter" for "The Anti Dud Ball" at the Dorchester Hotel, 13 July 1937' 1937

 

Cecil Beaton
Alice von Hofmannsthal, Ashcombe, 1937, in her Costume for “The Gardener’s Daughter” for “The Anti Dud Ball” at the Dorchester Hotel, 13 July 1937
1937
© Cecil Beaton Archive, Sotheby’s

 

Cecil Beaton. 'Princess Natasha Paley' 1930s

 

Cecil Beaton
Princess Natasha Paley
1930s
© Cecil Beaton Archive, Sotheby’s

 

Princess Natalia Pavlovna Paley (Наталья Павловна Палей), Countess de Hohenfelsen (December 5, 1905 – December 27, 1981) was a member of the Romanov family. A daughter of Grand Duke Paul Alexandrovich of Russia, she was a first cousin of the last Russian emperor, Nicholas II. After the Russian revolution she emigrated first to France and later to the United States. She became a fashion model, socialite, vendeuse, and briefly pursued a career as a film actress…

Ethereal and glamorous, Princess Natalia would not follow any fashion trend, but would dictate her own. Hats and gloves were her signature. With deep-set gray eyes and pale blond hair, she became a sought after model establishing an image for herself in the Parisian elite becoming a well known socialite. As a model, she appeared in many magazines including Vogue. She was a favorite model for the great photographers of her time: Edward Steichen, Cecil Beaton, Horst P. Horst, Andre Durst and George Hoyningen-Huene. (Text from Wikipedia website)

 

Cecil Beaton. 'The Countess of Pembroke acting in Beaton's musical "Heil Cinderella"' 1939

 

Cecil Beaton
The Countess of Pembroke acting in Beaton’s musical “Heil Cinderella”
1939
© Cecil Beaton Archive, Sotheby’s

 

Cecil Beaton. 'The 15th Earl and Countess of Pembroke dressed for the coronation of George VI' 1937

 

Cecil Beaton
The 15th Earl and Countess of Pembroke dressed for the coronation of George VI
1937
© Cecil Beaton Archive, Sotheby’s

 

Cecil Beaton. 'The Countess of Pembroke in her Robes for the Coronation of George VI' 1937

 

Cecil Beaton
The Countess of Pembroke in her Robes for the Coronation of George VI
1937
© Cecil Beaton Archive, Sotheby’s

 

Cecil Beaton. 'Cecil Beaton in "All the Vogue", Cambridge' 1925

 

Cecil Beaton
Cecil Beaton in “All the Vogue”, Cambridge
1925
© Cecil Beaton Archive, Sotheby’s

 

 

Beauty, decadence and a damned good party: Cecil Beaton at Salisbury Museum

The not so private world of Cecil Beaton – photographer to the Royals, painter, designer of interiors, stage and costume and secret diarist – seems to have been as opulent as his professional career was varied. If we are to believe his candid diaries, it was a world of decadent parties and languid weekend soirees full of bright young things who caroused at his Wiltshire homes against a backdrop of sumptuous interiors and fabulous gardens.

The first of these private pleasure houses was Ashcombe, which he rented for £50 a year between 1930-45. It was followed by Reddish, which Beaton purchased in 1945 and lived in until his death in 1980. By all accounts both were splendid residences, and the stream of celebrities and society people who came and went were photographed by Beaton or captured in his notoriously frank scrapbooks and diaries.

And it is these extravagant worlds that can be glimpsed at Salisbury Museum who, with the help of the vast Cecil Beaton Archive at Sotheby’s, are teasing them back to life. A tantalising glimpse into the photographer’s more hidden moments and the celebrity in-crowd of friends and acquaintances he lavishly entertained, the exhibition brings together 183 unique photographs (including 35 vintage prints) exhibited with some of his artworks and personal possessions within recreations of the interiors.

But it’s the cast of players that grabs the attention; bohemian aristocrats, socialites and some of the biggest stars of the stage, screen, fashion and art world form a procession of decadence that stretched across five decades from 1930-1980. Famous faces include Truman Capote, Leslie Caron, David Hockney, Bianca Jagger and Ivor Novello interspersed here with private snaps of his great loves – the Hollywood icon Greta Garbo, with whom he had an affair, and millionaire art collector Peter Watson, with whom (we are told) he didn’t.

But as well as the society faces the exhibition includes images of the photographer’s inspired garden designs at Reddish and his theatrically-styled home interiors at Ashcombe, which he created so he could ‘live in scenery’, inspired by his visit to Hollywood in 1929. Work in progress shots show the making of Beaton’s fantastical ‘Circus Bedroom’ in 1932 with freshly painted murals of a circus clown, a girl on a merry-go-round horse and a jolly fat lady.

The bedroom was apparently created “on a rainy weekend in 1932″ by a typically decadent gang of dazzling society types that included artists Rex Whistler, ‘Jack’ von Bismarck, Oliver Messel, Lord Berners, Edith Olivier, Jorg von Reppert Bismarck and of course Beaton himself. Whistler also designed Beaton’s theatrical four-poster ‘carousel’ bed with gilded unicorns, stripey circus-top canopy and barley twist bedposts. Beaton is pictured with Watson amidst this baroque creation. And visitors can experience it for themselves courtesy of a full-scale recreation reconstructed for the very first time since it was broken up in 1945. A fascinating glance into a decadent disappeared world.

Text by Richard Moss on the Culture 24 website

 

Rex Whistler. 'Ashcombe House' 1930s

 

Rex Whistler
Ashcombe House
1930s
© Private Collection

 

Cecil Beaton. 'Frontispiece montage for Cecil Beaton’s Scrapbook, 1937, Ashcombe' 1937

 

Cecil Beaton
Frontispiece montage for Cecil Beaton’s Scrapbook, 1937, Ashcombe
1937
© Private Collection

 

Cecil Beaton. 'Cecil Beaton on the front steps of Reddish House, Broad Chalke, June 1947, Reddish' 1947

 

Cecil Beaton
Cecil Beaton on the front steps of Reddish House, Broad Chalke, June 1947, Reddish
1947
© Cecil Beaton Archive, Sotheby’s

 

Cecil Beaton. 'Cecil Beaton in his first costume of the night for the Fete Champetre, in his Circus bedroom, 10 July 1937, Ashcombe' 1937

 

Cecil Beaton
Cecil Beaton in his first costume of the night (the famous ‘Rabbit’ outfit) for the Fete Champetre, in his Circus bedroom, 10 July 1937, Ashcombe
1937
© Getty Images/ Time Life

 

Cecil Beaton. 'Dorian Leigh photographed for 'Modess… because' campaign, Reddish House, Broad Chalke, 1950s, Reddish' 1950s

 

Cecil Beaton
Dorian Leigh photographed for ‘Modess… because’ campaign, Reddish House, Broad Chalke, 1950s, Reddish
1950s
© Johnson & Johnson

 

Dorian Leigh (April 23, 1917 – July 7, 2008), born Dorian Elizabeth Leigh Parker, was an American model and one of the earliest modelling icons of the fashion industry. She is considered one of the firstsupermodels and was well known in the United States and Europe.

 

Henry Lamb. 'Portrait of Cecil Beaton' 1935

 

Henry Lamb
Portrait of Cecil Beaton
1935
© Private Collection

 

Henry Taylor Lamb MC RA (Adelaide 21 June 1883 – 8 October 1960 Salisbury) was an Australian-born British painter. A follower of Augustus John, Lamb was a founder member of the Camden Town Groupin 1911 and of the London Group in 1913.

Lamb is noted for his unusual portraits, as exemplified by his well-known picture of an elongated Lytton Strachey. He was elected an Associate of the Royal Academy in 1940 and was made a full Member in 1949. He was a Trustee of the National Portrait Gallery from 1942 and of the Tate Gallery from 1944 to 1951. His auction record was set at Christie’s in London in June 2006 when his 1910 Breton Boy oil on panel fetched £60,000. As well as the Imperial War Museum, works by Lamb are held in regional museums throughout Britain, in the British Government Art Collection and in the National Gallery of Canada, which received the majority of Lambs portraits of Canadian troops at the end of World War Two.

 

 

Wilton House
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Opening hours:
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Sunday 12.00 – 17.00

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02
Sep
14

Exhibition: ‘Robert Heinecken: Object Matter’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 15th March – 7th September 2014

 

A bumper posting on probably the most important photo-media artist who has ever lived. This is how to successfully make conceptual photo-art.

A revolutionary artist, this para-photographer’s photo puzzles are just amazing!

Marcus

.
Many thank to MoMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF FEMALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

 

Robert Heinecken (American, 1931-2006) 'Figure Horizon #1' 1971

 

Robert Heinecken (American, 1931-2006)
Figure Horizon #1
1971
Ten canvas panels with photographic emulsion
Each 11 13/16 x 11 13/16″ (30 x 30 cm)
The Museum of Modern Art, New York. Gift of Shirley C. Burden, by exchange

 

Robert Heinecken (American, 1931-2006) 'Le Voyeur / Robbe-Grillet #2' 1972

 

Robert Heinecken (American, 1931-2006)
Le Voyeur / Robbe-Grillet #2
1972
Three canvas panels with bleached photographic emulsion and pastel chalk
14 x 40″ (35.6 x 101.6 cm)
George Eastman House, Rochester, New York. Museum Purchase with National Endowment for the Arts support

 

Robert Heinecken (American, 1931-2006) 'Child Guidance Toys' 1965

 

Robert Heinecken (American, 1931-2006)
Child Guidance Toys
1965
Black-and-white film transparency
5 x 18 1/16″ (12.7 x 45.8 cm)
The Art Institute of Chicago. Gift of Boardroom, Inc.

 

Robert Heinecken (American, 1931-2006) 'Lessons in Posing Subjects / Matching Facial Expressions' 1981

 

Robert Heinecken (American, 1931-2006)
Lessons in Posing Subjects / Matching Facial Expressions
1981
Fifteen internal dye diffusion transfer prints (SX-70 Polaroid) and lithographic text on Rives BFK paper
15 x 20″ (38.1 x 50.8 cm)
Collection UCLA Grunwald Center for Graphic Art, Hammer Museum, Los Angeles. Gift of Dean Valentine and Amy Adelson

 

Robert Heinecken (American, 1931-2006) 'Kodak Safety Film / Taos Church' 1972

 

Robert Heinecken (American, 1931-2006)
Kodak Safety Film / Taos Church
1972
Black-and-white film transparency
40 x 56″ (101.6 x 142.2 cm)
The Museum of Modern Art, New York. Committee on Photography Fund

 

Robert Heinecken (American, 1931-2006) 'As Long As Your Up' 1965

 

Robert Heinecken (American, 1931-2006)
As Long As Your Up
1965
Black-and-white film transparency
15 1/2 x 19 5/8″ (39.4 x 49.8 cm)
The Robert Heinecken Trust, Chicago. Courtesy Petzel Gallery, New York

 

Robert Heinecken (American, 1931-2006) 'Periodical #5' 1971

 

Robert Heinecken (American, 1931-2006)
Periodical #5
1971
Offset lithography on found magazine
12 1/4 x 9″ (31.1 x 22.9 cm)
Collection Philip Aarons and Shelley Fox Aarons, New York

 

Robert Heinecken (American, 1931-2006) 'Six Figures/Mixed' 1968

 

Robert Heinecken (American, 1931-2006)
Six Figures/Mixed
1968
Layered Plexiglas and black-and-white film transparencies
5.75 x 9.75 x 1.5″ (14.61 x 24.77 x 3.81 cm)
Collection Darryl Curran, Los Angeles

 

Robert Heinecken (American, 1931-2006) 'Figure / Foliage #2' 1969

 

Robert Heinecken (American, 1931-2006)
Figure / Foliage #2
1969
Layered Plexiglas and black-and-white film transparencies
5 x 5 x 1 1/4″ (12.7 x 12.7 x 3.2 cm)
Collection Anton D. Segerstrom, Corona del Mar, California

 

Kaleidoscopic-Hexagon-#2-WEB

 

Robert Heinecken (American, 1931-2006)
Kaleidoscopic Hexagon #2
1965
Six gelatin silver prints on wood
Diameter: 14″ (35.6 cm)
Black Dog Collection. Promised gift to San Francisco Museum of Modern Art

 

Robert Heinecken (American, 1931-2006) '24 Figure Blocks' 1966

 

Robert Heinecken (American, 1931-2006)
24 Figure Blocks
1966
Twelve gelatin silver prints on wood blocks, and twelve additional wood blocks
14 1/16 x 14 1/16 x 13/16″ (35.7 x 35.7 x 2.1 cm)
Whitney Museum of American Art, New York. Gift of Jeanne and Richard S. Press

 

Robert Heinecken (American, 1931-2006) 'Multiple Solution Puzzle' 1965

 

Robert Heinecken (American, 1931-2006)
Multiple Solution Puzzle
1965
Sixteen gelatin silver prints on wood
11 1/4 x 11 1/4 x 1″ (28.6 x 28.6 x 2.5 cm)
Collection Maja Hoffmann/LUMA Foundation

 

 

The Museum of Modern Art presents Robert Heinecken: Object Matter, the first retrospective of the work of Robert Heinecken since his death in 2006 and the first exhibition on the East Coast to cover four decades of the artist’s unique practice, from the early 1960s through the late 1990s, on view from March 15 to September 7, 2014. Describing himself as a “para-photographer,” because his work stood “beside” or “beyond” traditional ideas associated with photography, Heinecken worked across multiple mediums, including photography, sculpture, printmaking, and collage. Culling images from newspapers, magazines, pornography, and television, he recontextualized them through collage and assemblage, photograms, darkroom experimentation, and rephotography. His works explore themes of commercialism, Americana, kitsch, sex, the body, and gender. In doing so, the works in this exhibition expose his obsession with popular culture and its effects on society, and with the relationship between the original and the copy. Robert Heinecken: Object Matter is organized by Eva Respini, Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, The Museum of Modern Art. The exhibition will travel to the Hammer Museum, and will be on view there from October 5, 2014 through January 17, 2015.

Heinecken dedicated his life to making art and teaching, establishing the photography program at UCLA in 1964, where he taught until 1991. He began making photographs in the early 1960s. The antithesis of the fine-print tradition exemplified by West Coast photographers Ansel Adams and Edward Weston, who photographed landscapes and objects in sharp focus and with objective clarity, Heinecken’s early work is marked by high contrast, blur, and under- or overexposure, as seen in Shadow Figure (1962) and Strip of Light (1964). In the mid-1960s he began combining and sequencing disparate pictures, as in Visual Poem/About the Sexual Education of a Young Girl (1965), which comprises seven black-and-white photographs of dolls with a portrait of his then-five-year-old daughter Karol at the center.

The female nude is a recurring motif, featured in Refractive Hexagon (1965), one of several “photopuzzles” composed of photographs of female body parts mounted onto 24 individual “puzzle” pieces. Other three-dimensional sculptures – geometric volumes ranging in height from five to 22 inches – consist of photographs mounted onto individual blocks, which rotate independently around a central axis. In Fractured Figure Sections (1967), as in Refractive Hexagon, the female figure is never resolved as a single image – the body is always truncated, never contiguous. In contrast, a complete female figure can be reconstituted in his largest photo-object, Transitional Figure Sculpture (1965), a towering 26-layer octagon composed from photographs of a nude that have been altered using various printing techniques. At the time, viewer engagement was key to creating random configurations and relationships in the work; any number of possibilities may exist, only to be altered with the next manipulation. Today, due to the fragility of the works, these objects are displayed in Plexiglas-covered vitrines. However, the number of sculptures and puzzles gathered here offer the viewer a sense of this diversity.

Heinecken’s groundbreaking suite Are You Rea (1964-68) is a series of 25 photograms made directly from magazine pages. Representative of a culture that was increasingly commercialized, technologically mediated, and suspicious of established truths, Are You Rea cemented Heinecken’s interest in the multiplicity of meanings inherent in existing images and situations. Culled from more than 2000 magazine pages, the work includes pictures from publications such as Life, Time, and Woman’s Day, contact-printed so that both sides are superimposed in a single image. Heinecken’s choice of pages and imagery are calculated to reveal specific relationships and meanings – ads for Coppertone juxtaposed with ads for spaghetti dinners and an article about John F. Kennedy superimposed on an ad for Wessex carpets – the portfolio’s narrative moves from relatively commonplace and alluring images of women to representations of violence and the male body.

Heinecken began altering magazines in 1969 with a series of 120 periodicals titled MANSMAG: Homage to Werkman and Cavalcade. He used the erotic men’s magazine Cavalcade as source material, making plates of every page, and randomly printing them on pages that were then reassembled into a magazine, now scrambled. In the same year, he disassembled numerous Time magazines, imprinting pornographic images taken from Cavalcade on every page, and reassembled them with the original Time covers. He circulated these reconstituted magazines by leaving them in waiting rooms or slipping them onto newsstands, allowing the work to come full circle – the source material returning to its point of origin after modification. He reprised this technique in 1989 with an altered issue of Time titled 150 Years of Photojournalism, a greatest hits of historical events seen through the lens of photography.

 

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

 

Installation views of Robert Heinecken: Object Matter at The Museum of Modern Art (MoMA)
Photos by Jonathan Muzikar
© The Museum of Modern Art

 

Robert Heinecken (American, 1931-2006) 'Breast / Bomb #5' 1967

 

Robert Heinecken (American, 1931-2006)
Breast / Bomb #5
1967
Gelatin silver prints, cut and reassembled
38 1/2 x 38 1/4″ (97.8 x 97.2 cm)
Denver Art Museum. Funds From 1992 Alliance For Contemporary Art Auction

 

Robert Heinecken (American, 1931-2006) 'Then People Forget You' 1965

 

Robert Heinecken (American, 1931-2006)
Then People Forget You
1965
Gelatin silver print
10 3/8 x 12 15/16″ (26.3 x 32.8 cm)
The Art Institute of Chicago. Gift of Boardroom, Inc.

 

Robert Heinecken (American, 1931-2006) 'Cliche Vary / Autoeroticism' 1974

 

Robert Heinecken (American, 1931-2006)
Cliche Vary / Autoeroticism
1974
Eleven canvas panels with photographic emulsion and pastel chalk
39 1/2 x 39 1/2 in. (100.3 x 100.3 cm)
Collection Susan and Peter MacGill, New York

 

Robert Heinecken. 'Surrealism on TV' 1986

 

Robert Heinecken (American, 1931-2006)
Surrealism on TV
1986
216 35 mm color slides, slide-show time variable
The Robert Heinecken Trust, Chicago; courtesy Cherry and Martin Gallery, Los Angeles
© 2013 The Robert Heinecken Trust.

 

Robert Heinecken (American, 1931-2006) 'Shiva Manifesting as a Single Mother' 1989

 

Robert Heinecken (American, 1931-2006)
Shiva Manifesting as a Single Mother
1989
Magazine paper, paint and varnish
Collection Philip F. Denny, Chicago
© 2014 The Robert Heinecken Trust

 

 

Transparent film is also used in many of Heinecken’s works to explore different kinds of juxtapositions. In Kodak Safety Film/Christmas Mistake (1971), pornographic images are superimposed on a Christmas snapshot of Heinecken’s children with the suggestion in the title that somehow two rolls of film were mixed up at the photo lab. Kodak Safety Film/Taos Church (1972) takes photography itself as a subject, picturing an adobe church in New Mexico that was famously photographed by Ansel Adams and Paul Strand, and painted by Georgia O’Keeffe and John Marin. Presented as a negative, Heinecken’s version transforms an icon of modernism into a murky structure flanked by a pickup truck, telephone wires, and other modern-day debris.

Heinecken’s hybrid photographic paintings, created by applying photographic emulsion on canvas, are well represented in the exhibition. In Figure Horizon #1(1971), Heinecken reprised the cut-and-reassemble techniques from his puzzles and photo-sculptures, sequencing images of sections of the nude female body, to create impossible undulating landscapes. Cliché Vary, a pun on the 19th-century cliché verre process, is comprised of three large-scale modular works, all from 1974: Autoeroticism, Fetishism, and Lesbianism. The works are comprised of separately stretched canvas panels with considerable hand-applied color on the photographic image, invoking clichés associated with autoeroticism, fetishism, and lesbianism. Reminiscent of his cut-and-reassembled pieces, each panel features disjointed views of bodies and fetish objects that never make a whole, and increase in complexity, culminating with Lesbianism, which is made with seven or eight different negatives.

In the mid-1970s, Heinecken experimented with new materials introduced by Polaroid – specifically the SX-70 camera (which required no darkroom or technical know-how) – to produce the series He/She (1975-1980) and, later, Lessons in Posing Subjects (1981-82). Heinecken experimented with different types of instant prints, including the impressive two-panel S.S. Copyright Project: “On Photography” (1978), made the year after the publication of Susan Sontag’s collection of essays On Photography (1977). The S.S. Copyright Project consists of a magnified and doubled picture of Sontag, derived from the book’s dustcover portrait (taken by Jill Krementz). The work equates legibility with physical proximity – from afar, the portraits appear to be grainy enlargements from a negative (or, to contemporary eyes, pixilated low-resolution images), but at close range, it is apparent that the panels are composed of hundreds of small photographic scraps stapled together. The portrait on the left is composed of photographs of Sontag’’ text; the right features random images taken around Heinecken’s studio by his assistant.

Heinecken’s first large-scale sculptural installation, TV/Time Environment (1970), is the earliest in a series of works that address the increasingly dominant presence of television in American culture. In the installation, a positive film transparency of a female nude is placed in front of a functioning television set in an environment that evokes a living room, complete with recliner chair, plastic plant, and rug. Continuing his work with television, Heinecken created videograms – direct captures from the television that were produced by pressing Cibachrome paper onto the screen to expose the sensitized paper. Inaugural Excerpt Videograms (1981) features a composite from the live television broadcast of Ronald Reagan’s inauguration speech and the surrounding celebrations. The work, originally in 27 parts, now in 24, includes randomly chosen excerpts of the oration and news reports of it. Surrealism on TV (1986) explores the idea of transparency and layering using found media images to produce new readings. It features a slide show comprised of more than 200 images loaded into three slide projectors and projected in random order. The images generally fit into broad categories, which include newscasters, animals, TV evangelists, aerobics, and explosions.

Text from the MoMA press release

 

Robert Heinecken (American, 1931-2006) 'Figure Cube' 1965

 

Robert Heinecken (American, 1931-2006)
Figure Cube
1965
Gelatin silver prints on Masonite
5 7/8 x 5 7/8″ (15 x 15 cm)
The Robert Heinecken Trust. Courtesy Center for Creative Photography, University of Arizona, Tucson

 

Robert Heinecken (American, 1931-2006) 'Figure in Six Sections' 1965

 

Robert Heinecken (American, 1931-2006)
Figure in Six Sections
1965
Gelatin silver prints on wood blocks
8 1/2 x 3 x 3″ (21.6 x 7.6 x 7.6 cm)
Collection Kathe Heinecken. Courtesy The Robert Heinecken Trust, Chicago

 

Robert Heinecken (American, 1931-2006) 'Fractured Figure Sections' 1967

 

Robert Heinecken (American, 1931-2006)
Fractured Figure Sections
1967
Gelatin silver prints on wood blocks
8 1/4 x 3 x 3″ (21 x 7.6 x 7.6 cm)
The Museum of Modern Art, New York. The Photography Council Fund and Committee on Photography Fund

 

Robert Heinecken (American, 1931-2006) 'The S.S. Copyright Project: "On Photography"' (Part 1 of 2) 1978

 

Robert Heinecken (American, 1931-2006)
The S.S. Copyright Project: “On Photography” (Part 1 of 2)
1978
Collage of black and white instant prints attached to composite board with staples
b 47 13/16 x 47 13/16″ (121.5 x 121.5 cm)
The Museum of Modern Art, New York. Purchased as the partial gift of Celeste Bartos

 

Robert Heinecken (American, 1931-2006) 'Recto/Verso #2' 1988

 

Robert Heinecken (American, 1931-2006)
Recto/Verso #2
1988
Silver dye bleach print
8 5/8 x 7 7/8″ (21.9 x 20 cm)
The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund

 

Robert Heinecken (American, 1931-2006) 'Figure Parts / Hair' 1967

 

Robert Heinecken (American, 1931-2006)
Figure Parts / Hair
1967
Black-and-whtie film transparencies over magazine-page collage
16 x 12″ (40.6 x 30.5 cm)
Collection Karol Heinecken Mora, Los Angeles

 

Robert Heinecken (American, 1931-2006) 'V.N. Pin Up' 1968

 

Robert Heinecken (American, 1931-2006)
V.N. Pin Up
1968
Black-and-white film transparency over magazine-page collage
12 1/2 • 10″ (31.8 • 25.4 cm)
Museum of Contemporary Art, Chicago. Gift of Daryl Gerber Stokols

 

Robert Heinecken (American, 1931-2006) 'Typographic Nude' 1965

 

Robert Heinecken (American, 1931-2006)
Typographic Nude
1965
Gelatin silver print
14 1/2 x 7″ (36.8 x 17.8 cm)
Collection Geofrey and and Laura Wyatt, Santa Barbara, California

 

Robert Heinecken (American, 1931-2006) 'Are You Rea #1' 1968

 

Robert Heinecken (American, 1931-2006)
Are You Rea #1
1968
Twenty-five gelatin silver prints
Various dimensions
Collection Jeffrey Leifer, San Francisco

 

Robert Heinecken (American, 1931-2006) 'Are You Rea #25' 1968

 

Robert Heinecken (American, 1931-2006)
Are You Rea #25
1968
Twenty-five gelatin silver prints
Various dimensions
Collection Jeffrey Leifer, San Francisco

 

Robert Heinecken (American, 1931–2006) 'Cybill Shepherd / Phone Sex' 1992

 

Robert Heinecken (American, 1931–2006)
Cybill Shepherd / Phone Sex
1992
Silver dye bleach print on foamcore
63 x 17″ (160 x 43.2 cm)
The Robert Heinecken Trust, Courtesy of Petzel Gallery, New York

 

Robert Heinecken (American, 1931-2006) 'MANSMAG: Homage to Werkman and Cavalcade' 1969

 

Robert Heinecken (American, 1931-2006)
MANSMAG: Homage to Werkman and Cavalcade
1969
Offset lithography on bound paper
8 3/4 x 6 5/8″ (22.2 x 16.8 cm)
The Robert Heinecken Trust, Chicago

 

 

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26
Jun
14

Photographs and text: George Platt Lynes and the male nude

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

Man Ray. 'George Platt Lynes' 1927

 

Man Ray
George Platt Lynes
1927

 

 

The greatest photographer of the male nude the world has ever seen – George Platt Lynes (American, April 15, 1907 – December 6, 1955).

Lynes worked as a fashion photographer in his own studio in New York (which he opened in 1932) before moving to Hollywood in 1946 where he took the post of Chief Photographer for the Vogue studios. Although an artistic success the sojourn was a financial failure and he returned to New York in 1948. Although continuing his commercial work he became disinterested in it, concentrating his energies on photographing the male nude. He began a friendship with Dr Alfred Kinsey of the Kinsey Institute in Bloomington, Indiana and helped with his sex research. Between 1949 and 1955, Lynes sold and donated much of his erotic nudes to Kinsey.1 By May 1955 he had been diagnosed terminally ill with lung cancer. He closed his studio. He destroyed much of his print and negative archives particularly his male nudes. However, it is now known that he had transferred many of these works to the Kinsey Institute. After a final trip to Europe, Lynes returned to New York City where he died.2

Since the early 1930s Lynes had photographed male nudes and distributed the images privately to his circle of friends. He was reluctant to show them in public for fear of the harm that they could do to his reputation and business with the fashion magazines, for he was a gay man “passing” in a homophobic society. Generally his earlier male nude photographs concentrate on the idealised youthful body or ephebe. As Lynes became more despondent with his career as a fashion photographer his private photographs of male nudes tend to take on a darker and sharper edge. After a period of residence in Hollywood he returned to New York nearly penniless. His style of photographing the male nude underwent a revision. While the photographs of his European colleagues still relied on the sun drenched bodies of young adolescent males evoking memories of classical beauty and the mythology of Ancient Greece the later nudes of Platt Lynes feature a mixture of youthful ephebes and heavier set bodies which appear to be more sexually knowing. The compositional style of dramatically lit photographs of muscular torsos of older, rougher men shot in close up were possibly influenced by a number of things – his time in Hollywood with its images of handsome, swash-buckling movie stars with broad chests and magnificent physiques; the images of bodybuilders by physique photographers that George Platt Lynes visited; the fact that his lover George Tichenor had been killed during WWII; and the knowledge that he was penniless and had cancer. There is, I believe, a certain sadness but much inner strength in his later photographs of the male nude that harnesses the inherent sexual power embedded within their subject matter.

This monumentality of body and form was matched by a new openness in the representation of sexuality. There are intimate photographs of men in what seem to be post-coital revere, in unmade beds, genitalia showing or face down showing their butts off (see Untitled [Charles 'Tex' Smutney, Charles 'Buddy' Stanley, and Bradbury Ball] c. 1942, below). Some of the faces in these later photographs remain hidden, as though disclosure of identity would be detrimental for fear of persecution or prosecution. However, this photograph is quite restrained compared to the most striking series of GPL’s photographs which involves an exploration the male anal area (a photograph from the 1951 series can be found in the book titled George Platt Lynes: Photographs from The Kinsey Institute). This explicit series features other photographs of the same model – in particular one that depicts the male with his buttocks in the air pulling his arse cheeks apart. After Lynes found out he had cancer he started to send his photographs to the German homoerotic magazine Der Kries under the pseudonym Roberto Rolf, and in the last years of his life he experimented with paper negatives, which made his images of the male body even more grainy and mysterious.

Further, when undertaking research into GPL’s photographs at The Kinsey Institute as part of my PhD I noted that most of the photographs had annotations in code on the back of them giving details of age, sexual proclivities of models and what they are prepared to do and where they were found. This information gives a vital social context to GPL’s nude photographs of men and positions them within the moral and ethical framework of the era in which they were made. Most of the photographs list the names of the models used but we are unable to print them due to an agreement between GPL and Dr. Kinsey as to their secrecy.

I believe that Lynes understood, intimately, the different physical body types that gay men find desirable and used them in his photographs. He visited Lon of New York (a photographer of beefcake men) in his studio and purchased photographs of bodybuilders for himself, as did the German photographer George Hoyningen-Huene. It is likely that these images of bodybuilders influenced his later compositional style of images of men; it is also possible that he detected the emergence of this iconic male body type as a potent sexual symbol, one that that was becoming more visible and sexually available to gay men.

Dr Marcus Bunyan for the Art Blart blog

 

1. Brown, Elspeth. “Queer Desire and Cold War Homophobia,” on the In The Darkroom blog May 2013 [Online] Cited 24/06/2014.
2. “He clearly was concerned that this work, which he considered his greatest achievement as a photographer, should not be dispersed or destroyed…We have to remember the time period we’re talking about – America during the post-war Red Scare…”

Quotation from George Platt Lynes, The Male Nudes. Rizzoli International Pub, 2011 cited on “George Platt Lynes” on the Wikipedia website [Online] Cited 24/06/2014.

 

Many thankx to Associate Professor Elspeth H. Brown for allowing me to publish her text “Queer Desire and Cold War Homophobia”. Please click on the photographs for a larger version of the image.

 

 

“The depth and commitment he had in photographing the male nude, from the start of his career to the end, was astonishing. There was absolutely no commercial impulse involved – he couldn’t exhibit it, he couldn’t publish it.”

.
Allen Ellenzweig

 

 

George Platt Lynes. 'Untitled (male nude with tattoo)' 1950-1955

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled (male nude with tattoo)
1950-1955
Silver gelatin photograph
24.5 x 19.5 cm

 

George Platt Lynes. 'Untitled' Nd [c. 1951]

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
Nd [c. 1951]
Silver gelatin photograph

 

George Platt Lynes. 'Jack Fontan' c. 1950

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Jack Fontan
c. 1950
Silver gelatin photograph

 

Samuel M. Steward,. "George Platt Lynes," in 'The Advocate', No. 332, December 10, 1981, p.22

Samuel M. Steward,. "George Platt Lynes," in 'The Advocate', No. 332, December 10, 1981, p.23

Samuel M. Steward,. "George Platt Lynes," in 'The Advocate', No. 332, December 10, 1981, p.24

 

Samuel M. Steward. “George Platt Lynes,” in The Advocate, No. 332, December 10, 1981, pp. 22-24

 

George Platt Lynes. 'Untitled [Charles 'Tex' Smutney, Charles 'Buddy' Stanley, and Bradbury Ball]' c. 1942

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled [Charles 'Tex' Smutney, Charles 'Buddy' Stanley, and Bradbury Ball]
c. 1942
Silver gelatin photograph

.
According to David Leddick the models are Charles ‘Tex’ Smutney, Charles ‘Buddy’ Stanley, and Bradbury Ball. The image comes from a series of 30 photographs of these three boys undressing and lying on a bed together. Leddick, David. Naked Men: Pioneering Male Nudes 1935-1955. New York: Universe Publishing, 1997, p. 21.

 

George Platt Lynes. 'Ted Starkowski (standing, arms folded)' c. 1950

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Ted Starkowski (standing, arms folded)
c. 1950
Silver gelatin photograph

 

George Platt Lynes. 'Ted Starkowski (standing, arms behind back)' c. 1950

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Ted Starkowski (standing, arms behind back)
c. 1950
Silver gelatin photograph
22.9 x 19.1 cm

 

George Platt Lynes. 'Untitled' 1952

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
1952
Silver gelatin photograph

 

George Platt Lynes. 'Untitled (male nude study)' Nd

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled (male nude study)
Nd
Silver gelatin photograph

 

 

Queer Desire and Cold War Homophobia

Associate Professor Elspeth H. Brown

This photograph [above] archives queer, illicit desire in Cold War America. It was made by George Platt Lynes, and is part of a set of male nudes that the photographer made in the decades leading to his death, from lung cancer, in 1955. Because exhibiting these photographs was a impossibility during Lynes’s lifetime due to Cold War homophobia, he circulated them privately among his queer kinship networks.

Lynes was part of a closely connected circle of elite gay men who dominated American arts and letters in the interwar and early post-war years. For 16 years, Lynes lived with the writer Glenway Wescott and museum curator Monroe Wheeler, who were a couple for over fifty years; they had a variety of other sexual partners throughout, including Lynes, who shared a bedroom with Wheeler during their years together. All three of them, as well as friends and colleagues Lincoln Kirstein, Paul Cadmus, and other leading figures, participated in sex parties in the 1940s and 1950s, as documented in their personal papers. However, in the context of 1950s-era red scares, which particularly focused on homosexuals, the more open sexual subcultures of the 1930s and 1940s were driven even further underground.

In April of 1950, Glenway Wescott wrote George Platt Lynes that while the erotic explicitness of George’s nudes didn’t personally concern him, he was worried for Monroe Wheeler, since Wheeler held a public position as a curator at the Museum of Modern Art. “I really don’t mind scabrousness, etc., on my account, as you must know,” he wrote. “Only that our poor M [Monroe] must conclude his career with good effect and honor, I am anxious not to involve him in what is now called (in the nation’s capital) ‘guilty by association’ (have you been reading the columns and columns in the newspapers upon this and correlative points?).”

Although McCarthyism is often understood as the effort to purge suspected communists from the State Department and other branches of the federal government, the Red Scare equally targeted homosexuals, who were forced out of public service and into the closet. Wescott may well have been referring to the front page of the New York Times on March 1, 1950, where Secretary of State Dean Acheson testified about the Alger Hiss trial and the loyalty program at the State Department. Although the article purportedly concerned communism, it shows that the red scare mainly affected homosexuals, as Wescott clearly understood. Senator Bridges asked John E. Peurifoy, Deputy Under-Secretary of State in charge of the security program, how many members of the State Department had resigned since the investigations began in 1947. “Ninety-one persons in the shady category,” Mr. Peurifoy replied, “most of these were homosexuals.” This was not necessarily newsworthy in and of itself, so far as the New York Times was concerned in 1950, and the remainder of the article detailed the testimony relating to other aspects of the hearings.

Lynes continued to make and circulate his portraits, despite this climate of homophobia. He was very concerned that the work find an audience, and published it in several issues of the German homosexual journal Der Kreis in the 1950s. He also became an important informant for Alfred Kinsey’s research, as did Glenway Wescott and other members of their circle. Between 1949 and 1955, Lynes sold and donated much of his erotic nudes to Kinsey, where they are now part of the Kinsey Institute collections in Bloomington, Indiana.

© Elspeth H. Brown 2013
Associate Professor of History
University of Toronto

Reproduced with permission of the author.

Elspeth H. Brown website

 

George Platt Lynes. 'Untitled' 1951

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
1951
Silver gelatin photograph

 

George Platt Lynes. 'Untitled (Charles Romans in the artist's apartment)' 1953

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled (Charles Romans in the artist’s apartment)
1953
Silver gelatin photograph
19.5 x 24.5 cm

 

George Platt Lynes. 'Don Cerulli' 1952

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Don Cerulli
1952
Silver gelatin photograph

 

George Platt Lynes. 'Male nude study' 1951

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Male nude study
1951
Silver gelatin photograph

 

 

George Platt Lynes. 'Untitled' 1951

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
1951
Silver gelatin photograph
22.9 x 19.1 cm

 

George Platt Lynes. 'Untitled' 1936

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Untitled
1936
Silver gelatin photograph

 

George Platt Lynes. 'George Tooker' 1945

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
George Tooker
1945
Silver gelatin photograph

 

George Platt Lynes. 'Tex Smutney' 1943

 

George Platt Lynes (American, April 15, 1907 – December 6, 1955)
Tex Smutney
1943
Silver gelatin photograph

 

 

Chronology by Jack Woody

1907-1924 Born April 15, 1907, East Orange, New Jersey. Raised in comfortable circumstances and privately educated. Schoolmate Lincoln Kirstein described the young Lynes as “precocious,” crediting him with a subsequent introduction to George Balanchine.

1925 Makes first trip to Europe. Meets lifetime companions Glenway Wescott and Monroe Wheeler. Befriends Gertrude Stein, Pavel Tchelitchew and Jean Cocteau during his stay. Returns to New York City, works at Brentano’s Bookstore for a short time.

1926 Publishes the ‘As Stable Pamphlets’ in his parents’ house, Englewood, New Jersey. Includes Gertrude Stein’s DESCRIPTIONS OF LITERATURE and Ernest Hemingway’s first published play TODAY IS FRIDAY with cover designs by Pavel Tchelitchew and Jean Codeau. Enters Yale University in Autumn, leaves in December.

1927 Opens Park Place Book Shop in Englewood. The gift of a view camera encourages Lynes to make a career of photography.

1928-1930 During 1928 Lynes exhibits his celebrity portraits at Park Place Book Shop to launch a portrait business in the shop. Continues traveling to Europe, teaching himself by trial-and-error a technical understanding of the medium.

1931 Introduced to Julien Levy. Together they experiment with photographing surrealistic still-lifes. Levy arranges to include Lynes in Surrealism exhibition at Wadsworth Atheneum, Hartford, Connecticut. Visits and photographs Gertrude Stein at Bilignin.

1932 First important exhibition at the Julien Levy Gallery in tandem with Walker Evans. The death of his father forces Lynes to take up photography as a means of economic support.

1933 Opens first New York City studio on East 50th Street. Continued public showings of his work and interest in his celebrity portraits attracts a large clientele of New York socialites and their families.

1934 Begins publishing his fashion and portrait work in such magazines as Town and Country, Harpers’ Bazaar and Vogue magazines.

1935 Invited by Lincoln Kirstein and George Balanchine to document the repertoire and principal dancers in their fledgling American Ballet (now New York City Ballet), a collaboration that will continue until Lynes’ death in 1955.

1936 Surrealistic composition ‘The Sleepwalker’ included in New York Museum of Modern Art’s exhibition, ‘Fantastic Art, Dada and Surrealism.’ Lynes undertakes an extensive project to photographically interpret mythological situations.

1937-1940 Continues involvement with mythology series. Successful commercial career now headquartered in a large studio at 604 Madison Avenue. Commercial fashion accounts include Hattie Carnegie, Henri Bendel, Saks Fifth Avenue and Bergdorf Goodman.

1941-1945 Photographs airfield activities for First Air Force’s publicity and documentation. Begins to lose interest in commercial work, a process accelerated by the death of George Tichenor in 1942. Disillusioned with New York and his private life Lynes closes his studio and leaves for Los Angeles to head Vogue Magazine’s Hollywood studio.

1946-1947 Lynes begins to photograph in his rented Hollywood Hills home, experimenting with effects achieved with minimal amounts of available light. Photographs Christopher Isherwood, Igor Stravinsky, Thomas Mann and Aldous Huxley.

1948-1950 Friends sponsor the financially troubled Lynes’ return to New York where he is uninterested in and unable to repeat his earlier commercial successes. Economics force Lynes to experiment with cheaper photographic tools. He is particularly interested in the paper negative. Meets sex researcher Alfred Kinsey; impressed with Lynes’ work, Kinsey arranges to purchase hundreds of photographs for his Bloomington, Indiana institute.

1951-1954 Publishes his male nudes in homoerotic magazine ‘Der Kries’ using the pseudonyms Roberto Rolf and Robert Orville. Declares bankruptcy. Lives in a succession of apartments and studios as illness becomes apparent.

1955 In May diagnosed terminally ill with cancer. Last portrait sitting is June 16 with Monroe Wheeler. Closes studio and undergoes radium and drug therapy. Lynes begins to destroy large portions of his negative and print archives. In the Autumn he leaves for Europe, returning to New York in November to be hospitalized. At night Lynes leaves the hospital to attend the theatre and ballet. He dies on December sixth, forty-eight years old.

 

George Platt Lynes. 'Mel Fillini' 1950

 

George Platt Lynes
Mel Fillini
1950
Silver gelatin photograph

 

George Platt Lynes. 'Robert McVoy' c. 1941

 

George Platt Lynes
Robert McVoy
c. 1941
Silver gelatin photograph

 

 

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10
Jun
14

Exhibition: ‘Bill Cunningham: Facades’ at the New York Historical Society, New York

Exhibition dates: 14th March – 15th June 2014

 

Now this is more like it!

If you want fabulousness with flair, and a dash of savoir-faire; if you want architecture with fashion, history with panache, you need look no further. Camp, kitsch, OTT but with poise, aplomb, grace and sophistication – here is the artist for the job. Oh, what fun he and his muse Editta Sherman must have had with this project.

But behind it all is a damn good photographer, with a great eye for composition. Look at the hat, the building and the “attitude” of the hands in Guggenheim Museum (c. 1968-1976, below). This is how you make people smile and think (about the city, conservation and creativity), not with some overblown frippery like the photographs of Lagerfeld in the last posting.

It’s a pity the press images were initially so poor. I had to spend hours cleaning up the images they were so badly scratched to present them to you in a viewable state. Be that as it may, these are a joy, I love them…

Marcus

.
Many thankx to the New York Historical Society for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Unknown artist. 'Bill Cunningham Photographing Three Models at New York County Court House' c. 1968-76

 

Unknown artist
Bill Cunningham Photographing Three Models at New York County Court House
c. 1968-76
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Gothic bridge in Central Park (designed 1860)' c. 1968-1976

 

Bill Cunningham
Gothic bridge in Central Park (designed 1860)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Editta Sherman on the Train to the Brooklyn Botanic Garden' c. 1972

 

Bill Cunningham
Editta Sherman on the Train to the Brooklyn Botanic Garden
c. 1972
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Guggenheim Museum (built 1959)' c. 1968-1976

 

Bill Cunningham
Guggenheim Museum (built 1959)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

 

“This spring, the New-York Historical Society presents a special exhibition celebrating the creative intersection of fashion and architecture through the lens of a visionary photographer. Bill Cunningham: Facades, on view from March 14 through June 15, 2014, explores the legendary photographer’s project documenting the architectural riches and fashion history of New York City.

Beginning in 1968, Bill Cunningham scoured the city’s thrift stores, auctions and street fairs for vintage clothing and scouted architectural sites on his bicycle. The result was a photographic essay entitled Facades (completed in 1976), which paired models – most particularly his muse, fellow photographer Editta Sherman – posed in period costumes at historic New York settings.

Nearly four decades after Cunningham donated 88 gelatin silver prints from the series to the New-York Historical Society in 1976, approximately 80 original and enlarged images from this whimsical and bold work are being reconsidered in a special exhibition curated by Dr. Valerie Paley, New-York Historical Society Historian and Vice President for Scholarly Programs. The exhibition offers a unique perspective on both the city’s distant past and the particular time in which the images were created, examining Cunningham’s project as part of the larger cultural zeitgeist in late 1960s-70s New York City, an era when historic preservation and urban issues loomed large.

“We are thrilled to feature these important photographs by New York Times photographer Bill Cunningham, who captured an uncertain moment in our city’s history, when New York seemed on the brink of losing its place of privilege as a capital of the world. Cunningham’s vivid sense of New York’s illustrious past and his unfettered optimism about its future make the photographs among the most dramatic and important documentation of the city’s social history,” said Louise Mirrer, President and CEO of the New-York Historical Society. “The exhibition is especially timely, as Mrs. Editta Sherman, Bill Cunningham’s muse for his project and the famed ‘duchess of Carnegie Hall,’ passed away last November 2013 at the age of 101. Mrs. Sherman’s indomitable spirit, humor and creativity are powerfully felt through the photographic images. We are gratified that many of her family members will be with us for our opening exhibition event.”

Over eight years, Bill Cunningham collected more than 500 outfits and photographed more than 1,800 locations for the Facades project, jotting down historical commentary on the versos of each print. The selection of 80 images on view evoke the exuberance of Cunningham and Sherman’s treasure hunt and their pride for the city they called home. Cunningham’s images are contextualized with reproductions of original architectural drawings from New-York Historical’s collection.

During the years that Cunningham worked on Facades, New York City was in a municipal financial crisis that wreaked havoc on daily existence, with crime, drugs, and garbage seemingly taking over the city. However, the 1970s also was an era of immense creativity, when artists and musicians experimented with new forms of expression. While Cunningham’s photographs offer an unsullied version of the tough cityscape during this chaotic time, his vision was part of a larger movement towards preserving the historic heritage of the built environment to improve the quality of urban life.

Most images in Facades feel timeless, such as Gothic Bridge (designed 1860), featuring Editta Sherman strolling through a windswept Central Park, framed by the wrought-iron curves of a classic bridge. However, at least one will offer a peek behind the scenes of the project. Cunningham and Sherman often traveled to locations by public transportation to avoid wrinkling the costumes, and Editta Sherman on the Train to the Brooklyn Botanical Garden (ca. 1972) captures the jarring juxtaposition of Sherman sitting primly in a graffiti-covered subway car.

Other exhibition highlights include Sherman dressed in a man’s Revolutionary War-era hat, powdered wig, overcoat and breeches at St. Paul’s Chapel and Churchyard (built ca. 1766-1796), the oldest surviving church in Manhattan, where George Washington worshipped. In Federal Hall (built ca. 1842), Cunningham paired the Parthenon-like architectural details of the building with a Grecian-style, 1910s pleated Fortuny gown. For Grand Central Terminal (built ca. 1903-1913), Cunningham drew on his millinery background to create a voluminous feathered hat that echoes the spirit of the “crown of the Terminal,” the ornate rooftop sculpture with monumental figures of Mercury, Minerva, and Hercules.

Bill Cunningham (born 1929) is a fashion photographer for the New York Times, known for his candid street photography. Cunningham moved to New York in 1948, initially working in advertising and soon striking out on his own to make hats under the name “William J.” After serving a tour in the U.S. Army, he returned to New York and began writing for the Chicago Tribune. While working at the Tribune and Women’s Wear Daily, he began taking photographs of fashion on the streets of New York. The Times first published a group of his impromptu pictures in December 1978, which soon became a regular series. In 2008 Cunningham was awarded the title chevalier dans l’ordre des Arts et des Lettres by the French Ministry of Culture. He is the subject of the award-winning documentary film Bill Cunningham New York (2010). Bill Cunningham and Editta Sherman were neighbors in the Carnegie Hall Studios, a legendary artists’ residence atop the concert hall, for 60 years.”

Press release from the New York Historical Society website

 

Bill Cunningham. 'St. Paul’s Chapel and Churchyard (built c. 1766-96)' c. 1968-76

 

Bill Cunningham
St. Paul’s Chapel and Churchyard (built c. 1766-96)
c. 1968-76
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Grand Central Terminal (built c. 1903-1913)' c. 1968-1976

 

Bill Cunningham
Grand Central Terminal (built c. 1903-1913)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Federal Hall (built c. 1842, costume c. 1910)' c. 1968-1976

 

Bill Cunningham
Federal Hall (built c. 1842, costume c. 1910)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Bowery Savings Bank (built c. 1920)' c. 1968-1976

 

Bill Cunningham
Bowery Savings Bank (built c. 1920)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Club 21' (founded c. 1920s; costume c. 1940) c. 1968-1976

 

Bill Cunningham
Club 21 (founded c. 1920s; costume c. 1940)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Associated Press Building at Rockefeller Center (built c. 1939)' c. 1968-1976

 

Bill Cunningham
Associated Press Building at Rockefeller Center (built c. 1939)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Paris Theater (built 1947)' c. 1968-1976

 

Bill Cunningham
Paris Theater (built 1947)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'General Motors Building' c. 1968-1976

 

Bill Cunningham
General Motors Building
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

 

The New York Historical Society

170 Central Park West
at Richard Gilder Way (77th Street)

T: (212) 873-3400

Opening hours:
Monday CLOSED
Tuesday – Thursday 10 am – 6 pm
Friday 10 am – 8 pm
Saturday 10 am – 6 pm
Sunday 11 am – 5 pm

The New York Historical Society
 website

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07
Jun
14

Exhibition: ‘Feuerbach’s Muses – Lagerfeld’s Models’ at Hamburger Kunsthalle, Hamburg

Exhibition dates: 21st February – 15th June 2014

Gallery of Contemporary Art

 

Don’t give up your day job

.
From the sublime (Feuerbach) to the downright awful (Lagerfeld).

From gorgeous, sensitive portrait paintings of women, full of detail and texture, colour and stillness to what I would term soft-cock porn. Fashion influenced, hyper airbrushed faces; Saint Sebastian poses referencing classical ideals of male beauty (done so much more authentically and grittily by Baron Wilhelm von Gloeden), all staged in sylvan settings. Then printed onto silver- and gold-coloured fabric. Can’t wait to see that…

Not absolutely fabulous, just absolutely hideous.

Marcus

.
Many thankx to Hamburger Kunsthalle for allowing me to publish the art work and photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

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Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

 

Installation views of Feuerbach’s Muses – Lagerfeld’s Models at Hamburger Kunsthalle

 

Anselm Feuerbach. 'Nanna' 1864

 

Anselm Feuerbach
Nanna
1864
Oil on canvas
61 x 47.2 cm
© Niedersächsisches Landesmuseum Hannover
Photo: Ursula Bohnhorst

 

Anselm Feuerbach. 'Studienkopf zur Stuttgarter Iphigenie [Study of a Head for Stuttgart Iphigenia]' 1870

 

Anselm Feuerbach
Studienkopf zur Stuttgarter Iphigenie [Study of a Head for Stuttgart Iphigenia]
1870
Oil on canvas
62.5 x 49.5 cm
© Museum Oskar Reinhart, Winterthur
Photo: SIK-ISEA (Philipp Hitz)

.
Iphigenia (Greek mythology) the daughter of Clytemnestra and Agamemnon; Agamemnon was obliged to offer her as a sacrifice to Artemis when the Greek fleet was becalmed on its way to Troy; Artemis rescued her and she later became a priestess.

 

Anselm Feuerbach. 'Poesie, Zweite Fassung [Poetry, Second Version]' 1863

 

Anselm Feuerbach
Poesie, Zweite Fassung [Poetry, Second Version]
1863
Oil on canvas
62 x 50 cm
© Kunstbesitz der Stadt Speyer
Photo: G. Kayser

 

Anselm Feuerbach. 'Lucrezia Borgia, Bildnis einer Römerin in weißer Tunika und rotem Mantel [Lucrezia Borgia, Portrait of a roman in white tunic and red cloak]' 1864/65

 

Anselm Feuerbach
Lucrezia Borgia, Bildnis einer Römerin in weißer Tunika und rotem Mantel [Lucrezia Borgia, Portrait of a roman in white tunic and red cloak]
1864/65
Oil on canvas
98 x 81cm
© Städel Museum, Frankfurt a. M.
Photo: Städel Museum – ARTOTHEK

 

Anselm Feuerbach. 'Nanna' 1861

 

Anselm Feuerbach
Nanna
1861
Oil on canvas
137.8 x 99.3 cm
© München, Bayerische
Staatsgemäldesammlungen – Neue Pinakothek
Photo: bpk I Bayerische Staatsgemäldesammlung

 

 

“From February 2014 the Hamburger Kunsthalle is presenting an unusual double exhibition on beauty, eroticism and the adoration of muses and models that brings together paintings by Anselm Feuerbach and hit her to unseen photographs by Karl Lagerfeld. In a similar way both Feuerbach and Lagerfeld seek an actualisation of an ideal of timeless beauty founded in the ancient world. The exhibition examines the cult of beauty, which stylises the model to an icon. Over forty works by Feuerbach, most of them from the years 1860-70, will be on show. They are loans from the Feuerbachhaus Speyer and from numerous German, Swiss and Austrian museums ad private collections. Karl Lagerfeld has created a series of around sixty black-and-white photographs specially for the exhibition. Mostly in large formats, they have been printed in a complex procedure onto silver- and gold-coloured fabric.

Anselm Feuerbach (1829-80) one of the most important German painters of the late nineteenth century, lived in Rome from 1856 onwards. The city, with its magnificent architecture and heroic surrounding landscape, was a place of yearning that seemed eligible like no other to revive the classical ideal of ancient times. Feuerbach devoted himself to antique subject matter, which he filled with imagination and personal feeling. This is most excitingly shown in the series of unique portraits, begunin 1860, which portray Feuerbach’s model and muse, Anna Risi, known as Nanna. Feuerbach painted Nana in a wide variety of roles and sensitively staged settings that reveal an almost cultic veneration for his model. When Nanna left Feuerbach in 1865, she was followed by Lucia Brunacci. Similarly to Nanna she matched the classical ideal of beauty of the time, with her Greek profile and thick dark hair. Lucia inspired Feuerbach to impressive portrayals of mythological themes that form the highpoint of his ouevre.

‘Happy is he whom the muses love’, wrote the Greek poet Hesiod, and sothe muses are a symbol of the higher power that is needed, according to the ancients, to be creative. The photographic series Modern Mythology (2013) by Karl Lagerfeld, explores the love story of Daphnis and Chloe, and shows models such as Baptiste Giabiconi and Bianca Balti, who have accompanied Lagerfeld in his work for several years. The story, by the poet Longus, tells of a boy and a girl who grow up without parents among shepherds and over the years develop a strong affection for one another. The narration has been taken up many times since the Renaissance. Lagerfeld’s photographs belong to a series of works by Pierre Bonnard, François Boucher or Aristide Maillol which present the ancient text as a symbol of the idyllic life. Karl Lagerfeld’s stagings were shot against the picturesque natural background of the South of France, and are the actualisation of an ancient theme.

The exhibition is accompanied by two publications: the catalogue on Anselm Feuerbach is published jointly with the Museum Wiesbaden and introduces Feuerbach’s paintings and drawings from an art-historical perspective; the second book combines Karl Lagerfeld’s photographs and Longus’s mythological narrative of Daphnis and Chloe in a bibliophile volume that will be elaborately produced by the publisher Gerhard Steidl.”

Curators: Professor Hubertus Gaßner and Luisa Pauline Fink

Press release from the Hamburger Kunsthalle website

 

Anselm Feuerbach. 'Das Urteil des Paris [The Judgement of Paris]' 1870

 

Anselm Feuerbach
Das Urteil des Paris [The Judgement of Paris]
1870
Oil on canvas
228 x 443 cm
© Hamburger Kunsthalle / bpk
Photo: Elke Walford

 

Anselm Feuerbach. 'Ruhende Nymphe [Resting Nymph]' 1870

 

Anselm Feuerbach
Ruhende Nymphe [Resting Nymph]
1870
Oil on canvas
112 x 190 cm
© Germanisches Nationalmuseum Nürnberg, Leihgabe Privatbesitz
Photo: Monika Runge

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

 

Hamburger Kunsthalle
Glockengießerwall 20095
Hamburg
T: +49 (0) 40 – 428 131 200

Opening hours:
Tuesdays to Sundays 10 am – 6 pm
Thursdays 10 am – 9 pm
Closed Mondays

Hamburger Kunsthalle website

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20
May
14

Exhibition: ‘Wols Photographer. The Guarded Look’ at Martin-Gropius-Bau, Berlin

Exhibition dates: 15th March – 22nd June 2014

 

Some familiar images that were also seen in the posting Wols’ Photography: Images Regained are complimented by 5 new ones. The two portraits of the artist Max Ernst are eerie (is that a suitable word for a portrait that is strong and unsettling?) and perceptive, Wols responsive to the status of his sitter as a pioneer of the Dada movement and Surrealism.

.
Many thankx to the Martin-Gropius-Bau for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Art Informel

The term Art Informel was originated by the French critic Michel Tapié and popularized in his 1952 book Un Art autre (Another art). A Parisian counterpart of Abstract Expressionism, Art Informel emphasized intuition and spontaneity over the Cubist tradition that had dominated School of Paris painting. The resulting abstractions took a variety of forms. For instance, Pierre Soulages’s black-on-black paintings composed of slashing strokes of velvety paint suggest the nocturnal mood of Europe immediately after the war.

 

 

Wols. 'Untitled [Still life - dining table]' 1937

 

Wols
Untitled [Still life - dining table]
1937
© VG Bild-Kunst, Bonn 2014

 

Wols. 'Nicole Bouban' Autumn 1932 - October 1933 / January 1935 to 1937

 

Wols
Nicole Bouban
Autumn 1932 – October 1933 / January 1935 to 1937
© Kunst, Bonn 2014

 

Wols. 'Untitled [Pavilion de l'Elegance - Creating a home with Alix (Germaine Krebs)]' 1937

 

Wols
Untitled [Pavilion de l'Elegance - Creating a home with Alix (Germaine Krebs)]
1937
© VG Bild-Kunst, Bonn 2014

 

Germaine Émilie Krebs (1903-1993), known as Alix Barton and later as “Madame Grès”, relaunched her design house under the name Grès in Paris in 1942. Prior to this, she worked as “Alix” or “Alix Grès” during the 1930s. Formally trained as a sculptress, she produced haute couture designs for an array of fashionable women, including the Duchess of Windsor, Marlene Dietrich, Greta Garbo, Jacqueline Kennedy, and Dolores del Río. Her signature was cut-outs on gowns that made exposed skin part of the design, yet still had a classical, sophisticated feel. She was renowned for being the last of the haute couture houses to establish a ready-to-wear line, which she called a “prostitution”.

The name Grès was a partial anagram of her husband’s first name and alias. He was Serge Czerefkov, a Russian painter, who left her soon after the house’s creation. Grès enjoyed years of critical successes but, after Grès herself sold the business in the 1980s to Yagi Tsucho, a Japanese company, it faltered. In 2012, the last Grès store in Paris was closed. (Text from Wikipedia website)

 

Wols. 'Untitled [Swiss Pavilion - Wire Figure]' 1937

 

Wols
Untitled [Swiss Pavilion - Wire Figure]
1937
© VG Bild-Kunst, Bonn 2014

 

 

“Wolfgang Schulze, known as Wols, was born in Berlin in 1913. As a painter and graphic artist he is considered to have been an important trailblazer of Art Informel. For the first time the Martin-Gropius-Bau in Berlin is presenting the largely unknown photographic oeuvre of Wols. These works foreshadow his development in the direction of non-representational art.

Wols grew up in Dresden, where he had an early encounter with photography as a profession through his attendance at a course in the studio of the Dresden photographer Genja Jonas. In 1932, after a brief sojourn in the milieu of the Berlin Bauhaus – then in the process of breaking up – the young Wols set off for Paris to realize his artistic ambitions.

Soon he was involved with the local Surrealists and made the acquaintance of other personalities in the theatrical, literary and art scenes. In this period Wols was mainly active as a photographer. In 1937 his works were exhibited for the first time in the prestigious Parisian Galérie de la Pléiade, which established his reputation as a photographer. It was at this time that he adopted the pseudonym Wols. One of his commissions was to document the Pavillon de l’Elégance at the 1937 World Exhibition in Paris.

At the same time he produced striking multiple black-and-white portraits of personalities such as Max Ernst, Nicole Boubant or Roger Blin. Over the years Wols’ imagery became increasingly radical. The representational motifs gradually acquired a more abstract dimension and forced the viewer to see the objects represented in a new light. In particular, an extraordinary set of photograms confirms his interest in replacing representational motifs with non-representational ones. Transferred to painting, this trend would later make him a pioneer of Art Informel.

Immediately after the outbreak of the Second World War Wols spent over a year in various internment camps in the south of France. In this period he turned more to watercolours, most of which were lost while he was fleeing from the Nazis.

Living in straitened circumstances Wols fought a losing battle with alcoholism and poor health. In 1951, as a result of his weakened physical condition, he died of food poisoning in Paris at the early age of 38. After his death, Wols’ work was displayed at the first three documenta exhibitions in Kassel (1955, 1959, 1964) and, in 1958, at the Venice Biennale. On 27 May 2014 he would have been 101.

The show covers all of his photographic work, including multiple portraits of famous artists, actors and writers, photographs of the “Pavillon de l’Élégance”, numerous still lifes, and many hitherto unknown motifs. The exhibition has been curated by the Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, where this unique collection will be kept and systematically catalogued.”

Press release from Martin-Gropius-Bau website

 

Wols. 'Max Ernst' Fall 1932 - October / January 1935 to 1936

 

Wols
Max Ernst
Fall 1932 – October / January 1935 to 1936
© VG Bild-Kunst, Bonn 2014

 

Wols. 'Max Ernst' Fall 1932 - October / January 1935 to 1936

 

Wols
Max Ernst
Fall 1932 – October / January 1935 to 1936
© VG Bild-Kunst, Bonn 2014

 

 

“Wols permanently settled in Paris in 1933, producing his first paintings but also working as a photographer. His photographic work of this period showed the clear influence of Surrealism. In 1936, he received official permission to live in Paris with the help of Fernand Léger; as an army deserter, Schulze had to report to the Paris police on a monthly basis. In 1937, the year in which he adopted his pseudonym WOLS, his photographs began to appear in fashion magazines such as Harper’s BazaarVogueFemina as well as Revue de l’art. Many of these photographs anticipate the displays at the Exposition Internationale du Surréalisme held in Paris in the following year, in which much use was made of mannequins.

At the outbreak of World War II Wols, as a German citizen, was interned for 14 months in the notorious Les Milles camp – together with some 3500 other artists and intellectuals. He was not released until late 1940. After his release Wols moved for two years to Cassis, near Marseille, where he struggled to earn a living. The occupation of Southern France by the Germans in 1942 forced him to flee to Dieulefit, near Montélimar, where he met the writer Henri-Pierre Roché, one of his earliest collectors. He spent most of the war trying to emigrate to the United States, an unsuccessful and costly enterprise that may have driven him to alcoholism.

After the war Wols returned to Paris where he met Jean-Paul Sartre, Tristan Tzara and Jean Paulhan. He started to paint in oils in 1946 at the suggestion of the dealer René Drouin, who showed 40 of his paintings at his gallery in 1947. The same year Wols began to work on a number of illustrations for books by Paulhan, Sartre, Franz Kafka and Antonin Artaud. He fell ill but lacked the money to go to hospital, and throughout 1948 he worked largely in bed on these illustrations. In 1949 he took part in the exhibition Huit oeuvres nouvelles at the Galerie Drouin, along with Jean Dubuffet, Roberto Matta, Henri Michaux and other artists with whom he had a stylistic affinity.

Undergoing treatment for alcoholism, he moved to the country at Champigny-sur-Marne in June 1951. His early death later that year from food poisoning helped foster the legendary reputation that grew up around him soon afterwards. His paintings helped pioneer Art informel and Tachism, which dominated European art during and after the 1950s as a European counterpart to American Abstract Expressionism. Influenced by the writings of the philosopher Lao Tzu throughout his life, Wols also wrote poems and aphorisms that expressed his aesthetic and philosophical ideas.”

Text from the Weimar blog 2010

 

Wols. 'Untitled [Paris - Flea Market]' Autumn 1932 - October 1933 / January 1935 to 1936

 

Wols
Untitled [Paris - Flea Market]
Autumn 1932 – October 1933 / January 1935 to 1936
© VG Bild-Kunst, Bonn 2014

 

Wols. 'Untitled [Paris - Palisade]' Fall 1932 - October 1933 / January 1935 - August 1939

 

Wols
Untitled [Paris - Palisade]
Fall 1932 – October 1933 / January 1935 – August 1939
© VG Bild-Kunst, Bonn 2014

 

Wols. 'Untitled [Paris - Eiffel Tower]' 1937

 

Wols
Untitled [Paris - Eiffel Tower]
1937
© VG Bild-Kunst, Bonn 2014

 

Wols. 'Untitled [Still Life - Grapefruit]' 1938 - August 1939

 

Wols
Untitled [Still Life - Grapefruit]
1938 – August 1939
© VG Bild-Kunst, Bonn 2014

 

Wols. 'Self Portrait with Hat' 1937/38

 

Wols
Self Portrait with Hat
1937/38
© VG Bild-Kunst, Bonn 2014

 

 

Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7
Corner Stresemannstr. 110
10963 Berlin
T: +49 (0)30 254 86-0

Opening Hours:
Wednesday to Monday 10 – 20 hrs
Tuesday closed

Martin-Gropius-Bau website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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