Archive for the 'Australian photography' Category

20
Mar
22

Exhibition: ‘Birdlike’ by Anne Ferran at Sutton Gallery, Melbourne

Exhibition dates: 5th March – 2nd April 2022

 

Installation view of the exhibition 'Birdlike' by Anne Ferran at Sutton Gallery, Melbourne

 

Installation view of the exhibition Birdlike by Anne Ferran at Sutton Gallery, Melbourne showing at left, Ground dweller 4, 2020-2021 (see below)
© the artist and Sutton Gallery

 

 

A quick text today as I am very sick with bronchitis and not feeling very well.

I have always liked Ferran’s performative creations starting with her body of work titled Box of Birds (2013) followed by Align (2015); Flying Colour (2016); Open Book (2018); White Against Red (2018); and now her most recent series, Birdlike (2020-2022)

While conceptually based (as with much contemporary photography), her bodies of work have an elemental quality to them that keeps them grounded and present even as they reference a historical past, a “felt” (pardon the pun since Ferran uses felt material) response to a present day conundrum.

The new work Birdlike “continues the artist’s practice of photographing female performers as they improvise with lengths of coloured felt … [which] allows for complex and nuanced interpretations” in response to the initial proposition, in this case Ferran’s wish “to summon the return of a small ground-dwelling bird, the Plains wanderer, Pedionomus torquatus, to a place that it vanished from long ago.”

These birds “are surprisingly distinct from any other species on the planet, they are the last family on their evolutionary line,” the only representative of family Pedionomidae and genus Pedionomus. They are threatened by agricultural practices such as cropping and grazing, and so they are at risk of habitat loss, as well as other threats such as flooding, feral predators, pesticide use and their small population size. With their ground-nesting habits, poor flying ability, and the tendency to run rather than fly from predators, the birds become easy prey for the fox. Now listed as a critically endangered species the bird makes a haunting return, a form of speculative reappearance as Ferran puts it, to a place in which it was once common – that of Wiradjuri country, near Narrandera NSW.

These beautiful, conceptual, improvised photographs are not only about the here and now, but are about present and past (a longing for a quixotic past?), about presence and absence… and about death and loss. Every thing contemporary photography is good at – that is, unpicking the threads of history and reassembling them – is here grounded “in the flatness of the landscape, the vastness of the sky and the colours of the lengths of felt the performer is manipulating.” In other words, grounded in light, colour and the red soil of the Australian landscape these re-imagined birds are captured in a fantastical performance / sublime dance (of death).

I love these photographs. They possess a sublime mystery that makes me stop and question how little the human race has learnt and how much we have lost. With species extinction, climate change and ocean pollution ongoing, this is only the beginning of the desecration of Mother Earth.

Omnia mutantur nos et mutamur in illis (all things change, and we change with them).

But not necessarily for the better.

Dr Marcus Bunyan

.
Many thankx to Sutton Gallery for allowing me to publish the photographs in the posting. All images © the artist and Sutton Gallery. Please click on the photographs for a larger version of the image.

 

 

Installation view of the exhibition 'Birdlike' by Anne Ferran at Sutton Gallery, Melbourne

 

Installation view of the exhibition Birdlike by Anne Ferran at Sutton Gallery, Melbourne showing at left, Ground dweller 4, 2020-2021 (see below)
© the artist and Sutton Gallery

 

Installation view of the exhibition 'Birdlike' by Anne Ferran at Sutton Gallery, Melbourne

 

Installation view of the exhibition Birdlike by Anne Ferran at Sutton Gallery, Melbourne showing at left, Plains wanderer 1; and at right, Plains wanderer 3 both 2020-2021 (see below)
© the artist and Sutton Gallery

 

Installation view of the exhibition 'Birdlike' by Anne Ferran at Sutton Gallery, Melbourne

 

Installation view of the exhibition Birdlike by Anne Ferran at Sutton Gallery, Melbourne showing at left, Field haunter 1, Field haunter 3, and Field haunter 2 all 2020-2021 (see below); and at right, Hiding 1 2020-2021 (see below)
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Field haunter 1' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Field haunter 1
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Field haunter 2' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Field haunter 2
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Field haunter 3' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Field haunter 3
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

 

In Birdlike I aimed to summon the return of a small ground-dwelling bird, the Plains wanderer, Pedionomus torquatus, to a place that it vanished from long ago. Once common over vast areas of southern NSW and Victoria, its existence is now threatened, and birdwatchers like me will go to great lengths to see it just once in their lives. In these photographs, made on Wiradjuri country, near Narrandera NSW, the Plains wanderer makes a form of speculative reappearance, via signs as indirect as the flatness of the landscape, the vastness of the sky and the colours of the lengths of felt the performer is manipulating.

I came to this way of working a few years ago. Its two key components are my collaboration with a performer – here it is Kirsten Packham – and her improvisations with lengths of dyed and painted felt. I choose the performer carefully, as so much depends on her sensitivity to her surroundings and her ability to transmit it through her physical body. With its inherent density, softness and weight, the felt can amplify and enhance her movements and gestures, while exerting a strong presence of its own. I never know what will emerge from these sessions, only that it will be something new, arising out of that moment, that performance and that situation.

Until now I have preferred to work in the familiar environment of a photographic studio. Decamping to the landscape introduced many small and some not-so-small considerations: the texture of the ground underfoot, the ever-changing effects of early morning or late afternoon light, whether it was hot, cold or blowing a gale at any one moment. Small trees crept into the frame and started acting like performers themselves. As the photographs began to accumulate, I thought I could see an out-of-place, almost alien quality emerging. This was unexpected, but on reflection it seems consistent with the displacements that have already happened in this place, as well as with those others that may come in the future.

~ Anne Ferran, 2022

 

Each image is available in two sizes: 65 x 50cm Ed. of 5 + 2APs and 144 x 104cm Ed. of 3 + 2APs

Performer: Kirsten Packham
Lighting: Frances Mocnik
Assistant: Brittany Hefren

This project is supported by the NSW Government through Create NSW, and the Cad Factory, Narrandera.

 

Anne Ferran (Australian, b. 1949) 'Ground dweller 1' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Ground dweller 1
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Ground dweller 2' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Ground dweller 2
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Ground dweller 3' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Ground dweller 3
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Ground dweller 4' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Ground dweller 4
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Hiding 1' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Hiding 1
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Hiding 2' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Hiding 2
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Hiding 3' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Hiding 3
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Plains wanderer 1' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Plains wanderer 1
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Plains wanderer 2' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Plains wanderer 2
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Plains wanderer 3' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Plains wanderer 3
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

 

Sutton Gallery
254 Brunswick Street
Fitzroy 3065
Victoria, Australia
Phone: +61 3 9416 0727

Gallery hours:
Wednesday – Saturday
11am – 5pm, or by appointment

Sutton Gallery website

Anne Ferran website

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16
Jan
22

Photographs: ‘Australian cartes-de-visite, Melbourne’ 1860s-1880s

January 2022

 

Archibald McDonald (Australian born Canada, c. 1831-1873) 'Untitled (Portrait of a man)' c. 1864-1875 (recto)

 

A. Archibald McDonald (Australian born Canada, c. 1831-1873)
Untitled (Portrait of a man) (recto)
c. 1864-1875
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

My friend Terence lent me his family photo album. It contains a lot of wonderful cartes-de-visite from photography salons in central Melbourne and country Victoria all in remarkably good condition. There are some unusual cards: family groups, twins in identical chequered outfits, a Latino woman, casual portraits with the sitter relaxing with their knees crossed and even an outdoor photograph of a dirty young vagabond with a chair. There is also a rare card, not strictly a cartes-de-visite, that lists when Omnibuses leave Hoddle Street (late Punt Road) and Toorak Road for St. Kilda via Chapel, Wellington, and Fitzroy Streets.

Several cartes-de-visite seem to have been taken at the same session but with different props: witness the Benson & Stevenson cards Untitled (Standing boy), Untitled (Seated woman) and Untitled (Seated woman holding book) where the background remains basically the same but the tablecloth has been inverted – probably son, mother and grandmother. Another Benson & Stevenson pairing Untitled (Seated wife and husband) and Untitled (Family group) possibly show the grandparents and their extended family.

Two cards by the Paterson Brothers, Untitled (Standing man holding a hat) and Untitled (Standing man) show the same backdrop but with a different width, height and design of column attached to the end of the colonnaded fence… perhaps to accommodate for the different height of the subjects. Were these two photographs taken in the same photographic session? Did the men know each other, were they brothers, or business partners?

A most beautiful card is that by an unknown photographer of Mr and Mrs Ritchie (1868, below). Against a plain backdrop and standing on a patterned piece of linoleum, the couple stand frontally facing the camera, her body slightly titled to the right while his lanky frame in oversized coat and lanky trousers is positioned to the left of the frame. The most striking thing about the photograph is Mrs Ritchie’s voluminous striped dress which takes up two-thirds of the pictorial frame, encroaching on Mr Ritchie’s space and obscuring his left foot. Her petite hand is nestled in the crook of his arm while his hands seem massive in comparison. He stares resolutely at the camera while she stares wistfully off camera to her right, mimicking the positioning of her body. This, as the back of the card observes, is the “likeness” of Mrs Alex Ritchie and a memory of her. Alex. Alex. Alex. What was your life like? What happiness and sadness did you endure that we remember you now, revisiting your likeness, bringing you into our consciousness, our hearts and thus into our memory – loved as you were by God & highly esteemed by all that knew her.

The more I reflect on these early photographs, the more I consider the moment that these people had their photographs taken – in those days, those several seconds that they had to remain still for the exposure – and the performance that led up to the capturing of their image. The appointment (if they had one), the entry into the gallery, the greeting, the seating, the waiting for the room to be available, the preparation of the attire, the combing of the hair, the direction by the photographer, the posing of the figure(s) and the exposure of the plate.

Some people would have been annoyed at the process, irritated at how long it took and how long they had to keep still for. I suspect others were imbued of the magic and the theatre of the photographic gallery… and that those few seconds of stillness could become like a period of extended time, like a car crash, where time slows down.** A brief abeyance of the laws of physics becomes an extension of the time of the spirit. The “presence” of the man in A. Archibald McDonald’s cartes-de-visite (c. 1864-1875, above) is a case in point: the low depth of field; the casual placement of hands on thigh and back of chair; the high-buttoned coat, chequered shirt, and top pocket handkerchief; the magnificent beard and the coiffed hair; but above all that penetrating gaze, as though he is staring off into the space of immortality.

Everything in balance, in focus, in stillness.

Dr Marcus Bunyan

 

** What I am encouraging you to think about here is that the time freeze of the photograph, the snap of the shutter, can be defeated in the physicality of the image, and in the space of the exposure – by a distortion of the witness’s felt temporality.

I am using Paul Virilio’s observation:

“‘No’, Rodin replies. ‘It is art that tells the truth and photography that lies. For in reality time does not stand still, and the artist who manages to give the impression that a gesture is being executed over several seconds, their work is certainly much less conventional than the scientific image in which time is abruptly suspended …’ The sharing of duration (between art and witness) is automatically defeated by the innovation of photographic instantaneity, for if the instantaneous image pretends to scientific accuracy in its details, the snap-shot’s image freeze or rather image-time-freeze invariably distorts the witness’s felt temporality …”

Paul Virilio. The Vision Machine (trans. Julie Rose). Bloomington: Indiana University Press, 1994, p. 2.

.
Please click on the photographs for a larger version of the image.

 

 

Archibald McDonald (Australian born Canada, c. 1831-1873) 'Untitled (Portrait of a man)' c. 1864-1875 (verso)

 

A. Archibald McDonald (Australian born Canada, c. 1831-1873)
Untitled (Portrait of a man) (verso)
c. 1864-1875
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Archibald McDonald (Australian born Canada, c. 1831-1873)

Archibald McDonald was a professional photographer, son of Hugh McDonald and Grace née McDougal, was born in Nova Scotia where his father was a planter. He came to Melbourne in about 1847 and was in partnership with Townsend Duryea by 1852. Their daguerreotype portraits and views in the 1854 Melbourne Exhibition were awarded a medal (which McDonald was still citing in advertisements in 1866). At the end of 1854 Duryea and McDonald were in Tasmania announcing that they would open a daguerreotype studio on 11 December at 46 Liverpool Street, Hobart Town. Still enough of a novelty to require promotion and explanation, their daguerreotypes were labelled ‘Curiosities as works of art – puzzles to the uninitiated – studies for the contemplative – pleasing reflections – historical records – pocket editions of the works of nature which “he who runs may read”‘. The partners had gone their separate ways by the following July when ‘Macdonald & Co., late Duryea & Macdonald’ began to advertise from Brisbane Street, Launceston. Archibald visited Launceston in July and again in November, in the interim making short tours to Deloraine (August), Longford (September) and Campbell Town (October).

Afterwards he continued the Melbourne firm of Duryea & McDonald possibly with Sanford Duryea , Townsend having relocated to Adelaide. By 1855 Thomas Adams Hill was the other half of the partnership at 3 Bourke Street, East Melbourne, but Hill soon left the studio to set up on his own. The young Charles Nettleton had joined the firm in 1854 and, according to Cato, then took over the outdoor work while McDonald concentrated on studio portraiture. The business flourished and by 1858 Duryea & McDonald had two Melbourne studios. McDonald set up a studio in his sole name in 1860 at 25 Bourke Street. In 1861 a case of his daguerreotype portraits in the Victorian Exhibition was awarded a first-class certificate and his photograph of the Albion Hotel received an honourable mention in the supplementary awards. Both his untouched and ‘Mezzotinto’ portrait photographs gained honourable mentions at the 1866 Melbourne Intercolonial Exhibition.

Having moved to St George’s Hall at 71 Bourke Street by 1864 McDonald was advertising extensive additions, including a new gallery, in 1866. His studio, he predictably claimed, was now ‘second to none in Europe or America and far surpassing anything in the Colonies’. The fire of March 1872 that destroyed the Theatre Royal, located directly behind his studio, also damaged his premises, but they were soon repaired and McDonald was at this address when he died the following year. His death was reported in the Illustrated Australian News on 4 December 1873…

Staff Writer. “Archibald McDonald,” on the Design & Art Australia Online website Jan 1, 1992 updated Oct 19, 2011 [Online] Cited 04/11/2021.

 

Archibald McDonald (Australian born Canada, c. 1831-1873) 'Untitled (Portrait of a man)' c. 1864-1875 (recto)

 

B. Archibald McDonald (Australian born Canada, c. 1831-1873)
Untitled (Portrait of a man) (recto)
c. 1864-1875
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Archibald McDonald (Australian born Canada, c. 1831-1873) 'Untitled (Portrait of a man)' c. 1864-1875 (verso)

 

B. Archibald McDonald (Australian born Canada, c. 1831-1873)
Untitled (Portrait of a man) (verso)
c. 1864-1875
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Alfred Bock (Australian, 1835-1920) 'Untitled (Portrait of a child)' c. 1867-1882 (recto)

 

Alfred Bock (Australian, 1835-1920)
Untitled (Portrait of a child) (recto)
c. 1867-1882
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

This could be the sister of the twin boys below. Notice the same backdrop and the same table and cover to the right. In this image a chair has been used as a prop while in the image of the twins it has been removed.

 

Alfred Bock (Australian, 1835-1920) 'Untitled (Portrait of a child)' c. 1867-1882 (verso)

 

Alfred Bock (Australian, 1835-1920)
Untitled (Portrait of a child) (verso)
c. 1867-1882
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Alfred Bock (Australian, 1835-1920)

One of the pioneers of early photography in the 19th century along with his stepfather Thomas Bock, Alfred Bock also pursued a number of other interests including botany, painting and engraving. Mostly a resident of Tasmania, Bock also spent time in Victoria and New Zealand. …

With Thomas, Alfred had practiced photography commercially from its beginning in the daguerreotype form and he was concerned in every stage of development of the technique in Australia, undertaking innovative work in connection with the wet-plate process. Davies states that Bock introduced the carte-de-visite to Hobart Town in 1861, its first appearance anywhere in Tasmania. In 1864 he himself claimed to be the only person in the colony using the genuine sennotype process, a technique that gave a rich three-dimensional effect to portraits by overlaying a waxed albumen print on a normal photograph. The claim led to a lengthy controversy with Henry Frith, aired in the press from April to July. In the Mercury of 3 September 1864 Bock advertised that he had ‘succeeded, after a great number of experiments, in producing ALBUM PORTRAITS, by a modification of the SENNOTYPE PROCESS, retaining all the relief, delicacy, and lifelike beauty of the larger pictures’. He became most expert at the process and introduced a variation for cartes-de-visite in 1864. He continued to advertise sennotypes and ‘every description of Photograph from Locket to Life-size, executed in the most perfect manner’ until he left Hobart Town. His repertoire also included oil portraits painted over solar-enlarged photographs. His painted photographs of J. Boyd , civil commandant at Port Arthur, and ‘the late Captain Spring’ were commended in the Mercury of 14 July 1866. …

In 1867 Bock moved to Victoria and settled at Sale where he again conducted a photography business, producing not only the popular cartes-de-visite from his studio in Foster Street but also enlarging hand-coloured photographic portraits of Gippsland notables. At the 1880 Melbourne International Exhibition, Sale Borough Council was exhibiting two Alfred Bock watercolours, Redbank, River Avon, North Gippsland and On the Albert River, South Gippsland , possibly painted earlier. Bock himself showed his work at various exhibitions – the London International Exhibition (1873), the Philadelphia Centennial Exhibition (1876), the Sandhurst (Bendigo) Industrial Exhibition (1879), the Adelaide International Exhibition (1887) and the Paris International Exhibition (1889) – and gained several awards.

In 1882 Bock advertised the sale ‘of the whole of his portrait and landscape negatives as well as those by the late Mr Jones and others, to Mr F. Cornell of Foster Street, Sale’ and went to Auckland, New Zealand. The family was back in Melbourne by 1887 where they remained until about 1906. Then Alfred retired from business and settled near Wynyard, Tasmania. He died there on 19 February 1920, survived by his second wife and a number of his children.

Plomley, N. J. B. and Kerr, Joan. “Alfred Bock,” on the Design & Art Australia Online website 1992 updated 2012 [Online] Cited 04/11/2021.

 

Alfred Bock (Australian, 1835-1920) 'Untitled (Portrait of twins)' c. 1867-1882 (recto)

 

Alfred Bock (Australian, 1835-1920)
Untitled (Portrait of twins) (recto)
c. 1867-1882
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Alfred Bock (Australian, 1835-1920) 'Untitled (Portrait of twins)' c. 1867-1882 (verso)

 

Alfred Bock (Australian, 1835-1920)
Untitled (Portrait of twins) (verso)
c. 1867-1882
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Alfred Bock (Australian, 1835-1920) 'Untitled (Portrait of a man)' c. 1867-1882 (recto)

 

Alfred Bock (Australian, 1835-1920)
Untitled (Portrait of a man) (recto)
c. 1867-1882
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Alfred Bock (Australian, 1835-1920) 'Untitled (Portrait of a man)' c. 1867-1882 (verso)

 

Alfred Bock (Australian, 1835-1920)
Untitled (Portrait of a man) (verso)
c. 1867-1882
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Benson & Stevenson (Australian) 'Untitled (Standing man)' c. 1872-1880

 

Benson & Stevenson (Australian)
Untitled (Standing man)
c. 1872-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Not dated, but photographers’ flourish dates for Elizabeth St. address: 1872-1880

 

Benson & Stevenson (Australian) 'Untitled (Standing boy)' c. 1872-1880

 

Benson & Stevenson (Australian)
Untitled (Standing boy)
c. 1872-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Notice the same floral basket on the table as in the photograph of the seated woman below: same background, inverted covering to the table, perhaps mother and son.

 

Benson & Stevenson (Australian) 'Untitled (Seated woman)' c. 1872-1880

 

Benson & Stevenson (Australian)
Untitled (Seated woman)
c. 1872-1880
Albumen silver print with hand colouring
Cartes-de-visite
11 x 7cm

 

Benson & Stevenson (Australian) 'Untitled (Seated woman holding book)' c. 1872-1880

 

Benson & Stevenson (Australian)
Untitled (Seated woman holding book)
c. 1872-1880
Albumen silver print with hand colouring
Cartes-de-visite
11 x 7cm

 

 

Again, the same background, table covering and floral basket as the seated woman in the photograph above: this could be the grandmother.

 

Benson & Stevenson (Australian) 'Untitled (Standing woman)' c. 1872-1880

 

Benson & Stevenson (Australian)
Untitled (Standing woman)
c. 1872-1880
Albumen silver print with hand colouring
Cartes-de-visite
11 x 7cm

 

 

Notice the same painted background with the column as the image of the seated woman above, but with different props: one a covered table, the other a colonnade

 

Benson & Stevenson (Australian) 'Untitled (Standing woman)' c. 1872-1880

 

Benson & Stevenson (Australian)
Untitled (Standing woman)
c. 1872-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Benson & Stevenson (Australian) 'Mrs E. Thornton' c. 1872-1880 (recto)

 

Benson & Stevenson (Australian)
Mrs E. Thornton (recto)
c. 1872-1880
Albumen silver print with hand colouring
Cartes-de-visite
11 x 7cm

 

Benson & Stevenson (Australian) 'Mrs E. Thornton' c. 1872-1880 (verso)

 

Benson & Stevenson (Australian)
Mrs E. Thornton (verso)
c. 1872-1880
Albumen silver print with hand colouring
Cartes-de-visite
11 x 7cm

 

Benson & Stevenson (Australian) 'Untitled (Seated man)' c. 1872-1880

 

Benson & Stevenson (Australian)
Untitled (Seated man)
c. 1872-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Benson & Stevenson (Australian) 'Untitled (Seated wife and husband)' c. 1872-1880

 

Benson & Stevenson (Australian)
Untitled (Seated wife and husband)
c. 1872-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

This could be the grandparents of the family in the cartes-de-visite below.

 

Benson & Stevenson (Australian) 'Untitled (Family group)' c. 1872-1880

 

Benson & Stevenson (Australian)
Untitled (Family group)
c. 1872-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

John Botterill (Australian born England, 1817-1881) 'Untitled (Standing man)' 1872-1874 (recto)

 

John Botterill (Australian born England, 1817-1881)
Untitled (Standing man) (recto)
1872-1874
Albumen silver print
Cartes-de-visite
11 x 7cm

 

John Botterill (Australian born England, 1817-1881) 'Untitled (Standing man)' 1872-1874 (verso)

 

John Botterill (Australian born England, 1817-1881)
Untitled (Standing man) (verso)
1872-1874
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

John Botterill (Australian born England, 1817-1881)

John Botterill, miniaturist, portrait painter and professional photographer, was born in Britain, son of John Botterill and Mary, née Barker. John junior was working in Melbourne from the early 1850s, advertising in the Argus of 12 April 1853 as a portrait, miniature and animal painter and offering lessons in landscape, fruit and flower painting in oil, watercolour, ‘crayon’ or pencil. …

Botterill appeared in Melbourne directories from 1862 to 1866 as an artist of Caroline Street, South Yarra. Between 1861 and 1865 he was also working at P.M. Batchelder ‘s Photographic Portrait Rooms in Collins Street East, Melbourne, ‘engaged … to paint miniatures and portraits in oil, watercolour or mezzotint – these deserve what they are receiving, a wide reputation’, stated the Argus on 22 November 1865. In 1866 he became one of the proprietors of Batchelder’s with F.A. Dunn and J.N. Wilson, but the partnership lasted only until the end of the following year. For the visit of the Duke of Edinburgh to Melbourne in November 1867 Botterill painted a 4 × 5 foot (121 × 152cm) transparency to decorate Batchelder’s. The Argus described this in detail, noting that it represented four of England’s chief naval heroes (Drake, Blake, Nelson and Collingwood) as well as Prince Alfred, an Elizabethan galleon and the Galatea , with the motto ‘England’s naval heroes and her hope’. Two coloured photographs by Botterill, Portrait of Sir J.H.T. Manners-Sutton and Portrait of Lady Manners-Sutton, were lent by the Governor Manners-Sutton to both the Melbourne Public Library and Ballarat Mechanics Institute exhibitions in 1869. From 1870 to 1879 Botterill operated his own Melbourne photographic studio: at 19 Collins Street East in 1872-74 and at 12 Beehive Chambers, Elizabeth Street in 1875-79. He died on 25 July 1881 and was buried in the St Kilda Cemetery.

Staff Writer. “John Botterill,” on the Design & Art Australia Online website Jan 1, 1992 updated October 19, 2011 [Online] Cited 04/11/2021.

 

A. W. Burman (Australian, 1851-1915) (active 1869-1889, photographer) 'Untitled (shirtless man with arms folded)' 1878-1888 (recto)

 

Arthur William Burman (Australian, 1851-1915) (active 1869-1889, photographer)
Untitled (shirtless man with arms folded) (recto)
1878-1888
Albumen silver print
Cartes-de-visite
11 x 7cm

 

A. W. Burman (Australian, 1851-1915) (active 1869-1889, photographer) 'Untitled (shirtless man with arms folded)' 1878-1888 (verso)

 

Arthur William Burman (Australian, 1851-1915) (active 1869-1889, photographer)
Untitled (shirtless man with arms folded) (verso)
1878-1888
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Undated but photographer’s flourish dates for this address: 1878-1888

Arthur William Burman was one of the nine children of photographer William Insull Burman (1814-1890), who came to Victoria in 1853. Burman senior worked as a painter and decorator before establishing his own photography business in Carlton around 1863. Arthur and his older brother, Frederick, worked in the family business which, by 1869, operated a number of studios around Melbourne. Arthur is listed as operating businesses under his own name from addresses in East Melbourne, Carlton, Windsor, Fitzroy and Richmond between 1878 and his death in 1890.

 

F. C. Burman & Co (Australian) 'Untitled (Standing woman)' Nd (recto)

 

F. C. Burman & Co (Australian)
Untitled (Standing woman) (recto)
Nd
Albumen silver print
Cartes-de-visite
11 x 7cm

 

F. C. Burman & Co (Australian) 'Untitled (Standing woman)' Nd (verso)

 

F. C. Burman & Co (Australian)
Untitled (Standing woman) (verso)
Nd
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Frederick K. Cornell (Australian born England, c. 1833-1890) 'Untitled (Standing man)' c. 1873 - c. 1890 (recto)

 

Frederick K. Cornell (Australian born England, c. 1833-1890) (active 1865-1890)
Untitled (Standing man) (recto)
c. 1873 – c. 1890 at Foster Street, Sale, Gippsland, Vic.
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Frederick K. Cornell (Australian born England, c. 1833-1890) 'Untitled (Standing man)' c. 1873 - c. 1890 (verso)

 

Frederick K. Cornell (Australian born England, c. 1833-1890) (active 1865-1890)
Untitled (Standing man) (verso)
c. 1873 – c. 1890 at Foster Street, Sale, Gippsland, Vic.
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Frederick Cornell arrived in Melbourne in 1854 from England aged 21. He was joined in Melbourne by his brothers, and they ran a number of shops there. By 1865 Cornell was taking and exhibiting photographs, and in 1867 relocated to Sale. He was then variously at Bairnsdale and Beechworth until he finally settled at Sale in 1875. He travelled throughout Gippsland at various times, and set up temporary studios. Frederick Cornell died at Sale in June 1890.

 

Frederick K. Cornell (Australian born England, c. 1833-1890) 'Untitled (Standing woman)' c. 1873 - c. 1890 (recto)

 

Frederick K. Cornell (Australian born England, c. 1833-1890) (active 1865-1890)
Untitled (Standing woman) (recto)
c. 1873 – c. 1890 Foster Street, Sale, Gippsland, Vic.
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Frederick K. Cornell (Australian born England, c. 1833-1890) 'Untitled (Standing woman)' c. 1873 - c. 1890 (verso)

 

Frederick K. Cornell (Australian born England, c. 1833-1890) (active 1865-1890)
Untitled (Standing woman) (verso)
c. 1873 – c. 1890 Foster Street, Sale, Gippsland, Vic.
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Frederick K. Cornell (Australian born England, c. 1833-1890) 'Untitled (Portrait of a man)' Nd (recto)

 

Frederick K. Cornell (Australian born England, c. 1833-1890) (active 1865-1890)
Untitled (Portrait of a man) (recto)
Nd
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Frederick K. Cornell (Australian born England, c. 1833-1890) 'Untitled (Portrait of a man)' Nd (verso)

 

Frederick K. Cornell (Australian born England, c. 1833-1890) (active 1865-1890)
Untitled (Portrait of a man) (verso)
Nd
Albumen silver print
Cartes-de-visite
11 x 7cm

 

William Davies & Co (Australian born England) (active Australia, 1855-1882) 'Untitled (Standing man)' c. 1862 - 1870 (recto)

 

William Davies & Co (Australian born England) (active Australia, 1855-1882)
Untitled (Standing man) (recto)
c. 1862 – 1870
Albumen silver print
Cartes-de-visite
11 x 7cm

 

William Davies & Co (Australian born England) (active Australia, 1855-1882) 'Untitled (Standing man)' c. 1862 - 1870 (verso)

 

William Davies & Co (Australian born England) (active Australia, 1855-1882)
Untitled (Standing man) (verso)
c. 1862 – 1870
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

William Davies (Australian born England)

English photographer William Davies had arrived in Melbourne by 1855. He is said to have worked with his friend Walter Woodbury and for the local outpost of the New York firm Meade Brothers before establishing his own business in 1858. By the middle of 1862, ‘Davies & Co’ had rooms at 91 and 94 Bourke Street, from where patrons could procure ‘CARTE de VISITE and ALBUM PORTRAITS, in superior style’. Like several of his contemporaries and competitors, Davies appears to have made the most of his location ‘opposite the Theatre Royal’, subjects of Davies & Co cartes de visite including leading actors such as Barry Sullivan and Gustavus Vaughan Brooke, and comedian Harry Rickards. Examples of the firm’s work – portraits and views – were included in the 1861 Victorian Exhibition and the London International Exhibition of 1862; and at the 1866 Intercolonial Exhibition the firm exhibited ‘Portraits, Plain and Coloured, in Oils and Water Colours’ alongside a selection of views for which they received an honourable mention.

Sandie Barrie’s book Australians under the Camera refers the user to an entry for Davies, William & Co. who operated as a photographer between 1855 and 1882 and then in April 1893 as a travelling photographer.

 

William Davies was a professional photographer who established a number of studios in Melbourne between the 1858 and 1882. Davies was probably born in Manchester, UK and arrived in Melbourne around 1855. He began his photographic career in Australia in the employ of his friend, Walter Woodbury (inventor of the Woodburytype) and the Meade Brothers. Davies purchased the Meades’ business in 1858 and opened his own studio, William Davies and Co at 98 Bourke St, specialising in albumen photography of individuals and local premises. This address was opposite the Theatre Royal, and Davies took advantage of the proximity by selling cartes de visite of famous actors, actresses and opera singers. In 1861, Davies’s firm showed a number of portraits and images of Melbourne and Fitzroy buildings, often with the proprietors standing outside, at the Victorian Exhibition, and then at the 1862 London International Exhibition, where they received honourable mention. Along with actresses and buildings, the company also specialised in carte de visite portraits of Protestant clergymen posed in the act of writing their sermons. From 1862 to 1870 the firm was located at 94A Bourke St, where they shared the premises with the photographers Cox and Luckin.

Text from the Art Gallery of New South Wales website [Online] Cited 05/11/2021

 

St. George's Hall Photographic Co. / William Davies & Co (Australian born England) (active Australia, 1855-1882) 'Untitled (Standing woman)' c. 1862 - 1870 (recto)

 

St. George’s Hall Photographic Co.,
William Davies & Co (Australian born England) (active Australia, 1855-1882)
Untitled (Standing woman) (recto)
c. 1862 – 1870
Albumen silver print
Cartes-de-visite
11 x 7cm

 

St. George's Hall Photographic Co. / William Davies & Co (Australian born England) (active Australia, 1855-1882) 'Untitled (Standing woman)' c. 1862 - 1870 (verso)

 

St. George’s Hall Photographic Co.,
William Davies & Co (Australian born England) (active Australia, 1855-1882)
Untitled (Standing woman) (verso)
c. 1862 – 1870
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Ezra Goulter (Australian born England, 1825-1899) Untitled (Standing woman) c. 1876 - c. 1893 (recto)

 

Ezra Goulter (Australian born England, 1825-1899)
Untitled (Standing woman) (recto)
c. 1876 – c. 1893
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Ezra Goulter (1825-1899) was born in England and arrived in Australia with his new wife Sarah in 1860. He had previously visited Australia in 1849. Goulter was a professional photographer who worked in various studios around Melbourne. From 1863-1871 he worked in Emerald Hill (now South Melbourne), then he had a brief period at 57 Collins Street East from 1866-1867, and from 1876-1893 he was based on Chapel Street in Prahran. He focused on portraiture and produced cartes-de-visite in both black-and-white and hand-coloured formats. He exhibited his portraits at the 1866 Melbourne Intercolonial Exhibition where he received an honourable mention.

Text from the Monash Gallery of Art website

 

Ezra Goulter (Australian born England, 1825-1899) Untitled (Standing woman) c. 1876 - c. 1893 (verso)

 

Ezra Goulter (Australian born England, 1825-1899)
Untitled (Standing woman) (verso)
c. 1876 – c. 1893
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 - c. 1899) Untitled (Vignette of a man) c. 1866-1880 (recto)

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 – c. 1899)
Untitled (Vignette of a man) (recto)
c. 1866-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 - c. 1899) Untitled (Vignette of a man) c. 1866-1880 (verso)

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 – c. 1899)
Untitled (Vignette of a man) (verso)
c. 1866-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Charles Hewitt was a professional photographer, was a foundation member of the Council of the Photographic Society of Victoria formed at Melbourne in 1860. Ran his own studios in various Melbourne locations until 1899 when he moved to Stawell, Victoria.

Not dated but a Hewitt worked at 95 Swanston Street, Melbourne between 1866-1880. Ref.: Australians behind the camera, directory of early Australian photographers, 1841-1945 / Sandy Barrie, 2002

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 - c. 1899) Untitled (Oval of a man) c. 1866-1880 (recto)

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 – c. 1899)
Untitled (Oval of a man) (recto)
c. 1866-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 - c. 1899) 'Untitled (Oval of a man)' c. 1866-1880 (verso)

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 – c. 1899)
Untitled (Oval of a man) (verso)
c. 1866-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 - c. 1899) 'Untitled (Oval of a woman)' c. 1866-1880 (recto)

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 – c. 1899)
Untitled (Oval of a woman) (recto)
c. 1866-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 - c. 1899) 'Untitled (Oval of a woman)' c. 1866-1880 (verso)

 

Charles Hewitt (Australian, 1837-1912) (active c. 1860 – c. 1899)
Untitled (Oval of a woman) (verso)
c. 1866-1880
Albumen silver print
Cartes-de-visite
11 x 7cm

 

E. E. Hibling (photographer active c. 1873 - c. 1877) Johnstone O'Shannessy & Co (active 1865-1905) 'Untitled (family group)' c. 1873 - c. 1877 (recto)

 

E. E. Hibling (photographer active c. 1873 – c. 1877)
Johnstone O’Shannessy & Co (active 1865-1905)
Untitled (family group) (recto)
c. 1873 – c. 1877
Albumen silver print
Cartes-de-visite
11 x 7cm

 

E. E. Hibling (photographer active c. 1873 - c. 1877) Johnstone O'Shannessy & Co (active 1865-1905) 'Untitled (family group)' c. 1873 - c. 1877 (verso)

 

E. E. Hibling (photographer active c. 1873 – c. 1877)
Johnstone O’Shannessy & Co (active 1865-1905)
Untitled (family group) (verso)
c. 1873 – c. 1877
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Not dated but a Hibling worked at 7 Collins Street East, Melbourne between between 1873-1877. Ref.: Australians behind the camera, directory of early Australian photographers, 1841-1945 / Sandy Barrie, 2002.

Johnstone, O’Shannessy & Co was founded in Melbourne in 1864 by Henry James Johnstone and a photographer known as ‘Miss O’Shaughnessy’, who had previously been in partnership with her mother in their own photographic business in Carlton. The firm exhibited photographs at the Intercolonial Exhibition in Melbourne in 1866, where the ‘special excellence’ of their work was noted by the judges. By the mid-1880s, when the firm moved from their Bourke Street address to purpose-built premises in the section of Collins Street known as ‘the Block’, Johnstone, O’Shannessy & Co. were arguably Melbourne’s leading portrait photographers, their services sought by governors, visiting royalty, politicians and other prominent members of society. Examples of Johnstone, O’Shannessy & Co.’s portraits were included in the Philadelphia Centennial Exhibition of 1875 and the 1888 Melbourne International Exhibition. They expanded to Sydney during the 1880s, but the firm’s fortunes declined during the economic downturn of the following decade.

Text from the National Portrait Gallery website updated 2018 [Online] Cited 08/11/2021

 

Johnstone, O’Shannessy & Co was a leading photographic studio located in Melbourne, Victoria, Australia. It was active from 1865 to 1905.

Henry James Johnstone was born in Birmingham, England, in 1835 and studied art under a number of private teachers and at the Birmingham School of Design before joining his father’s photographic firm. He arrived in Melbourne in 1853 aged 18 and became Melbourne’s leading portrait photographer during the 1870s and 1880s. In 1862 he bought out the Duryea and MacDonald Studio and started work as Johnstone and Co. In 1865 the firm became Johnstone, O’Shannessy and Co. with partner Emily O’Shannessy and co-owner George Hasler.

Johnstone, O’Shannessy & Co. were Melbourne’s leading portrait photographers whose services were sought by governors, visiting royalty, politicians and other prominent members of society. Johnstone impressed the Duke of Edinburgh during his visit to Victoria and was appointed to his staff as Royal Photographer. Examples of Johnstone, O’Shannessy & Co.’s photographic portraits were included in the Philadelphia Centennial Exhibition of 1875 and the 1888 Melbourne International Exhibition where the excellence of their work was noted by the judges.

In 1876 Johnstone left Melbourne for South Australia and then travelled extensively in America, and then in 1880 to London, where he regularly exhibited paintings at the Royal Academy until 1900. He died in London in 1907 aged 72. The firm continued without him and expanded to Sydney during the 1880s and occupied a variety of buildings in Melbourne until the 1890s, but the firm’s fortunes declined during the economic downturn of the following decade. George Hasler, who created a printing process called Neogravure, ran the company till his death in 1897, after which his son-in-law, Rupert De Clare Wilks, took over the company from 1897 until 1905 when he put it into liquidation.

Text from the Wikipedia website

 

Johnstone, O'Shannessy & Co (active 1865-1905) 'Untitled (Standing woman)' 1865-1886 (recto)

 

Johnstone, O’Shannessy & Co (active 1865-1905)
Untitled (Standing woman) (recto)
1865-1886
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Not dated but Johnstone, O’Shannessy & Co. worked from 3 Bourke St. East, Melbourne, 1865-1886. Ref.: Australians behind the camera, directory of early Australian photographers, 1841-1945 / Sandy Barrie, 2002.

 

Johnstone, O'Shannessy & Co (active 1865-1905) 'Untitled (Standing woman)' 1865-1886 (verso)

 

Johnstone, O’Shannessy & Co (active 1865-1905)
Untitled (Standing woman) (verso)
1865-1886
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Charles Nettleton (Australian born England, 1826-1902) 'Untitled (Seated man)' c. 1867 - late 1880s (recto)

 

Charles Nettleton (Australian born England, 1826-1902)
Untitled (Seated man) (recto)
c. 1867 – late 1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

This could be the same man as in the photograph by A. Archibald McDonald (Australian born Canada, c. 1831-1873) Untitled (Portrait of a man) at the top of the posting. Very similar hair, beard, eyes, countenance and gaze.

 

Charles Nettleton (Australian born England, 1826-1902) 'Untitled (Seated man)' c. 1867 - late 1880s (verso)

 

Charles Nettleton (Australian born England, 1826-1902)
Untitled (Seated man) (verso)
c. 1867 – late 1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

When this portrait was taken, Nettleton’s business address was No. 1, Madeline St. North Melbourne where he remained from 1863 until the late 1880s, although he had three other studios in Melbourne, including an office in the Victoria Arcade, Bourke St (Kerr 1992: 568). This photograph has to be after 1867

 

Charles Nettleton (Australian born England, 1826-1902)

Charles Nettleton (1826-1902), photographer, was born in north England, son of George Nettleton. He arrived in Victoria in 1854 accompanied by his wife Emma, née Miles. In Melbourne he joined the studio of T. Duryea and Alexander McDonald and specialised in outdoor work. He carried his dark tent and equipment with him everywhere, a necessity in the days of the collodion process when plates had to be developed immediately after exposure. He became special photographer for the government and the Melbourne Corporation and is credited with having photographed the first Australian steam train when the private Melbourne-Sandridge (Port Melbourne) line was opened on 12 September 1854.

Nettleton systematically recorded Melbourne’s growth from a small town to a metropolis. Every major public work was photographed including the water and sewerage system, bridges and viaducts, roads, wharves, diversion of the River Yarra and construction of the Botanical Gardens. His public buildings include the Town Hall, Houses of Parliament, Treasury, Royal Mint, Law Courts and Post Office and he also photographed theatres, churches, schools, banks, hospitals and markets. His collection of ships includes photographs of the Cutty Sark, and the Shenandoah. He photographed the troops sent to the Maori war in 1860, the artillery camp at Sunbury in 1866 as well as contingents for the Sudan campaign and the Boxer rising. The sharp delineation of his pictures taken at six seconds exposure was a credit to his skill.

Nettleton visited the goldfields and country towns, photographed forests and fern glades, and rushed to disaster areas. In 1861 he boarded the Great Britain to take pictures of the first English cricket team to come to Australia. During the Victorian visit of the Duke of Edinburgh in 1867 he was appointed official photographer. He was police photographer for over twenty-five years and his portrait of Ned Kelly, of which one print is still extant, is claimed to be the only genuine photograph of the outlaw. Nettleton had opened his own studio in 1858. His souvenir albums were the first of the type to be offered to the public. However, when the dry-plate came into general use in 1885 he knew that the new process offered opportunities that were beyond his scope. Five years later his studio was closed. His work had won recognition abroad. His first success was at the London Exhibition of 1862 and in 1867 he was honoured in Paris. He was not a great artist but a master technician.

Nettleton was an active member of the Collingwood Lodge of Freemasons and a match-winning player of the West Melbourne Bowling Club. Aged 76 he died on 4 January 1902, survived by his wife, seven daughters and three sons.

Jean Gittins, “Nettleton, Charles (1826-1902),” on the Australian Dictionary of Biography website, National Centre of Biography, Australian National University, published first in hardcopy (Australian Dictionary of Biography, Volume 5, Melbourne University Press, 1974), accessed online 9 November 2021.

 

Charles Nettleton (Australian born England, 1826-1902) 'Untitled (Standing man)' c. 1860 - late 1880s (recto)

 

Charles Nettleton (Australian born England, 1826-1902)
Untitled (Standing man) (recto)
c. 1867 – late 1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Charles Nettleton (Australian born England, 1826-1902) 'Untitled (Standing man)' c. 1860 - late 1880s (verso)

 

Charles Nettleton (Australian born England, 1826-1902)
Untitled (Standing man) (verso)
c. 1867 – late 1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Two brothers)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (two brothers)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Notice what looks like a photo album of cartes-de-visite on the table at left probably open at a photographic of their mother and father

 

Unknown photographer. 'Untitled (Seated woman clasping hands)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Seated woman with clasped hands)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Seated woman)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Seated woman)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Standing man)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Standing man)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Young vagabond standing outdoors)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Young vagabond standing outdoors)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Young vagabond standing outdoors)' 1860s-1880s (detail)

 

Unknown photographer (Australian)
Untitled (Young vagabond standing outdoors) (detail)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Seated woman)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Seated woman)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Standing man holding hat)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Standing man holding hat)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Standing man leaning on a pillar)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Standing man leaning on a pillar)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Mr and Mrs Ritchie)' 1868 (recto)

 

Unknown photographer (Australian)
Untitled (Mr and Mrs Ritchie) (recto)
1868
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Mr and Mrs Ritchie)' 1868 (verso)

 

Unknown photographer (Australian)
Untitled (Mr and Mrs Ritchie) (verso)
1868
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

“The likeness of Mrs Alex Ritchie.

In memory of Mrs Ritchie who died on Friday January 10th 1868. She was a child of God, loved by God & highly esteemed by all that knew her.

Her end was peace.

Sykes”

 

Unknown photographer. 'Untitled (Standing man with blue sash)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Standing man with blue sash)
1860s-1880s
Albumen silver print with hand colouring
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Standing man)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Standing man)
1860s-1880s
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Unknown photographer. 'Untitled (Standing man in boots and spurs)' 1860s-1880s

 

Unknown photographer (Australian)
Untitled (Standing man in boots and spurs)
1860s-1880s
Albumen silver print with hand colouring
Cartes-de-visite
11 x 7cm

 

'Omnibuses timetable cartes-de-visite, Melbourne' February 1873 (recto)

 

'Omnibuses timetable cartes-de-visite, Melbourne' February 1873 (verso)

 

Omnibuses timetable, Melbourne
February 1873 (recto and verso)
Cartes-de-visite
11 x 7cm

 

Paterson Brothers (William and Archibald Paterson) 'Untitled (Standing man holding a hat) c.1866 - c.1869

 

Paterson Brothers (William and Archibald Paterson) (Australian, active c. 1858 – c. 1893)
Untitled (Standing man holding a hat)
c. 1866 – c. 1869 at 8 Bourke Street East, Melbourne, Vic
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

William Paterson was a professional photographer. He worked in Melbourne in partnership with his brother Archibald. At the 1866 Melbourne Intercolonial Exhibition, both of them were awarded an honourable mention for their ‘Untouched and Coloured Portraits and Photographic Views’.

 

Paterson Brothers (William and Archibald Paterson) 'Untitled (Standing man holding a hat) c.1866 - c.1869 (detail)

 

Paterson Brothers (William and Archibald Paterson) (Australian, active c. 1858 – c. 1893)
Untitled (Standing man holding a hat) (detail)
c. 1866 – c. 1869 at 8 Bourke Street East, Melbourne, Vic
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Paterson Brothers (William and Archibald Paterson) 'Untitled (Standing man)' c.1866 - c.1869

 

Paterson Brothers (William and Archibald Paterson) (Australian, active c. 1858 – c. 1893)
Untitled (Standing man)
c. 1866 – c. 1869 at 8 Bourke Street East, Melbourne, Vic
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Paterson Brothers (William and Archibald Paterson) 'Untitled (Standing man)' c.1866 - c.1869 (detail)

 

Paterson Brothers (William and Archibald Paterson) (Australian, active c. 1858 – c. 1893)
Untitled (Standing man) (detail)
c. 1866 – c. 1869 at 8 Bourke Street East, Melbourne, Vic
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Paterson Brothers (William and Archibald Paterson) 'Untitled (Standing boy)' c.1866 - c.1869 (recto)

 

Paterson Brothers (William and Archibald Paterson) (Australian, active c. 1858 – c. 1893)
Untitled (Standing boy) (recto)
c. 1866 – c. 1869 at 8 Bourke Street East, Melbourne, Vic
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Paterson Brothers (William and Archibald Paterson) 'Untitled (Standing boy)' c.1866 - c.1869 (verso)

 

Paterson Brothers (William and Archibald Paterson) (Australian, active c. 1858 – c. 1893)
Untitled (Standing boy) (verso)
c. 1866 – c. 1869 at 8 Bourke Street East, Melbourne, Vic
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Paterson Brothers (William and Archibald Paterson) 'Untitled (Vignette of a man)' c.1866 - c.1869 (recto)

 

Paterson Brothers (William and Archibald Paterson) (Australian, active c. 1858 – c. 1893)
Untitled (Vignette of a man) (recto)
c. 1866 – c. 1869 at 8 Bourke Street East, Melbourne, Vic
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Paterson Brothers (William and Archibald Paterson) 'Untitled (Vignette of a man)' c.1866 - c.1869 (verso)

 

Paterson Brothers (William and Archibald Paterson) (Australian, active c. 1858 – c. 1893)
Untitled (Vignette of a man) (verso)
c. 1866 – c. 1869 at 8 Bourke Street East, Melbourne, Vic
Albumen silver print
Cartes-de-visite
11 x 7cm

 

C. Rudd & Co (Australian) 'Untitled (Seated man)' c. 1872 (recto)

 

C. Rudd & Co (Australian)
Untitled (Seated man) (recto)
c. 1872
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Undated, flourish dates for photographer at Chapel Street, South Yarra: circa 1872.

 

C. Rudd & Co (Australian) 'Untitled (Seated man)' c. 1872 (verso)

 

C. Rudd & Co (Australian)
Untitled (Seated man) (verso)
c. 1872
Albumen silver print
Cartes-de-visite
11 x 7cm

 

C. Rudd & Co (Australian) 'Untitled (Standing man)' c. 1872 (recto)

 

C. Rudd & Co (Australian)
Untitled (Standing man) (recto)
c. 1872
Albumen silver print
Cartes-de-visite
11 x 7cm

 

C. Rudd & Co (Australian) 'Untitled (Standing man)' c. 1872 (verso)

 

C. Rudd & Co (Australian)
Untitled (Standing man) (verso)
c. 1872
Albumen silver print
Cartes-de-visite
11 x 7cm

 

C. Rudd & Co (Australian) 'Untitled (Standing woman)' c. 1872 (recto)

 

C. Rudd & Co (Australian)
Untitled (Standing woman) (recto)
c. 1872
Albumen silver print
Cartes-de-visite
11 x 7cm

 

C. Rudd & Co (Australian) 'Untitled (Standing woman)' c. 1872 (verso)

 

 

C. Rudd & Co (Australian)
Untitled (Standing woman) (verso)
c. 1872
Albumen silver print
Cartes-de-visite
11 x 7cm

 

William H. Bardwell (Australian, 1836-1929) 'Untitled (Seated man)' c. 1880-1888 (recto)

 

William H. Bardwell (Australian, 1836-1929)
Untitled (Seated man)
c. 1880-1888
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

William Bardwell was a professional photographer and regular exhibitor who spent most of his working life in Ballarat, Victoria. Bardwell’s studio operated between 1875-1891. Flourish dates for Bardwell at 21 Collins Street East, Melbourne: 1880-1888.

According to Davies & Stanbury (The Mechanical Eye In Australia: Photography 1841-1900. Oxford University Press, 1985), Bardwell was active at his 21 Collins Street address – his first Melbourne studio – only from 1880, but the Design & Art Australia Online website suggests he had already relocated to Melbourne by the end of 1878.

 

Solomon & Bardwell (Australian, active c. 1859-1866? 1874?) 'Untitled (Mrs John Keys)' c. 1866 (recto)

 

Solomon & Bardwell (Australian, active c. 1859-1866? 1874?)
Untitled (Mrs John Keys) (recto)
c. 1866
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Saul Solomon (Australian born England, 1836-1929)

Saul Solomon (1836-1929) had a studio in Main Road, Ballarat from 1857 to 1862, and worked in partnership with William Bardwell at 29 Sturt Street, Ballarat until 1874. Solomon and Bardwell also operated in Maryborough and Dunolly. From 1874 to 1891 Solomon operated under the name of the Adelaide School of Photography at 51 Rundle Street, Adelaide.

Saul Solomon was born on 15 January 1836 in Knightbridge, London. He was the son of well known dealer in photographic equipment, Joseph Solomon. He migrated to Victoria in 1852. He was in Ballarat in 1854 and in 1857 he set up a professional photography studio. In 1859 he was joined by William H. Bardwell (active, c.1858 – c.1889). He married Martha Patti at Balalrat on 13 October 1866. Two years later they moved to Adelaide.

 

William Bardwell (Australian, active c. 1858 – c. 1889)

Bardwell was a professional photographer and regular exhibitor who spent most of his working life in Ballarat, Vic.

He was a professional photographer, was employed in 1858 by Saul Solomon at Ballarat, Victoria providing photographs of the town which were lithographed by Francois Cogne (q.v.) for The Ballarat Album (1859). Solomon and Bardwell were soon partners; they worked in Main Street from 1859, in Sturt Street from 1865 and visited Maryborough and Dunolly (Victoria) in 1865. Together they exhibited photographic portraits at the 1862 Geelong Industrial Exhibition and the 1863 Ballarat Mechanics Institute Exhibition. Their ‘new sennotype process’ was judged ‘highly successful’ by the Illustrated Melbourne Post of 27 December 1862. On 9 February 1863, the Argus reported that Bardwell had photographed the ceremony of the laying of the foundation stone of the Burke and Wills memorial in Sturt Street from a vantage point on the roof of the Ballarat Post Office. By 28 September 1866 the partnership seems to have been dissolved for Bardwell was then advertising his Royal Photographic Studio in the Clunes Gazette: ‘The studio is every way replete with suitable accommodation for the preparation of toilet and rooms are provided for both ladies and gentlemen. Mr Bardwell’s long and practical example will entitle him to the claim to the first position in Ballarat as a photographer.’ He exhibited views and portraits, including Portrait of the Very Rev. Dean Hayes, at the 1869 Ballarat Institute Exhibition and showed photographs of Ballarat at the 1870 Sydney Intercolonial (for sale at £6). Other exhibited photographs included ‘a large panorama of the city of Ballarat, in a semi-circular form’, …

Text from the Trove website [Online] Cited 12/11/2021

 

William Bardwell was a professional photographer with a successful business in Ballarat and Melbourne. In Ballarat he formed a partnership with Saul Solomon in 1859 and together they exhibited photographic portraits at the 1862 Geelong Industrial Exhibition and the 1863 Ballarat Mechanics Institute Exhibition. It seems Bardwell was fond of using unusual vantage points: in 1863, the ‘Argus’ reported that he had photographed the ceremony of the laying of the foundation stone of the Burke and Wills memorial in Sturt Street from the roof of the Ballarat Post Office. ‘Bardwell established his own studio in 1866, which included rooms for ladies and gentlemen to prepare themselves for the lens’. He showed photographs of Ballarat at the 1870 Sydney Intercolonial exhibition (for sale at £6), and ‘a photographic panorama of the city of Ballarat’ as well as other photographs of its buildings and streets in the Victorian section of the London International Exhibition of 1873.

Text from the Art Gallery of New South Wales website [Online] Cited 12/11/2021

 

Solomon & Bardwell (Australian, active c. 1859-1866? 1874?) 'Untitled (Mrs John Keys)' c. 1866 (verso)

 

Solomon & Bardwell (Australian, active c. 1859-1866? 1874?)
Untitled (Mrs John Keys) (verso)
c. 1866
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

“In memory of Mrs John Keys who died in the year 1866. Her end was peace.”

 

Stewart & Co. 'Untitled (Oval of a gentleman) (recto)

 

Stewart & Co (Australian)
Untitled (Oval of a gentleman) (recto)
1881-1889
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Flourish dates for Stewart & Co. at 217-219 Bourke Street East, Melbourne: 1881-1889

“… the upmarket city studio of Stewart & Co. ‘photographers, miniature and portrait painters’, which was located in the theatre district of Bourke Street east. The owner, Englishman Robert Stewart (1838-1912), was a professional photographer who relocated from Sydney to Melbourne in 1871.”

 

Stewart & Co. 'Untitled (Oval of a gentleman) (verso)

 

Stewart & Co (Australian)
Untitled (Oval of a gentleman) (verso)
1881-1889
Albumen silver print
Cartes-de-visite
11 x 7cm

 

Joseph Turner (Australian, active 1856- 1880s) 'Untitled (Standing woman)' c. 1866 (recto)

 

Joseph Turner (Australian, active 1856-1880s)
Untitled (Standing woman) (recto)
c. 1866
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

Not dated but Turner’s New Portrait Rooms were at Moorabool St., Geelong, Victoria, between 1865-1867. Ref.: Australians behind the camera, directory of early Australian photographers, 1841-1945 / Sandy Barrie, 2002.

The dates for Moorabool St., differ from the entry on Design & Art Australia Online below.

 

Joseph Turner (Australian)

Joseph Turner was a professional photographer, worked at 24 Great Ryrie Street, Geelong, Victoria, in late 1856. Turner’s New Portrait Rooms were at 60 (later 66) Moorabool Street in 1857-1867, then at Latrobe Terrace until 1869. In June 1856 Turner lectured at the Geelong Mechanics Institute on ‘The Art of Photography’, promoting its superior accuracy to painting. Basing his talk on the quasi-scientific sermons of the Scottish divine Dr Thomas Dick, published as The Practical Astronomer (1855), Turner argued that the minuteness of light particles was a testament to ‘the wisdom and beneficence of the creator’.

The photographs Turner showed at the 1857 Geelong Mechanics Institute Exhibition may have been ambrotypes as his surviving ambrotype of three children (National Gallery of Australia) is thought to date from about 1860. At the Melbourne Intercolonial Exhibition in 1866 he showed albumen paper prints of architectural and landscape views in Geelong, including ‘large sized photographs of the Chamber of Commerce and the Savings Bank, as well as the United Presbyterian Church, the Mechanics Institute, the Telegraphic and Post offices, the London Chartered Bank, the Town Hall, a well arranged view of Malop Street, and the Private residences of the town’s leading citizens’. Aware of the importance of the photographic portrait to his business, he also exhibited four frames of plain and coloured cartes-de-visite, including portraits of women where ‘the pose and the drapery was wonderfully managed’. Cartes of the mayor, alderman, councillors and officials of Geelong were arranged against a crimson background in one frame. His several enlarged portraits included one of Mr Morrison of the Geelong College. He won a medal for his tinted portraits and another for his architectural and landscape views.

Reviewing the photographic views at the exhibition in the Australian Monthly Magazine, ‘Sol’ commended Turner’s method of printing and presentation. ‘Vignetting portraits has long been a favourable occupation’, he noted, ‘and we have sometimes seen it applied to landscapes, but never in this particular way, and we certainly admire the exquisite finish it gives to the picture’. The Geelong press, on the other hand, admired Turner’s ‘business enterprise’ in using these views and portraits for local publicity when he set up ‘a miniature exhibition’ in his New Portrait Rooms before sending the photographs to the Melbourne Intercolonial Exhibition, particularly as he advertised it at precisely the time that J. Norton and L. Ormerod’s commissioned views were on display in the Geelong Town Hall.

His ability to make the most of an opportunity again surfaced the following year, on the occasion of the visit of the Duke of Edinburgh to Geelong. A pair of plates he took, showing the reception for the royal visitor on the Yarra Street wharf with the mayor welcoming the Duke and the town clerk reading the corporation’s address to his Royal Highness, appeared as engravings in the Illustrated London News soon afterwards.

On 9 October 1869 a large fire in Geelong destroyed five buildings in Moorabool Street, including Turner’s premises, and he disappeared from Geelong. [Gael] Newton notes that Joseph Turner, described as ‘an excellent photographer’, was appointed to the Melbourne Observatory on 10 February 1873 and remained there until 1883. Lunar photographs by Turner are held at the Mount Stromlo and Siding Springs Observatory (Australian Capital Territory) and at the Australian National Gallery. Other photographs are in the La Trobe Library and at Melbourne University.

Paul Fox. “Joseph Turner,” on the Design & Art Australia Online website 1992 updated 2011 [Online] Cited 12/11/2021

 

Joseph Turner (Australian, active 1856- 1880s) 'Untitled (Standing woman)' c. 1866 (verso)

 

Joseph Turner (Australian, active 1856- 1880s)
Untitled (Standing woman) (verso)
c. 1866
Albumen silver print
Cartes-de-visite
11 x 7cm

 

 

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11
Dec
21

Exhibition: ‘The New Woman Behind the Camera’ at the National Gallery of Art, Washington Part 2

Exhibition dates: 31st October, 2021 – 30th January, 2022

Curator: The exhibition is curated by Andrea Nelson, associate curator in the department of photographs, National Gallery of Art, Washington.

 

 

Ilse Salberg (German, 1899-1947) 'Anton im Detail' (Anton in Detail) 1938

 

Ilse Salberg (German, 1899-1947)
Anton im Detail (Anton in Detail)
1938
Gelatin silver print
Image: 29.6 x 39.8cm (11 5/8 x 15 11/16 in.)
Frame (outer): 41.3 x 51.3 x 2.7cm (16 1/4 x 20 3/16 x 1 1/16 in.)
Galerie Berinson, Berlin

 

 

Ilse Salberg (1899-1947) worked in the New Vision style in Paris and Sanary-sur-Mer. Driven from Cologne, Germany by persecutions, escaping the SS in Barjols, France, she died early of cancer in Switzerland. …

For a long time, Ilse Salberg’s photographs went unnoticed by the public. Most of her photographs from exile in France were lost while fleeing. Fortunately, in 1963 Anton Räderscheidt and his new wife Giséle found paintings and negatives by Ilse Salberg in a cellar in Barjols, which she had to leave behind when she fled to Switzerland.

For more information please see the German Wikipedia website entry

 

 

The second of a humungous three-part posting on this archaeological exhibition. See Part 1 of the posting.

Combined with the posting I did on this exhibition when it was on view at The Metropolitan Museum of Art, this three-part posting will include over 160 new images from the exhibition… meaning a combined total over the four postings of over 200 images with biographical information.

This has been a mammoth effort to construct these postings but so worthwhile!

I will make comment on the exhibition in part 3 of the posting.

Dr Marcus Bunyan

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

 

 

“[Lee] Miller was the quintessential New Woman, as were the photographers in The New Woman Behind the Camera in New York. Andrea Nelson, who organised the show at its next destination, the National Gallery in Washington, says these new women were independent, competent, and – especially in the 1920s – found themselves in a moment when they were fighting for, then winning the right to vote, “and had really started examining their lives, their marriages and children.” They were also exploring what it meant to be professional photographers. “It was a time when photography was replacing drawings in all the magazines,” says Nelson. And women could sell their advertising and fashion pictures readily.”

.
Susan Stamberg. “Behind The Lens, These Women Created Photographs That Leap Over Decades,” on the NPR website July 25th, 2021 [Online] Cited 28/11/2021

 

 

Leni Riefenstahl (German, 1902-2003) 'Freiübungen im Stadion, Olympischen Kampf, Berlin' (Calisthenics in the Stadium, Olympic Games, Berlin) 1936

 

Leni Riefenstahl (German, 1902-2003)
Freiübungen im Stadion, Olympischen Kampf, Berlin (Calisthenics in the Stadium, Olympic Games, Berlin)
1936
Gelatin silver print
Image: 21.8 x 28.2cm (8 9/16 x 11 1/8 in.)
Mount: 29.9 x 36.9cm (11 3/4 x 14 1/2 in.)
Mat: 42.5 x 49.5 cm (16 3/4 x 19 1/2 in.)
Frame (outer): 47.9 x 52.7 cm (18 7/8 x 20 3/4 in.)
The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 bpk / Leni Riefenstahl
Image © The Metropolitan Museum of Art. Art Resource, NY

 

 

Helene Bertha Amalie “Leni” Riefenstahl (German, 22 August 1902 – 8 September 2003) was a German film director, photographer, and actress, known for her seminal role in producing Nazi propaganda.

Read a fuller biography on this “fellow traveller” (Mitläufer) on the Wikipedia website

 

The relentless pursuit of the truth about Riefenstahl. About time.

She knew what was going on and hitched her wagon to National Socialism, taking money to make her film Tiefland (Lowlands), bringing in extra from a concentration camp, keeping them in rags and starving them. After filming some were executed in the gas chambers. Her story is similar to that of Albert Speer (Hitler’s architect) who after being released from Spandau prison in 1966 rehabilitated himself by writing books and public speaking about his wartime experiences. Only recently has it come to light that Speer knew all along about the ruthlessness of the Nazi regime and – as Reich Minister of Armaments and War Production (until 2 September 1943 Reich Minister of Armaments and Munitions) – used conscripted labour and prisoners of war in appalling conditions to power the Nazi war effort. Many thousands died as a result of his zeal.

Read the excellent article on The Guardian website about Riefenstahl.

Dr Marcus Bunyan

 

“Riefenstahl denied that she had visited the camp to handpick the extras, denied failing to pay them and denied having promised and subsequently failed to save them from Auschwitz. She claimed that, while making the film, she had not known of the existence of the gas chambers, nor of the fate of the Roma and Sinti.”

Kate Connolly. “Burying Leni Riefenstahl: one woman’s lifelong crusade against Hitler’s favourite film-maker,” on The Guardian website Thursday 9 December 2021 [Online] Cited 11/12/2021

 

Vera Jackson (American, 1911-1999) 'Man at Printing Press' 1940s

 

Vera Jackson (American, 1911-1999)
Man at Printing Press
1940s
Gelatin silver print
Image/sheet: 27.94 x 35.56cm (11 x 14 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Framed (outer): 43.18 x 53.34cm (17 x 21 in.)
Collection of Friends, the Foundation of the California African American Museum. Gift of the artist
Courtesy of the California African American Museum

 

 

Vera Jackson (July 21, 1911 – January 26, 1999) was a “pioneer woman photographer in the black press”. She photographed African-American social life and celebrity culture in 1930s and 1940s Los Angeles. Noted photographic subjects included major league baseball player Jackie Robinson, educator Mary McLeod Bethune, and actresses Dorothy Dandridge, Hattie McDaniel and Lena Horne.

 

Hildegard Rosenthal (Brazilian born Switzerland, 1913-1990) 'Ponto de encontro Ladeira Porto Geral, esquina da Rua 25 de Março, São Paulo' (Meeting Place Ladeira Porto Geral, Corner of 25 de Março Street, São Paulo) c. 1940, printed later

 

Hildegard Rosenthal (Brazilian born Switzerland, 1913-1990)
Ponto de encontro Ladeira Porto Geral, esquina da Rua 25 de Março, São Paulo (Meeting Place Ladeira Porto Geral, Corner of 25 de Março Street, São Paulo)
c. 1940, printed later
Gelatin silver print
Image: 24 x 36cm (9 7/16 x 14 3/16 in.)
Mount: 40 x 50cm (15 3/4 x 19 11/16 in.)
Frame (outer): 42 x 52cm (16 9/16 x 20 1/2 in.)
Instituto Moreira Salles Collection Hildegard Rosenthal / Acervo Instituto Moreira Salles

 

 

Hildegard Baum Rosenthal (March 25, 1913 – September 16, 1990) was a Swiss-born Brazilian photographer, the first woman photojournalist in Brazil. She was part of the generation of European photographers who emigrated during World War II and, acting in the local press, contributed to the photographic aesthetic renovation of Brazilian newspapers.

 

Life and career

Rosenthal was born in Zurich, Switzerland. Until her adolescence, she lived in Frankfurt (Germany), where she studied pedagogy from 1929 until 1933. She lived in Paris between 1934 and 1935. Upon her return to Frankfurt, she studied photography for about 18 months in a program led by Paul Wolff [de]. Wolff emphasised small, portable cameras that used 35 mm film. These were a recent innovation at the time, and could be used unobtrusively for street photography. She also studied photographic laboratory techniques at the Gaedel Institute.

In this same period, she had entered a relationship with Walter Rosenthal. Rosenthal was Jewish, and Jews were increasingly persecuted in Germany in the 1930s under the National Socialist (Nazi) regime that took power in 1933. Walter Rosenthal emigrated to Brazil in 1936. Hildegard joined him in São Paulo in 1937. That same year she began working as a laboratory supervisor at the Kosmos photographic materials and services company. A few months later, the agency Press Information hired her as a photojournalist and she did news reports for national and international newspapers. During this period, she took photographs of the city of São Paulo and the state countryside of Rio de Janeiro and other cities in southern Brazil, as well as portraying several personalities from the São Paulo cultural scene, such as the painter Lasar Segall, the writers Guilherme de Almeida and Jorge Amado, the humorist Aparicio Torelly (Barão de Itararé) and the cartoonist Belmonte. Her images sought to capture the artist at his moment of creation, in obvious connection with his spirit of reporter. She interrupted her professional activity in 1948, after the birth of her first daughter. And in 1959, after her husband died, she took over the management of her family’s company.

 

Artistic trajectory

Her photographs remained little known until 1974, when art historian Walter Zanini held a retrospective of her work at the Museum of Contemporary Art of the University of São Paulo. The following year the Museum of Image and Sound of São Paulo (MIS) was opened with the exhibition Memória Paulistana, by Rosenthal. In 1996 the Instituto Moreira Salles acquired more than 3,000 of her negatives, in which urban scenes of São Paulo from the 1930s and 1940s stood out, during which time the city underwent a vertiginous growth, both material and cultural. Other negatives were donated by her during her life to the Lasar Segall Museum.

“Photography without people does not interest me,” she said at the Museum of Image and Sound of São Paulo in 1981.

Text from the Wikipedia website

 

Liselotte Grschebina (Israeli born Germany, 1908-1994) 'Arbeiterin, Primazon GmbH, Netanya' (Worker, Primazon Ltd., Netanya) c. 1937

 

Liselotte Grschebina (Israeli born Germany, 1908-1994)
Arbeiterin, Primazon GmbH, Netanya (Worker, Primazon Ltd., Netanya)
c. 1937
Gelatin silver print
Image: 16.8 x 22.7cm (6 5/8 x 8 15/16 in.)
Frame (outer): 38.4 x 46cm (15 1/8 x 18 1/8 in.)
The Israel Museum, Jerusalem, Gift of Beni and Rina Gjebin, Shoham, Israel, with the assistance of Rachel and Dov Gottesman, Tel Aviv and London
Photo: Liselotte Grschebina
© The Israel Museum, Jerusalem

 

 

Liselotte Grschebina (or Grjebina; 1908-1994) was an Israeli photographer. …

In January 1932 Grschebina opens Bilfoto, her own studio, announcing her specialisation in child photography, and takes on students. In 1933, following the Nazis come to power and the restrictions on professional freedom for Jews, Grschebina closed her studio. Before leaving Germany, she marries Dr. Jacob (Jasha) Grschebin. …

The Grschebin couple reaches Tel Aviv in March 1934. The same year, Grschebina opens the Ishon studio on Allenby Street with her friend Ellen Rosenberg (Auerbach), previously a partner in the Berlin photographic studio ringl + pit. In 1936 the Ishon studio is closed when Rosenberg leaves the country; Grschebina continues to work from her home.

 

Style

Grschebina arrived in Palestine in 1934, a trained professional profoundly influenced by the revolutionary movements of the Weimar Republic: New Objectivity in painting and New Vision in photography, as well as by a number of prominent professors, including Karl Hubbuch and Wilhelm Schnarrenberger. Unlike many of her colleagues in Palestine, who sought their identities in the collective Zionist endeavour by documenting and extolling it in their work, Grschebina did not use photography as a means of forming her identity. She came with a full-fledged style and remained committed to Weimar artistic ideals and principles in her new home, where she continued to apply and develop them. … Grschebina’s artistic roots clearly lay in New Vision, which defined photography as an artistic field in its own right and called on camera artists to portray subjects in a new, different way to convey their unique qualities and their essence. She did this through striking vantage points and strong diagonals, making masterful use of mirrors, reflections, and plays of light and shadow to create geometric shapes and to endow her photographs with atmosphere, appeal, and meaning.

In Germany, most of her photographs – usually advertising commissions – were taken in the studio. In the land of Israel, she also worked outdoors, observing those around her with a clear, impartial eye. She photographed people going about their daily routine, unaffected by the presence of the camera. The viewer of her pictures feels like an outsider looking in, gaining a new, objective perspective on the subject: the “objective portrait … not encumbered with subjective intention” wherein, according to New Vision photographer László Moholy-Nagy, lies the genius of photography.

 

Legacy

The photographs of Liselotte Grschebina, rediscovered casually, almost miraculously, in a cupboard in Tel Aviv, reveal a talent that might otherwise have remained forgotten.

The archive of Liselotte Grschebina’s photographs were given to the Israel Museum by her son, Beni Gjebin and his wife Rina, from Shoham, with the assistance of Rachel and Dov Gottesman, the museum president between 2001 and 2011.

Text from the Wikipedia website

 

Liselotte Grschebina (Israeli born Germany, 1908-1994) 'Hebräische Wassermelone' (Hebrew Watermelon) c. 1935

 

Liselotte Grschebina (Israeli born Germany, 1908-1994)
Hebräische Wassermelone (Hebrew Watermelon)
c. 1935
Gelatin silver print
Image: 22.7 x 29cm (8 15/16 x 11 7/16 in.)
Frame (outer): 43.5 x 53.8cm (17 1/8 x 21 3/16 in.)
The Israel Museum, Jerusalem, Gift of Beni and Rina Gjebin, Shoham, Israel, with the assistance of Rachel and Dov Gottesman, Tel Aviv and London Photo Liselotte Grschebina
© The Israel Museum, Jerusalem

 

Liselotte Grschebina (Israeli born Germany, 1908-1994) 'Turnerin' (Gymnast) 1930

 

Liselotte Grschebina (Israeli born Germany, 1908-1994)
Turnerin (Gymnast)
1930
Gelatin silver print
Image: 23.5 x 17.5cm (9 1/4 x 6 7/8 in.)
Frame (outer): 46 x 38.4cm (18 1/8 x 15 1/8 in.)
The Israel Museum, Jerusalem, Gift of Beni and Rina Gjebin, Shoham, Israel, with the assistance of Rachel and Dov Gottesman, Tel Aviv and London
Photo: Liselotte Grschebina
© The Israel Museum, Jerusalem

 

Eiko Yamazawa (Japanese, 1899-1995) '(Untitled (Yasue Yamamoto as Okichi in "Elegy for a Woman" by Yuzo Yamamoto))' c. 1943-1944, printed 1944

 

Eiko Yamazawa (Japanese, 1899-1995)
(Untitled (Yasue Yamamoto as Okichi in “Elegy for a Woman” by Yuzo Yamamoto))
c. 1943-1944, printed 1944
Gelatin silver print
Image: 15 x 10.5cm (5 7/8 x 4 1/8 in.)
Mat: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 54.61 x 44.45cm (21 1/2 x 17 1/2 in.)
Tomoka Aya, The Third Gallery Aya
© Yamazawa Eiko

 

 

Eiko Yamazawa (山沢 栄子, Yamazawa Eiko, February 19, 1899 – July 16, 1995) was a renowned Japanese photographer. She is considered one of Japan’s earliest women photographers and is among the few women photographers in Japan who were active both before and after World War II. First trained in Nihonga, she later studied photography in the U.S. under the mentorship of Consuelo Kanaga, and also exposed to the work of Kanaga’s contemporaries such as Paul Strand and Edward Weston.

After coming back to Japan in 1929, she established herself as a professional photographer. In 1931 she opened a portrait studio in Osaka, and in 1950 she established the Yamazawa Institute of Photography also in Osaka. In the early half of her career, Yamazawa was engaged in portraiture and commercial photography, having produced work for major Osaka department stores. In 1960 she shifted abstraction away from realism. Her work in this latter half of her career is characterised by her photographing art materials in distortion and reflection. Yamazawa’s photographs were unique at the time for their use of vibrant colour, which was in stark contrast to black and white photography championed by other Japanese photographers.

Read a fuller biography on the Wikipedia website

 

Eiko Yamazawa (Japanese, 1899-1995) '(Untitled (Yasue Yamamoto as Okichi in "Elegy for a Woman" by Yuzo Yamamoto))' c. 1943-1944, printed 1944

 

Eiko Yamazawa (Japanese, 1899-1995)
(Untitled (Yasue Yamamoto as Okichi in “Elegy for a Woman” by Yuzo Yamamoto))
c. 1943-1944, printed 1944
Gelatin silver print
Image: 15 x 10.5cm (5 7/8 x 4 1/8 in.)
Mat: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 54.61 x 44.45cm (21 1/2 x 17 1/2 in.)
Tomoka Aya, The Third Gallery Aya
© Yamazawa Eiko

 

Eiko Yamazawa (Japanese, 1899-1995) '(Untitled (Yasue Yamamoto as Okichi in "Elegy for a Woman" by Yuzo Yamamoto))' c. 1943-1944, printed 1944

 

Eiko Yamazawa (Japanese, 1899-1995)
(Untitled (Yasue Yamamoto as Okichi in “Elegy for a Woman” by Yuzo Yamamoto))
c. 1943-1944, printed 1944
Gelatin silver print
Image: 15 x 10.5cm (5 7/8 x 4 1/8 in.)
Mat: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 54.61 x 44.45cm (21 1/2 x 17 1/2 in.)
Tomoka Aya, The Third Gallery Aya
© Yamazawa Eiko

 

 

Yamamoto Yasue (Japanese 山 本 安 英, actually Yamamoto Chiyo (山 本 千代); born October 29, 1906 in Tōkyō ; died December 29, 1993 there) was a Japanese actress.

Yamamoto Yasue attended from 1921 the “School for modern theater training for women” (現代 劇 女優 養成 所, Gendaigeki joyū yōseijo), which was directed by Ichikawa Sadanji II (二世 市 川 左 団 次; 1880-1940). In 1924 she became a founding member of the “Small Theater Tsukiji” (築 地 小 劇 所) directed by Osanai Kaoru and played the leading role in 67 productions. After Osanai’s death in 1928, Yamamoto and Hijikata Yoshi (1998-1959) founded the “New Tsukiji Theater Company” (新 築 地 劇 団, Shin Tsukiji gekidan). Until the end of the Pacific War, she also took part in radio broadcasts.

In 1951 the Ministry of Culture honored Yamamoto for her role as Tsū in Kinoshita Junji’s internationally acclaimed play “Yūzuru” (夕 鶴), “Crane in the Twilight” [A1] , which had been performed since 1949. In 1966 she founded the “Yasue no kai” (安 英 の 会) to research recitation in contemporary pieces. Yamamoto had a unique presence on stage and a sophisticated way of speaking. In 1974 she was awarded the Asahi Prize and in 1984 the Mainichi Art Prize.

 

Yūzō Yamamoto (山本 有三, Yamamoto Yūzō, July 27, 1887 – January 11, 1974) was a Japanese novelist and playwright. His real name was written as “山本 勇造” but pronounced the same as his pen name. He was born to a family of kimono makers in Tochigi-city, Tochigi Prefecture.

He studied German literature at Tokyo Imperial University. After graduating, he gained popularity for his solidly crafted plays, some twenty in all, notably Professor Tsumura (Tsumura kyōju, 1919), The Crown of Life (生命の冠, Inochi no kanmuri, 1920), Infanticide (Eijigoroshi, 1920), and People Who Agree (同志の人々, Dōshi no hitobito, 1923). In 1926 he turned to novels, known for their clarity of expression and dramatic composition. Later, with the writers Kan Kikuchi and Ryūnosuke Akutagawa, he helped to co-found the Japanese Writer’s Association and openly criticised Japan’s wartime military government for its censorship policies.

After World War II he joined the debate on Japanese language reform, and from 1947 to 1953 he served in the National Diet as a member of the House of Councillors. He is well known for his opposition to the use of enigmatic expressions in written Japanese and his advocacy for the limited use of furigana [a Japanese reading aid]. In 1965 he was awarded the prestigious Order of Culture. He died at his summer villa in Yugawara, Kanagawa in 1974.

Yamamoto’s large European-style house in Mitaka, Tokyo, was expropriated by the Supreme Commander for the Allied Powers by eminent domain during the occupation period from 1945 to 1953. The mansion was then used as an archive and research lab by non-profit organisations for years, until it was converted into the Mitaka City Yūzō Yamamoto Memorial Museum in 1996. There is also a museum dedicated to him in his hometown of Tochigi.

Text from the Wikipedia website

 

Valentina Kulagina (Russian, 1902-1987) 'A. Tarasov-Rodionov's "October"' 1930

 

Valentina Kulagina (Russian, 1902-1987)
A. Tarasov-Rodionov’s “October”
1930
Book cover maquette with collage of cut-and-pasted gelatin silver prints, gouache, and ink on paper
Overall: 20.7 x 31.2cm (8 1/8 x 12 1/4 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 43.18 x 53.34cm (17 x 21 in.)
Collection Merrill C. Berman

 

 

Valentina Kulagina, full name Valentina Nikiforovna Kulagina-Klutsis (Russian: Валентина Никифоровна Кулагина-Клуцис, 1902-1987) was a Russian painter and book, poster, and exhibition designer. She was a central figure in Constructivist avant-garde in the early 20th century alongside El Lissitzky, Alexander Rodchenko other and her husband Gustav Klutsis. She is known for the Soviet revolutionary and Stalinist propaganda she produced in collaboration with Klutsis.

Read a fuller biography on the Wikipedia website

 

Elizaveta Ignatovich (Russian, 1903-1983) 'The struggle for the polytechnical school is the struggle for the five-year plan, for the communist education about class consciousness' 1931

 

Elizaveta Ignatovich (Russian, 1903-1983)
The struggle for the polytechnical school is the struggle for the five-year plan, for the communist education about class consciousness
1931
Photolithograph
Sheet: 51.4 x 72.1cm (20 1/4 x 28 3/8 in.)
Frame: 66.04 x 86.36cm (26 x 34 in.)
Collection Merrill C. Berman

 

 

Elizaveta Ignatovich (1903-1983) was born in Moscow, and was a well-regarded photographer and photojournalist of the 1920s through 1940s. In 1929, Elizaveta joined the experimental October organisation with such artists as Alexander Rodchenko, Elizar Langman, Dmitry Debabov, and her husband Boris Ignatovich. After October disbanded, she joined the Ignatovich Brigade along with her husband; her sister-in-law, Olga; Elizar Langman; J. Brodsky and L. Bach.

Elizaveta participated in many photographic exhibitions in the 1930s both in the Soviet Union and abroad including the seminal 1937 exhibition, First all-Union Exhibition of Soviet Photographic Art. While a prolific photographer of her day, Elizaveta’s photographs are now distinguished for their rarity. Among her photographs are Family of Kolkhoz Farmer, Portrait of Pioneer Leader Galina Pogrebniak, The Worker Tatiana Surina, and At the Kokhoz’s 10 Year Anniversary. By 1940, having gained a reputation as a veteran of documentary art photography, Sovetskoe Foto (1940, no. 3, “Zhenshchiny-fotoreportery”) wrote on Elizaveta:

“She is captivated by the fast-paced developments and the colourfulness of our lives, and she knows how to present it in a new fashion with the eyes of an artist. Her work is opposed to posturing and artificiality; as well as to the flashiness in formalist scholasticism.

Overall, E. Ignatovich tends to analyse every component of the scene before taking the shot. For this reason, she is attracted to creating monumental work and to constructing the scene. And E. Ignatovich truly succeeds in creating these scenes. A rich characterisation of her subjects and an artistic integrity distinguish her work.”

.
The writer for Sovetskoe Foto underscores Ignatovich’s ability to breath life into her subjects by manifesting their histories and personalities on film. In Family of Kolzhoz Farmer, Ignatovich creates an elaborate scene framed compositionally by tasseled curtains. Occupied by their tasks, Ignatovich’s subjects reveal their dynamic as a tight-knit Soviet family, and suggest their own personalities and concerns.

Later in her career, Ignatovich worked creating commercial photographic albums and post cards for the art publishing house Izogiz and the art journal Iskusstvo. In 1956, she received a silver medal and diploma at the Fifth International Salon of Art Photography (see Power of Pictures, 2015, p. 223) in Paris.

In 2015, E. Ignatovich’s artwork was included in the acclaimed exhibition The Power of Pictures: Early Soviet Photography, Early Soviet Film at the Jewish Museum in New York.

Anonymous text. “Elizaveta Ignatovich,” on the Nailya Alexander Gallery website [Online] Cited 28/11/2021. No longer available online

 

Elizaveta Ignatovich (Russian, 1903-1983) 'Family of a Kolkhoz Farmer' 1930s

 

Elizaveta Ignatovich (Russian, 1903-1983)
Family of a Kolkhoz Farmer
1930s
Gelatin silver print
Overall: 40.64 x 27.94cm (16 x 11 in.)
Frame: 60.96 x 45.72cm (24 x 18 in.)
Frame (outer): 64.77 x 49.53cm (25 1/2 x 19 1/2 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund
© Elizaveta Ignatovich
Courtesy of Nailya Alexander Gallery, New York

 

 

During the 1920s, the iconic New Woman was splashed across the pages of magazines and projected on the silver screen. As a global phenomenon, she embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Featuring more than 120 photographers from over 20 countries, the groundbreaking exhibition, The New Woman Behind the Camera, explores the diverse “new” women who embraced photography as a mode of professional and personal expression from the 1920s to the 1950s. The first exhibition to take an international approach to the subject, it examines how women brought their own perspectives to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography, and photojournalism, profoundly shaping the medium during a time of tremendous social and political change. Accompanied by a fully illustrated catalogue, this landmark exhibition will be on view from October 31, 2021 through January 30, 2022, in the West Building of the National Gallery of Art, Washington. It was previously on view at The Metropolitan Museum of Art, New York, from July 2 through October 3, 2021.

In an era when traditional definitions of womanhood were being questioned, women’s lives were a mix of emancipating and confining experiences that varied by country. Many women around the world found the camera to be a means of independence as they sought to redefine their positions in society and expand their rights. This exhibition presents a geographically, culturally, and artistically diverse range of practitioners to advance new conversations about the history of modern photography and the continual struggle of women to gain creative agency and self-representation.

“This innovative exhibition reevaluates the history of modern photography through the lens of the New Woman, a feminist ideal that emerged at the end of the 19th century and spread globally during the first half of the 20th century,” said Kaywin Feldman, director, National Gallery of Art. “The transnational realities of modernism visualised in photography by women such as Lola Álvarez Bravo, Berenice Abbott, Claude Cahun, Germaine Krull, Dorothea Lange, Niu Weiyu, Tsuneko Sasamoto, and Homai Vyarawalla offer us an opportunity to better understand the present by becoming more fully informed of the past.”

 

About the exhibition

This landmark exhibition critically examines the extraordinary impact women had on the practice of photography worldwide from the 1920s to the 1950s. It presents the work of over 120 international photographers who took part in a dramatic expansion of the medium propelled by artistic creativity, technological innovation, and the rise of the printed press. Photographers such as Berenice Abbott, Ilse Bing, Lola Álvarez Bravo, Madame d’Ora, Florence Henri, Elizaveta Ignatovich, Germaine Krull, Dorothea Lange, Dora Maar, Niu Weiyu, Eslanda Goode Robeson, Tsuneko Sasamoto, Gerda Taro, and Homai Vyarawalla, among many others, emerged at a tumultuous moment in history that was profoundly shaped by two world wars, a global economic depression, struggles for decolonisation, and the rise of fascism and communism. Against the odds, these women were at the forefront of experimentation with the camera and produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era.

Organised thematically in eight galleries, The New Woman Behind the Camera illustrates women’s groundbreaking work in modern photography, exploring their innovations in the fields of social documentary, avant-garde experimentation, commercial studio practice, photojournalism, ethnography, and the recording of sports, dance, and fashion. By evoking the global phenomenon of the New Woman, the exhibition seeks to reevaluate the history of photography and advance new and more inclusive conversations on the contributions of female photographers.

Known by different names, from nouvelle femme and neue Frau to modan gāru and xin nüxing, the New Woman was easy to recognise but hard to define. Fashionably dressed with her hair bobbed, the self-assured cosmopolitan New Woman was arguably more than a marketable image. She was a contested symbol of liberation from traditional gender roles. Revealing how women photographers from around the world gave rise to and embodied the quintessential New Woman even as they critiqued the popular construction of the role, the exhibition opens with a group of compelling portraits and self-portraits. In these works, women defined their positions as professionals and artists during a time when they were seeking greater personal rights and freedoms.

For many women, the camera became an effective tool for self-determination as well as a source of income. With better access to education and a newfound independence, female photographers emerged as a major force in studio photography. From running successful businesses in Berlin, Buenos Aires, London, and Vienna, to earning recognition as one of the first professional female photographers in their home country, women around the world, including Karimeh Abbud, Steffi Brandl, Trude Fleischmann, Annemarie Heinrich, Eiko Yamazawa, and Madame Yevonde, reinvigorated studio practice. A collaborative space where both sitters and photographers negotiated gender, race, and cultural difference, the portrait studio was also vitally important to African American communities which sought to represent and define themselves within a society that continued to be plagued by racism. Photography studios run by Black women, such as Florestine Perrault Collins and Winifred Hall Allen, thrived throughout the United States, and not only preserved likenesses and memories, but also constructed a counter narrative to the stereotyping images that circulated in the mass media.

With the invention of smaller lightweight cameras, a growing number of women photographers found that the camera’s portability created new avenues of discovery outside the studio. In stunning photographs of the city, photographers such as Alice Brill, Rebecca Lepkoff, Helen Levitt, Lisette Model, Genevieve Naylor, and Tazue Satō Matsunaga used their artistic vision to capture the exhilarating modern world around them. They depicted everyday life, spontaneous encounters on the street, and soaring architectural views in places like Bombay (now Mumbai), New York, Paris, São Paulo, and Tokyo, revealing the multiplicity of urban experience. Many incorporated the newest photographic techniques to convey the energy of the city, and the exhibition continues with a gallery focused on those radical formal approaches that came to define modern photography. Through techniques like photomontage, photograms, sharp contrasts of light and shadow, extreme cropping, and dizzying camera angles, women including Aenne Biermann, Imogen Cunningham, Dora Maar, Tina Modotti, Lucia Moholy, and Cami Stone pushed the boundaries of the medium.

Women also produced dynamic pictures of the modern body, including innovative nude studies as well as sport and dance photography. Around the world, participation in spectator and team sports increased along with membership in fitness and hygiene reform movements. New concepts concerning health and sexuality along with new attitudes in movement and dress emphasised the body as a central site of experiencing modernity. On view are luminous works by photographers Laure Albin Guillot, Yvonne Chevalier, Florence Henri, and Jeanne Mandello who reimagined the traditional genre of the nude. Photographs by Irene Bayer-Hecht and Liselotte Grschebina highlight joyous play and gymnastic exercise, while Charlotte Rudolph, Ilse Bing, Trude Fleischmann, and Lotte Jacobi made breathtaking images of dancers in motion, revealing the body as artistic medium.

During the modern period, a growing number of women pursued professional photographic careers and traveled widely for the first time. Many took photographs that documented their experiences abroad and interactions with other cultures as they engaged in formal and informal ethnographic projects. The exhibition continues with a selection of photographs and photobooks by women, mainly from Europe and the United States, that reveal a diversity of perspectives and approaches. Gender provided some of these photographers with unusual access and the drive to challenge discriminatory practices, while others were not exempt from portraying stereotypical views. Publications by Jette Bang, Hélène Hoppenot, Ella Maillart, Anna Riwkin, Eslanda Goode Robeson, and Ellen Thorbecke exemplify how photographically illustrated books and magazines were an influential form of communication about travel and ethnography during the modern period. Other works on display include those by Denise Bellon and Ré Soupault, who traveled to foreign countries on assignment for magazines and photo agencies seeking ethnographic and newsworthy photographs, and those by Marjorie Content and Laura Gilpin, who worked on their own in the southwestern United States.

The New Woman – both as a mass-circulating image and as a social phenomenon – was confirmed by the explosion of photographs found in popular fashion and lifestyle magazines. Fashion and advertising photography allowed many women to gain unprecedented access to the public sphere, establish relative economic independence, and attain autonomous professional success. Producing a rich visual language where events and ideas were expressed directly in pictures, illustrated fashion magazines such as Die DameHarper’s Bazaar, and Vogue became an important venue for photographic experimentation by women for a female readership. Photographers producing original views of women’s modernity include Lillian Bassman, Ilse Bing, Louise Dahl-Wolfe, Toni Frissell, Toni von Horn, Frances McLaughlin-Gill, ringl + pit, Margaret Watkins, Caroline Whiting Fellows, and Yva.

The rise of the picture press also established photojournalism and social documentary as dominant forms of visual expression during the modern period. Ignited by the effects of a global economic crisis and growing political and social unrest, numerous women photographers including Lucy Ashjian, Margaret Bourke-White, Kati Horna, Elizaveta Ignatovich, Kata Kálmán, Dorothea Lange, and Hansel Mieth engaged a wide public with gripping images. So-called soft topics such as “women and children,” “the family,” and “the home front” were more often assigned to female photojournalists than to their male counterparts. The exhibition asks viewers to question the effect of having women behind the camera in these settings. Pictures produced during the war, from combat photography by Galina Sanko and Gerda Taro to images of the Blitz in London by Thérèse Bonney and the Tuskegee airmen by Toni Frissell, are also featured. At the war’s end, haunting images by Lee Miller of the opening of Nazi concentration camps and celebratory images of the victory parade of Allied Forces in New Delhi by Homai Vyarawalla made way for the transition to the complexities of the postwar era, including images of daily life in US-occupied Japan by Tsuneko Sasamoto and the newly formed People’s Republic of China by Hou Bo and Niu Weiyu.

The New Woman Behind the Camera acknowledges that women are a diverse group whose identities are defined not exclusively by gender but rather by a host of variable factors. It contends that gender is an important aspect in understanding their lives and work and provides a useful framework for analysis to reveal how photography by women has powerfully shaped our understanding of modern life.

 

Exhibition catalog

Published by the National Gallery of Art, Washington and distributed by DelMonico Books | D.A.P., this groundbreaking, richly illustrated 288-page catalog examines the diverse women whose work profoundly marked the medium of photography from the 1920s to the 1950s. The book – featuring over 120 international photographers, including Lola Álvarez Bravo, Elizaveta Ignatovich, Germaine Krull, Dorothea Lange, Tsuneko Sasamoto, and Homai Vyarawalla – reevaluates the history of modern photography through the lens of the iconic New Woman. Inclusive scholarly essays introduce readers to these important photographers and question the past assumptions about gender in the history of photography. Contributors include Andrea Nelson, associate curator in the department of photographs, National Gallery of Art; Elizabeth Cronin, assistant curator of photography in the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library; Mia Fineman, curator in the department of photographs, Metropolitan Museum of Art; Mila Ganeva, professor of German in the department of German, Russian, Asian, and Middle Eastern languages and cultures, Miami University, Ohio; Kristen Gresh, Estrellita and Yousuf Karsh Senior Curator of Photographs, Museum of Fine Arts, Boston; Elizabeth Otto, professor of modern and  contemporary art history, University at Buffalo (The State University of New York); and Kim Sichel, associate professor in the department of the history of art and architecture at Boston University; biographies of the photographers by Kara Felt, Andrew W. Mellon postdoctoral fellow in the department of photographs, National Gallery of Art.

Press release from the National Gallery of Art

 

Ella Maillart (Swiss, 1903-1997) 'Turkistan Solo' 1935

 

Ella Maillart (Swiss, 1903-1997)
Turkistan Solo
1935
Bound volume
Open: 21.59 x 22.86cm (8 1/2 x 9 in.)
Cradle: 12.07 x 27.31 x 22.54cm (4 3/4 x 10 3/4 x 8 7/8 in.)
National Gallery of Art Library, Gift of the Department of Photographs

 

 

Ella Maillart (or Ella K. Maillart; 20 February 1903, Geneva – 27 March 1997, Chandolin) was a Swiss adventurer, travel writer and photographer, as well as a sportswoman.

 

Career

From the 1930s onwards she spent years exploring Muslim republics of the USSR, as well as other parts of Asia, and published a rich series of books which, just as her photographs, are today considered valuable historical testimonies. Her early books were written in French but later she began to write in English. Turkestan Solo describes a journey in 1932 in Soviet Turkestan. Photos from this journey are now displayed in the Ella Maillart wing of the Karakol Historical Museum. In 1934, the French daily Le Petit Parisien sent her to Manchuria to report on the situation under the Japanese occupation. It was there that she met Peter Fleming, a well-known writer and correspondent of The Times, with whom she would team up to cross China from Peking to Srinagar (3,500 miles), much of the route being through hostile desert regions and steep Himalayan passes. The journey started in February 1935 and took seven months to complete, involving travel by train, on lorries, on foot, horse and camelback. Their objective was to ascertain what was happening in Xinjiang (then also known as Sinkiang or Chinese Turkestan) where the Kumul Rebellion had just ended. Maillart and Fleming met the Hui Muslim forces of General Ma Hushan. Ella Maillart later recorded this trek in her book Forbidden Journey, while Peter Fleming’s parallel account is found in his News from Tartary. In 1937 Maillart returned to Asia for Le Petit Parisien to report on Afghanistan, Iran and Turkey, while in 1939 she undertook a trip from Geneva to Kabul by car, in the company of the Swiss writer, Annemarie Schwarzenbach. The Cruel Way is the title of Maillart’s book about this experience, cut short by the outbreak of the second World War.

She spent the war years at Tiruvannamalai in the South of India, learning from different teachers about Advaita Vedanta, one of the schools of Hindu philosophy. On her return to Switzerland in 1945, she lived in Geneva and at Chandolin, a mountain village in the Swiss Alps. She continued to ski until late in life and last returned to Tibet in 1986.

Text from the Wikipedia website

 

Ellen Thorbecke (Dutch, 1902-1973) 'People in China: Thirty-Two Photographic Studies from Life' 1935

 

Ellen Thorbecke (Dutch, 1902-1973)
People in China: Thirty-Two Photographic Studies from Life
1935
Bound volume
Closed:
30.48 x 22.86cm (12 x 9 in.)
Open: 29.85 x 43.18cm (11 3/4 x 17 in.)
Cradle: 13.97 x 40.64 x 30.48cm (5 1/2 x 16 x 12 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

 

(Ellen Thorbecke, born Ellen Kolban, 1902-1973) is a woman who holds a unique position in Dutch photography. Her small yet extraordinary photo archive, one of the Nederlands Fotomuseum Collection’s true gems, shows rare images of everyday life in China during that era. She photographed with an open mind and as a result Ellen Thorbecke’s images are still relevant and immensely popular in China today.

 

Compelling photographer

In 1931, Ellen Thorbecke left Berlin for China to be reunited with her beloved husband Willem Thorbecke, who had been appointed as an envoy in China on behalf of the Netherlands. Before she left for China, she bought her first camera, as she was planning to work in China as a correspondent for the Berlin newspapers. To illustrate her articles, she captured a series of portraits and street scenes in the Chinese countryside and in the cities of Beijing, Shanghai and Hong Kong. This was during the era when the idea of ‘East Meets West’ was gaining ground and a number of Western writers, filmmakers and artists were shining the spotlight on China.

Being a journalist from origin, Thorbecke gradually developed into a compelling photographer who infused her photographs with fully-engaged observation of the people and places she visited. The exhibition Ellen Thorbecke’s China presents photographs that capture the changing identity of the young Chinese Republic between centuries-old traditions and Western modernisation. Her images range from those that refer to traditional Chinese role patterns – such as arranged marriages at a young age – to modern portraits showing the desire for freedom and independence.

Anonymous text. “Ellen Thorbecke’s China,” on the Nederlands Fotomuseum website [Online] Cited 29/11/2021

 

Photographer and journalist Ellen Thorbecke (born Ellen Kolban, 1902-1973) occupies a unique and forgotten position in the photography world. In 1931 she left Berlin for Beijing. For this trip she bought her first camera. Thorbecke developed into a compelling photographer who provided her photos with engaged observations about the people and places she visited. She made reports in a lively candid style with an eye for the vitality of street life and has produced several photo books including Peking Studies (1934) and People in China (1935).

Her visual stories and travel guides make her oeuvre a unique time document. Her compact but special photo archive is held at the Dutch Fotomuseum in Rotterdam and consists of 638 black and white negatives, 166 of which were made in China. The photographs Thorbecke made are still relevant today because of her human, direct and unbiased way of looking.

Anonymous text. “Ellen Thorbecke,” on the Photography of China website [Online] Cited 29/11/2021

 

Eslanda Goode Robeson (American, 1896-1965) 'African Journey' 1945

 

Eslanda Goode Robeson (American, 1896-1965)
African Journey
1945
Bound volume
Open:
21.59 x 31.75cm (8 1/2 x 12 1/2 in.)
Mount: 3.49 x 31.27 x 21.75cm (1 3/8 x 12 5/16 x 8 9/16 in.)
National Gallery of Art Library, Gift of the Department of Photographs

 

 

Eslanda Cardozo Goode Robeson (American, 1896-1965), “Essie,” as she was called, was a photographer, actress, world traveler, author and activist

Born Eslanda Cardoza Goode in Washington, D.C., in 1896, “Essie,” as she was known by her intimates, was the wife of the dynamic performer and activist Paul Robeson. Although not as well known as her famous husband, Eslanda Robeson by no means hid in his shadow. Through her writings and actions, she advocated racial equality and withstood considerable political and social pressure in the course of her long activist career. …

The mid-1940s brought significant accolades to the Robesons as Eslanda’s book African Journey appeared in 1945 and Paul received the Spingarn Medal that same year. While a scholarly work, African Journey was not so much analytical as it was descriptive of the living habits and cultural customs of different tribes, complete with photographs taken by Eslanda. Both provocative and enlightening, it was a landmark work in the sense that it was the first by an American to show the need for reform among the colonial powers. This theme of colonialism became a focal point of Eslanda’s later writings; she strongly believed that the end of World War II hearkened a new era of freedom from European colonisers for emerging nations in Asia and Africa.

Anonymous text. “Robeson, Eslanda Goode (1896-1965),” on the Women in World History: A Biographical Encyclopedia website [Online] Cited 28/11/2021

 

Esther Bubley (American, 1921-1998) 'Young woman in the doorway of her room at a boardinghouse, Washington, DC' 1943

 

Esther Bubley (American, 1921-1998)
Young woman in the doorway of her room at a boardinghouse, Washington, DC
1943
Gelatin silver print
Image/sheet: 26.42 x 25.4cm (10 3/8 x 10 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Gift of Kent and Marcia Minichiello

 

 

Esther Bubley (February 16, 1921 – March 16, 1998) was an American photographer who specialised in expressive photos of ordinary people in everyday lives. She worked for several agencies of the American government and her work also featured in several news and photographic magazines.

A protégée of Roy Stryker at the U.S. Office of War Information and subsequently at Standard Oil Company (New Jersey), Esther Bubley (1921-1998) was a preeminent freelance photographer during the “golden age” of American photojournalism, from 1945 to 1965. At a time when most post-war American women were anchored by home and family, Bubley was a thriving professional, traveling throughout the world, photographing stories for magazines such as LIFE and the Ladies’ Home Journal and for prestigious corporate clients that included Pepsi-Cola and Pan American World Airways.

“Put me down with people, and it’s just overwhelming,” Bubley exclaimed in an interview. Like most great photojournalists, she found her art in everyday life, and she successfully balanced her artistic ambitions with the demands of commercial publishing. Edward Steichen, curator of photographs at the Museum of Modern Art and the era’s arbiter of taste, was a great supporter of Bubley, whose work embodied his aesthetic ideal that photography “explain man to man and each to himself.” …

Bubley’s photographs are of cultural as well as artistic interest. Her photo-essays explore the era’s American stereotypes – the troubled child, the high school drop-out, the harried housewife, the enterprising farm family – that were elaborated in the pages of the magazines for which she worked. Her corporate assignments document the introduction of American companies into traditional cultures abroad. Bubley developed a specialty in stories about health care and mental health, documenting the era’s faith in new technologies and the growing prestige of psychology and psychiatry. She also covered her share of celebrities and popular culture topics, including children’s television and beauty contests. A cross-section of Bubley’s work provides a revealing glimpse into the post-war decades, seen not only through Bubley’s lens but through the pages of the illustrated magazines that dominated the mass media of the time.

Bonnie Yochelson. “Biography of Esther Bubley,” on the Esther Bubley website [Online] Cited 28/11/2021

 

Florence Henri (European, 1893-1982) 'Portrait Composition (Femme aux cartes)' (Portrait Composition (Woman with Cards)) 1930

 

Florence Henri (European, 1893-1982)
Portrait Composition (Femme aux cartes) (Portrait Composition (Woman with Cards))
1930
Gelatin silver print
Image: 28 x 22.4cm (11 x 8 13/16 in.)
Mount: 38.1 x 33cm (15 x 13 in.)
Frame (outer): 52.7 x 47.6cm (20 3/4 x 18 3/4 in.)
The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
Florence Henri © Galleria Martini & Ronchetti, courtesy Archives Florence Henri
Image © The Metropolitan Museum of Art. Art Resource, NY

 

 

Florence Henri (28 June 1893 – 24 July 1982) was a surrealist artist; primarily focusing her practice on photography and painting, in addition to pianist composition. In her childhood, she traveled throughout Europe, spending portions of her youth in Paris, Vienna, and the Isle of Wight. She studied in Rome, where she would encounter the Futurists, finding inspiration in their movement. From 1910 to 1922, she studied piano in Berlin, under the instruction of Egon Petri and Ferrucio Busoni. She would find herself landlocked to Berlin during the first World War, supporting herself by composing piano tracks for silent films. She returned to Paris in 1922, to attend the Académie André Lhote, and would attend until the end of 1923. From 1924 to 1925, she would study under painters Fernand Léger and Amédée Ozenfant at the Académie Moderne. Henri’s most important artistic training would come from the Bauhaus in Dessau, in 1927, where she studied with masters Josef Albers and László Moholy-Nagy, who would introduce her to the medium of photography. She returned to Paris in 1929 where she started seriously experimenting and working with photography up until 1963. Finally, she would move to Compiègne, where she concentrated her energies on painting until the end of her life in 1982. Her work includes experimental photography, advertising, and portraits, many of which featured other artists of the time.

Text from the Wikipedia website

 

Florestine Perrault Collins (American, 1895-1988) 'Mae Fuller Keller' Early 1920s

 

Florestine Perrault Collins (American, 1895-1988)
Mae Fuller Keller
Early 1920s
Gelatin silver print
Overall: 35.56 x 27.94cm (14 x 11 in.)
Frame: 35.56 x 27.94cm (14 x 11 in.)
Frame (outer): 39.37 x 31.75cm (15 1/2 x 12 1/2 in.)
Dr Arthé A. Anthony

 

 

Florestine Perrault Collins (1895-1988) was an American professional photographer from New Orleans. Collins is noted for having created photographs of African-American clients that “reflected pride, sophistication, and dignity,” instead of racial stereotypes.

In 1909, Collins began practicing photography at age 14. Her subjects ranged from weddings, First Communions, and graduations to personal photographs of soldiers who had returned home. At the beginning of her career, Collins had to pass as a white woman to be able to assist photographers.

Collins eventually opened her own studio, catering to African-American families. She gained a loyal following and had success, due to both her photography and marketing skills. Out of 101 African-American women who identified themselves as photographers in the 1920 U.S. Census, Collins was the only one listed in New Orleans.

She advertised in newspapers, playing up the sentimentality of a well-done photograph. Collins also included her photograph in the ads to appeal to customers who thought a female photographer might take better pictures of babies and children.

According to the Encyclopedia of Louisiana, Collins’ career “mirrored a complicated interplay of gender, racial and class expectations”.

“The history of black liberation in the United States could be characterised as a struggle over images as much as it has also been a struggle over rights,” according to Bell Hooks. Collins’ photographs are representative of that. By taking pictures of black women and children in domestic settings, she challenged the pervasive stereotypes of the time about black women.

Text from the Wikipedia website

 

Photographer unknown. 'Florestine Perrault Collins' 1920s

 

Photographer unknown
Florestine Perrault Collins
1920s
Gelatin silver print
Overall: 35.56 x 27.94cm (14 x 11 in.)
Frame: 35.56 x 27.94cm (14 x 11 in.)
Frame (outer): 39.37 x 31.75cm (15 1/2 x 12 1/2 in.)
Dr Arthé A. Anthony

 

Germaine Krull (German, French, and Dutch, Brazil, Republic of the Congo, Thailand and India, 1897-1985) 'Eielturm' (Eifel Tower) 1928

 

Germaine Krull (German, French, and Dutch, Brazil, Republic of the Congo, Thailand and India, 1897-1985)
Eielturm (Eifel Tower)
1928
Gelatin silver print
Image: 22.5 x 15.2cm (8 7/8 x 6 in.)
Frame: 50 x 40cm (19 11/16 x 15 3/4 in.)
Frame (outer): 52 x 42 x 2.8cm (20 1/2 x 16 9/16 x 1 1/8 in.)
Museum Folkwang, Essen © Estate Germaine Krull, Museum Folkwang, Essen
Photo © Museum Folkwang Essen – ARTOTHEK

 

Gertrude Fehr (German, 1895-1996) 'Odile' 1936

 

Gertrude Fehr (German, 1895-1996)
Odile
1936
Gelatin silver print
Image: 32.39 x 29.21cm (12 3/4 x 11 1/2 in.)
Frame: 60.96 x 50.8cm (24 x 20 in.)
Frame (outer): 25.75 x 21.75cm (10 1/8 x 8 9/16 in.)
Trish and Jan de Bont

 

 

Gertrude Fehr was a German photographer. She was born in Mainz on Tuesday 5 March 1895 and died in 1996 at the age of 101. She was one of the earliest professional female photographers.

Fehr studied photography at the Bavarian School of photography in Munich and undertook an apprenticeship in the Munich studio of Eduard Wasow. Shortly after finishing the apprenticeship, she set up a photographic studio dedicated fundamentally to the theatre and to the portrait technique which employed six people. In 1933, the rise of Hitler and the establishment of the Third Reich forced Fehr to close the studio and to emigrate to Paris with her future Swiss husband, the painter Jules Fehr. Installed in the French capital there she opened her own school of photography: PUBLI-phot.

In Paris she found the artistic atmosphere of the avant-garde of the time and, influenced by the movements modernism, began photographic experiments. Patent in those moments was the tremendous influence of the most transgressive photographer-painter of the moment, Man Ray, which she considered “fascinating”. Like him, she started experimenting with the solarisation process. The solarisation of Fehr (unlike Man Ray) are works that have a aesthetic which resembles an academic charcoal drawing. If it were not for the difference in procedures, Fehr’s “Odile” (1940) seems rather an image enhanced by traditional procedures rather than by the photographic avant-garde.

At the end of the 1930s she and her husband moved to Switzerland, where they opened a photography school in Lausanne.

 

Adele Gloria (Italian, 1910-1984) 'Senza titolo' (Untitled) c. 1933

 

Adele Gloria (Italian, 1910-1984)
Senza titolo (Untitled)
c. 1933
Collage with gelatin silver prints
Overall: 18.2 x 21.27cm (7 3/16 x 8 3/8 in.)
Mat: 39.37 x 49.85cm (15 1/2 x 19 5/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 43.18 x 53.34cm (17 x 21 in.)
Collection Merrill C. Berman

 

 

Adele Gloria was the only futurist woman in Sicily, she distinguished herself in the field of aeropainting and avant-garde, in the early 30s in Catania. She was a poet, photographer, painter, sculptor and journalist, a “total” artist according to the canons of the Futurist movement.

 

Adele Gloria (Italian, 1910-1984) 'Senza titolo' (Untitled) c. 1933 (detail)

 

Adele Gloria (Italian, 1910-1984)
Senza titolo (Untitled) (detail)
c. 1933
Collage with gelatin silver prints
Overall: 18.2 x 21.27cm (7 3/16 x 8 3/8 in.)
Mat: 39.37 x 49.85cm (15 1/2 x 19 5/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 43.18 x 53.34cm (17 x 21 in.)
Collection Merrill C. Berman

 

Adele Gloria (Italian, 1910-1984) 'Senza titolo' (Untitled) c. 1933 (detail)

 

Adele Gloria (Italian, 1910-1984)
Senza titolo (Untitled) (detail)
c. 1933
Collage with gelatin silver prints
Overall: 18.2 x 21.27cm (7 3/16 x 8 3/8 in.)
Mat: 39.37 x 49.85cm (15 1/2 x 19 5/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 43.18 x 53.34cm (17 x 21 in.)
Collection Merrill C. Berman

 

Hélène Hoppenot (French, 1894-1990) 'Chine' 1946

 

Hélène Hoppenot (French, 1894-1990)
Chine
1946
Bound volume
Open: 35.56 x 33.02cm (14 x 13 in.)
Cradle:11.43 x 49.85 x 36.2cm (4 1/2 x 19 5/8 x 14 1/4 in.)
National Gallery of Art Library, Gift of the Department of Photographs

 

 

Hélène Hoppenot (1894-1990) was a French amateur photographer who made thousands of snapshots using the Rolleiflex from 1933 to the 1970s.

Hoppenot made a trip to China where she photographed the everyday life and habits of Chinese people in the country and in the city. This book is her testimony of this travel. It is accompanied with a text from writer Paul Claudel who was deeply interested in Chinese culture and traveled to China as well.

 

Homai Vyarawalla (Indian, 1913-2012) 'The Ashes of Mahatma Gandhi Being Carried in a Procession, Allahabad' February 1948

 

Homai Vyarawalla (Indian, 1913-2012)
The Ashes of Mahatma Gandhi Being Carried in a Procession, Allahabad
February 1948
Gelatin silver print
Image/sheet: 38.1 x 38.1cm (15 x 15 in.)
Frame: 53.34 x 53.34cm (21 x 21 in.)
Frame (outer): 55.88 x 55.88cm (22 x 22 in.)
Homai Vyarawalla Archive / The Alkazi Collection of Photography

 

 

Homai Vyarawalla (9 December 1913 – 15 January 2012), commonly known by her pseudonym Dalda 13, was India’s first woman photojournalist. She began work in the late 1930s and retired in the early 1970s. In 2011, she was awarded Padma Vibhushan, the second highest civilian award of the Republic of India. She was amongst the first women in India to join a mainstream publication when she joined The Illustrated Weekly of India.

 

Career

Vyarawalla started her career in the 1930s. At the onset of World War II, she started working on assignments for Mumbai-based The Illustrated Weekly of India magazine which published many of her most admired black-and-white images. In the early years of her career, since Vyarawalla was unknown and a woman, her photographs were published under her husband’s name. Vyarawalla stated that because women were not taken seriously as journalists she was able to take high-quality, revealing photographs of her subjects without interference:

People were rather orthodox. They didn’t want the women folk to be moving around all over the place and when they saw me in a sari with the camera, hanging around, they thought it was a very strange sight. And in the beginning they thought I was just fooling around with the camera, just showing off or something and they didn’t take me seriously. But that was to my advantage because I could go to the sensitive areas also to take pictures and nobody will stop me. So I was able to take the best of pictures and get them published. It was only when the pictures got published that people realized how seriously I was working for the place.

~  Homai Vyarawalla in Dalda 13: A Portrait of Homai Vyarawalla (1995)

.
Eventually her photography received notice at the national level, particularly after moving to Delhi in 1942 to join the British Information Services. As a press photographer, she recorded many political and national leaders in the period leading up to independence, including Mohandas Gandhi, Jawaharlal Nehru, Muhammad Ali Jinnah, Indira Gandhi and the Nehru-Gandhi family.

The Dalai Lama in ceremonial dress enters India through Nathu La in Sikkim on 24 November 1956, photographed by Homai Vyarawalla. In 1956, she photographed for Life Magazine the 14th Dalai Lama when he entered Sikkim in India for the first time via the Nathu La. Most of her photographs were published under the pseudonym “Dalda 13”. The reasons behind her choice of this name were that her birth year was 1913, she met her husband at the age of 13 and her first car’s number plate read “DLD 13”.

Text from the Wikipedia website

 

Photographer unknown. 'Homai Vyarawalla photographing Ganesh Chaturthi at Chowpatty Beach, Bombay' Late 1930s, printed later

 

Photographer unknown
Homai Vyarawalla photographing Ganesh Chaturthi at Chowpatty Beach, Bombay
Late 1930s, printed later
Inkjet print
Image: 30.48 x 20.8cm (12 x 8 3/16 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1cm (19 x 15 in.)
Homai Vyarawalla Archive / The Alkazi Collection of Photography

 

Homai Vyarawalla (Indian, 1913-2012) 'The Victory Parade by the Allied Forces in India Marking the End of the Second World War, Connaught Place, New Delhi' 1945

 

Homai Vyarawalla (Indian, 1913-2012)
The Victory Parade by the Allied Forces in India Marking the End of the Second World War, Connaught Place, New Delhi
1945
Gelatin silver print
Image/sheet: 31 x 30.8cm (12 3/16 x 12 1/8 in.)
Frame: 45.72 x 45.72cm (18 x 18 in.)
Frame (outer): 48.26 x 48.26cm (19 x 19 in.)
Homai Vyarawalla Archive / The Alkazi Collection of Photography

 

Homai Vyarawalla (Indian, 1913-2012) 'Students at the Sir Jamsetjee Jeejeebhoy School of Art, Bombay' Late 1930s, printed later

 

Homai Vyarawalla (Indian, 1913-2012)
Students at the Sir Jamsetjee Jeejeebhoy School of Art, Bombay
Late 1930s, printed later
Inkjet print
Image/sheet: 40.7 x 40.7cm (16 x 16 in.)
Frame: 55.88 x 55.88cm (22 x 22 in.)
Frame (outer): 58.42 x 58.42cm (23 x 23 in.)
Homai Vyarawalla Archive / The Alkazi Collection of Photography

 

Imogen Cunningham (American, 1883-1976) 'Magnolia Blossom' c. 1925

 

Imogen Cunningham (American, 1883-1976)
Magnolia Blossom
c. 1925
Gelatin silver print
17.1 x 21.6cm (6 3/4 x 8 1/2 in.)
The Museum of Modern Art, New York
Gift of Albert M. Bender
© 2020 Imogen Cunningham Trust

 

Judit Kárász (Hungarian, 1912-1977) 'Kávészemek cukorral' (Coffee Beans and Sugar) 1931

 

Judit Kárász (Hungarian, 1912-1977)
Kávészemek cukorral (Coffee Beans and Sugar)
1931
Gelatin silver print
Image: 13.02 x 20.96cm (5 1/8 x 8 1/4 in.)
Support: 13.02 x 20.96cm (5 1/8 x 8 1/4 in.)
Mat: 40.64 x 50.8cm (16 x 20 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 41.28 x 51.44 x 3.33cm (16 1/4 x 20 1/4 x 1 5/16 in.)
Los Angeles County Museum of Art, Gift of Louis Stern Digital Image
© 2019 Museum Associates / LACMA / Licensed by Art Resoure, NY

 

 

Judit Kárász (21 May 1912 – 30 May 1977) was a Hungarian photographer interested in the medium’s ability to reveal the hidden structures of everyday subject matter. Her photography brought together social documentary and modernist ideas such as Gestalt theory.

 

Bauhaus

On 21 June 1932 Kárász received her Bauhaus diploma, where she majored in photography. She was taught by Walter Peterhans, who founded the school’s photography department in 1929. Influenced by the work of artists such as fellow Hungarian László Moholy-Nagy who had previously taught at the school, Kárász began to experiment with compositional devices, such as bird’s-eye perspective, and explored modernist themes and subject matters including industrial landscapes.

 

Career

In 1931 Kárász became a member of Kostufa (Kommunistische Studenten Fraktion) a communist student group, and following her active role in election campaigns she was expelled from the Sachsen-Anhalt area of Germany. Between 1932-1935 Karasz worked as a laboratory technician at the Dephot in Berlin, a photographic agency that represented photojournalists, such as Robert Capa.

Karasz was involved with the Workers-Photography movement, a collective associated with communism dedicated to activating photography for social ends.

Text from the Wikipedia website

 

Vera Gabrielová (Czech, 1919-2002) 'Bez názvu (lžíce)' (Untitled (Spoons)) 1935-1936

 

Vera Gabrielová (Czech, 1919-2002)
Bez názvu (lžíce) (Untitled (Spoons))
1935-1936
Gelatin silver print
Image: 23.8 x 17.5cm (9 3/8 x 6 7/8 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Ellen and Robert Grimes

 

Jaroslava Hatláková (Czech, 1904-1989) 'Bez názvu' (Untitled) c. 1936

 

Jaroslava Hatláková (Czech, 1904-1989)
Bez názvu (Untitled)
c. 1936
Gelatin silver print
10.8 x 8.26cm (4 1/4 x 3 1/4 in.)
Trish and Jan de Bont

 

Jeanne Mandello (German, 1907-2001) 'Arbeiter der neuen uruguayischen Fakultät für Architektur, Montevideo' (Workers on the new Uruguayan School of Architecture, Montevideo) c. 1945, printed later

 

Jeanne Mandello (German, 1907-2001)
Arbeiter der neuen uruguayischen Fakultät für Architektur, Montevideo (Workers on the new Uruguayan School of Architecture, Montevideo)
c. 1945, printed later
Gelatin silver print
Image: 35 x 27cm (13 3/4 x 10 5/8 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Isabel Mandello Collection
© 2020 Isabel Mandello

 

 

Jeanne Mandello (née Johanna Mandello; October 18, 1907, Frankfurt – December 17, 2001, Barcelona) was a German modern artist and experimental photographer. …

In 1926 she began studying photography at Lette-Verein. In a time when it was difficult for a woman to get attention as an artist, photography opened a way into the art world. Inspired by the spirit of freedom in Berlin in the 1920s, the women’s movement offered an opportunity to go out, attended theater performances, concerts, exhibitions and decide on the model of the “new woman”, imitating Grete Stern and Ellen Auerbach who wore pants and short hair. In 1927, she studied at the studio of Paul Wolff and Alfred Tritschler. Through Wolff, she became familiar with Leica Camera photography. Back in Berlin, she returned to Lette and finished her studies. Using a Leica film camera, she photographed portraits, landscapes and scenes of everyday life. In 1929, she taught in Frankfurt, creating a studio at her parents’ house. Here, she collaborated with the photographer Nathalie Reuter (1911-1990), a former classmate and friend. In 1932, she met Arno Grünebaum. Under Mandello’s guidance, he learned photography. In 1933, they married. Being Jewish and being aware of the coming danger, they left Germany in 1934 and began in Paris a new life.

 

Career

In Paris, she changed her first name Johanna into the French form, Jeanne. Like other modern photographers of the Weimar Republic, Mandello found inspiration during her exile in Paris. She was influenced by the Nouvelle Vision; by Man Ray, Brassaï and Doisneau, in redefined photography. They experimented with new techniques, unusual camera angles, picture cutouts, exposures and photomontages. Mandello and Grunbaum specialised in commercial and portrait photography and established themselves as fashion photographers. In 1937, they opened a studio in 17th Arrondissement under the name “Mandello”. “Mandello” did work for Fémina, Harper’s Bazaar and Vogue, as well as the fashion houses of Balenciaga, Guerlain, Maggy Rouff, and Creed. Occasionally, they worked with the photographer Hermann Landshoff, who had also fled Nazi Germany. After the outbreak of World War II, Mandello and her husband were considered Alien Enemies within the French Republic and were forced to leave Paris in early 1940. They had to leave everything behind: the photo studio, camera equipment, archived works and negatives. They were allowed to take only 14 kilos of luggage. They came to the village of Dognen where she helped out in the infirmary. Her German citizenship was withdrawn on 28 October 1940. With visas to Uruguay, Mandello and Grunebaum left France and started a new life in South America where she exhibited beginning in 1943. Her new work included architecture, landscapes, photograms, portraits, and solarisations. In 1952, she exhibited at Museum of Modern Art, Rio de Janeiro, and two years later, she separated from her husband, and moved to Brazil to be with the journalist, Lothar Bauer. With Bauer, she moved to Barcelona at the end of the decade where she worked the rest of her life. She married Bauer, and they adopted a daughter, Isabel, in 1970. Mandello died in Barcelona in 2001.

Text from the Wikipedia website

 

Jeanne Mandello was a pioneer of modern photography and a Jewish avant-garde woman artist working in Berlin, Frankfurt, Paris, Montevideo, Rio de Janeiro and Barcelona.

She belongs to the same school of modern female photographers of the early 20th century as her contemporaries Grete Stern, Ellen Auerbach, Ilse Bing, Marianne Breslauer, Gisèle Freund, or, even though some years older, Germaine Krull. …

Jeanne Mandello became a cosmopolitan artist by the force of circumstances and brought the geometry of the Bauhaus and the surrealist fantasy of pre-war Paris to her later countries of residence, Uruguay, Brazil and Spain. Her eye remained European and wherever she lived her photographs rendered homage to her new countries. No country can claim her for itself but her work is another example of the universality of art, which transcends all physical frontiers.

Forgotten for nearly 50 years because of the historical circumstances surrounding her life, she is today rediscovered and seen as she should have been: an avant-garde Jewish-German woman artist and a pioneer in the field of modern photography.

Anonymous text. “Jeanne Mandello: Photographer in Exile,” on the Jeanne Mandello website [Online] Cited 28/11/2021

 

Jeanne Mandello (German, 1907-2001) 'Perfume Advertisement for Maggy Rou' c. 1935-1938, printed later

 

Jeanne Mandello (German, 1907-2001)
Perfume Advertisement for Maggy Rou
c. 1935-1938, printed later
Gelatin silver print
Image: 29 x 22cm (11 7/16 x 8 11/16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Isabel Mandello Collection
© 2020 Isabel Mandello

 

Jeanne Mandello (German, 1907-2001) 'Selbstporträt, Montevideo' (Self-Portrait, Montevideo) c. 1942-1943, printed later

 

Jeanne Mandello (German, 1907-2001)
Selbstporträt, Montevideo (Self-Portrait, Montevideo)
c. 1942-1943, printed later
Gelatin silver print
Image: 28.5 x 24cm (11 1/4 x 9 7/16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Framed (outer): 53.34 x 43.18cm (21 x 17 in.)
Isabel Mandello Collection
© 2020 Isabel Mandello

 

Laura Gilpin (American, 1891-1979) 'Untitled (Pueblo dwelling, woman holding a bowl)' c. 1930

 

Laura Gilpin (American, 1891-1979)
Untitled (Pueblo dwelling, woman holding a bowl)
c. 1930
Platinum print
Sheet: 24.7 x 19.8cm (9 3/4 x 7 13/16 in.)
Mat: 45.72 x 35.56cm (18 x 14 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.74cm (19 x 15 in.)
Prints and Photographs Division, Library of Congress, Washington, D.C.
© 1979 Amon Carter Museum of American Art, Fort Worth, Texas

 

 

Laura Gilpin (April 22, 1891 – November 30, 1979) was an American photographer. Gilpin is known for her photographs of Native Americans, particularly the Navajo and Pueblo, and Southwestern landscapes. Gilpin began taking photographs as a child in Colorado and formally studied photography in New York from 1916 to 1917 before returning to her home in Colorado to begin her career as a professional photographer.

Read a fuller biography on the Wikipedia website

 

Lucy Ashjian (American, 1907-1993) 'Savoy Dancers' 1935-1943

 

Lucy Ashjian (American, 1907-1993)
Savoy Dancers
1935-1943
Gelatin silver print
Image: 24 x 18.8cm (9 7/16 x 7 3/8 in.)
Sheet: 26.2 x 20.2cm (10 5/16 x 7 15/16 in.)
Frame (outer): 47.3 x 39.5cm (18 5/8 x 15 9/16 in.)
The Metropolitan Museum of Art, Gift of Gregor Ashjian Preston, 2004
Image © The Metropolitan Museum of Art. Art Resource, NY

 

 

Lucy Ashjian (1907-1993) is an American photographer best known as a member of the New York Photo League. Her work is included in the collections of the Metropolitan Museum of Art, New York, the Center for Creative Photography in Tucson, Arizona and the Museum of the City of New York.

 

Margaret Michaelis (Austrian-Australian, 1902-1985) '"Residencia de J. M. a Barcelona," in D'Ací i d'Allà' Spring 1936

 

Margaret Michaelis (Austrian-Australian, 1902-1985)
“Residencia de J. M. a Barcelona,” in D’Ací i d’Allà
Spring 1936
Bound volume
Open: 32.39 x 52.07cm (12 3/4 x 20 1/2 in.)
Closed: 32.39 x 29.21cm (12 3/4 x 11 1/2 in.)
Cradle: 15.88 x 57.15 x 33.02cm (6 1/4 x 22 1/2 x 13 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

Margaret Michaelis (Austrian-Australian, 1902-1985) '"Residencia de J. M. a Barcelona," in D'Ací i d'Allà' Spring 1936 (detail)

 

Margaret Michaelis (Austrian-Australian, 1902-1985)
“Residencia de J. M. a Barcelona,” in D’Ací i d’Allà (detail)
Spring 1936
Bound volume
Open: 32.39 x 52.07cm (12 3/4 x 20 1/2 in.)
Closed: 32.39 x 29.21cm (12 3/4 x 11 1/2 in.)
Cradle: 15.88 x 57.15 x 33.02cm (6 1/4 x 22 1/2 x 13 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

 

Margaret (Margarethe) Michaelis-Sachs (née Gross, 1902-1985) was an Austrian-Australian photographer of Polish-Jewish origin. In addition to her many portraits, her architectural scenes of Barcelona and her images of the Jewish quarter in Kraków in the 1930s are of lasting historical interest.

Michaelis studied photography at Vienna’s Graphische Lehr-und Versuchsanstalt from 1918 to 1921.

 

Career

In 1922, still in Vienna, she first worked for a period at the Studio d’Ora before spending a number of years at the Atelier für Porträt Photographie. She went on to work for Binder Photographie in Berlin and Fotostyle in Prague, and finally returned to Berlin in 1929 to work intermittently for a variety of studios during the hard times of the Depression.

In October 1933, she married Rudolf Michaelis who, as an anarcho-syndicalist, was almost immediately arrested and imprisoned by the Nazis. In December 1933, after Rudolf’s release, the couple moved to Spain but they separated shortly afterwards. In Barcelona, Michaelis opened her own studio, Foto-elis. Collaborating with a group of architects, she produced documentary images of progressive architecture which were published in Catalan journals such as D’Ací i d’Allà and, after the start of the civil war, Nova Iberia.

After returning to Poland in 1937, she obtained a German passport, went to London and, in September 1939, emigrated to Australia, first working as a house maid in Sydney. In 1940, she opened her “Photo-studio”, becoming one of the few women photographers in Sydney. She specialised in portraits, especially of Europeans, Jews and people in the arts, many published in Australia and Australian Photography. A member of the photographers’ associations of New South Wales and Australia, in 1941 she was the only woman to join the Institute of Photographic Illustrators.

Margaret Michaelis’ photographic career came to an end in 1952 as a result of poor eyesight. In 1960, she married Albert George Sachs, a glass merchant. She died on 10 October 1985 in Melbourne.

 

Styles

In her early life, Michaelis used the sharp focus and sometimes unusual vantage points of modernist photography while her portraits sought to reveal the psychological essence of her sitters. Her portraits were primarily focused on capturing the lives of Jewish immigrants. Of particular significance is the small set of scenes from the Jewish market in Kraków taken in the 1930s. Helen Ennis of the National Gallery of Australia stated the images “carry the weight of history, offering a visual trace of a way of life that was destroyed by fascism.”

Michaelis was also fond of self-portraiture using the landscapes around Sydney and Melbourne as her backdrop.

Text from the Wikipedia website

 

Niu Weiyu (Chinese, b. 1927) 'The Handcrafts Group Organised by Families of Shanghai Business Owners Making Chinese Dolls' 1956, printed later

 

Niu Weiyu (Chinese, b. 1927)
The Handcrafts Group Organised by Families of Shanghai Business Owners Making Chinese Dolls
1956, printed later
Gelatin silver print
Image: 43.9 x 45.8cm (17 5/16 x 18 1/16 in.)
Sheet: 60.9 x 50.8cm (24 x 20 in.)
Frame: 60.96 x 60.96 cm (24 x 24 in.)
Frame (outer): 63.5 x 63.5cm (25 x 25 in.)
Gao Fan & Niu Weiyu Foundation

 

 

Niu Weiyu (Chinese: 牛畏予; born 1927 in Tanghe, Henan) is a Chinese photojournalist whose career started in the 1940s with coverage of the Chinese Communist Party’s wartime experiences and continued after 1949. She is praised for her photographs of ordinary workers and ethnic groups, and as one of the few women in photography, she specialised in female images.

She is a member of the Chinese Communist Party and the Chinese Photographers Association. Her husband, Gao Fan (1922-2004) was also a wartime and post-1949 photographer.

Text from the Wikipedia website

 

Niu Weiyu 牛畏予 (1927- ) is a native of Tanghe County, Henan Province. In the spring of 1945, she joined in revolution. She studied in Chinese People’s Anti-Japanese Military and Political College. In 1947, she served as Publicity Officer of Shanxi-Hebei-Shandong-Henan Military Region Political Department. In 1948, she served as a photographer of North China Pictorial. Later, she followed the Second Field Army to advance southwards, and worked as a photographer in Southwest Pictorial. In the early 1951, she was transferred to civilian work and served as a photographer of News Photography Bureau. She was the Head of photography team in North China Branch and Beijing Branch of Xinhua News Agency. In 1955, she began to serve as the central news photojournalist of Xinhua News Agency. In 1973, she was transferred to the post of photographer of foreign affairs team of Xinhua News Agency. In 1978, she began to serve as Head of photography team of Hong Kong Branch of Xinhua News Agency. She retired as a veteran cadre in 1982.

Anonymous text. “Niu Weiyu,” on the Photography of China website [Online] Cited 29/11/2021

 

Niu Weiyu (Chinese, b. 1927) 'Female Pilot' 1952, printed 1988

 

Niu Weiyu (Chinese, b. 1927)
Female Pilot
1952, printed 1988
Gelatin silver print
Image: 43.8 x 33cm (17 1/4 x 13 in.)
Frame: 60.96 x 50.8cm (24 x 20 in.)
Frame (outer): 63.5 x 53.34cm (25 x 21 in.)
Gao Fan & Niu Weiyu Foundation

 

Shu Ye (Chinese) 'Niu Weiyu with Camera' c. 1960

 

Shu Ye (Chinese)
Niu Weiyu with Camera
c. 1960
Gelatin silver print
Image: 15.4 x 7.1 cm (6 1/16 x 2 13/16 in.)
Mount: 25.4 x 12.8 cm (10 x 5 1/16 in.)
Frame: 45.72 x 35.56 cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1 cm (19 x 15 in.)
Gao Fan & Niu Weiyu Foundation

 

Niu Weiyu (Chinese, b. 1927) 'Train, Bridge, Highway, and Elephant' 1950s, printed later

 

Niu Weiyu (Chinese, b. 1927)
Train, Bridge, Highway, and Elephant
1950s, printed later
Gelatin silver print
Image: 38.8 x 55.9cm (15 1/4 x 22 in.)
Sheet: 50.8 x 60.9cm (20 x 24 in.)
Frame: 50.8 x 60.9cm (20 x 24 in.)
Gao Fan & Niu Weiyu Foundation

 

Niu Weiyu (Chinese, b. 1927) 'The First Beginning of Spring After Liberation, an International Women's Day Celebration in front of the Temple of the Forbidden City' 1949, printed 2017

 

Niu Weiyu (Chinese, b. 1927)
The First Beginning of Spring After Liberation, an International Women’s Day Celebration in front of the Temple of the Forbidden City
1949, printed 2017
Gelatin and silver bromide printing
National Art Museum Collection of China
Courtesy National Gallery of Art, Washington

 

 

Behind the Camera

Women actively participated in the development of photography soon after its inception in the 19th century. Yet it was in the 1920s, after the seismic disruptions of World War I, that women entered the field of photography in force. Aided by advances in technology and mass communications, along with growing access to training and acceptance of their presence in the workplace, women around the world made an indelible mark on the growth and diversification of the medium. They brought innovation to a range of photographic disciplines, from avant-garde experimentation and commercial studio practice to social documentary, photojournalism, ethnography, and the recording of sports, dance, and fashion.

 

The New Woman

A global phenomenon, the New Woman of the 1920s embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Her image – a woman with bobbed hair, stylish dress, and a confident stride – was a staple of newspapers and magazines first in Europe and the United States and soon in China, Japan, India, Australia, and elsewhere. A symbol of the pursuit of liberation from traditional gender roles, the New Woman in her many guises represented women who faced a mix of opportunities and obstacles that varied from country to country. The camera became a powerful means for female photographers to assert their self-determination and redefine their position in society. Producing compelling portraits, including self-portraits featuring the artist with her camera, they established their roles as professionals and artists.

 

The Studio

Commercial studio photography was an important pathway for many women to forge a professional career and to earn their own income. Running successful businesses in small towns and major cities from Buenos Aires to Berlin and Istanbul, women reinvigorated the genre of portraiture. In the studio, both sitters and photographers navigated gender, race, and cultural difference; those run by women presented a different dynamic. For example, Black women operated studios in Chicago, New Orleans, and elsewhere in the United States, where they not only preserved likenesses and memories, but also constructed a counter narrative to racist images then circulating in the mass media.

 

The City

The availability of smaller, lightweight cameras and the increasing freedom to move about cities on their own spurred a number of women photographers to explore the diversity of the urban experience beyond the studio walls. Using their creative vision to capture the vibrant modern world around them, women living and working in Bombay (now Mumbai), London, New York, Paris, São Paulo, Tokyo, and beyond photographed soaring architecture and spontaneous encounters on the street.

 

Avant-Garde Experiments

Creative formal approaches – photomontage, photograms, sharp contrasts of light and shadow, unconventional cropping, extreme close-ups, and dizzying camera angles – came to define photography during this period. Women incorporated these cutting-edge techniques to produce works that conveyed the movement and energy of modern life. Although often overshadowed by their male partners and colleagues, women photographers were integral in shaping an avant-garde visual language that promoted new ways of seeing and experiencing the world.

 

Modern Bodies

Beginning in the 1920s, new concepts concerning health and sexuality, along with changing attitudes about movement and dress, emphasised the human body as a central site of experiencing modernity. Women photographers produced incisive visions of liberated modern bodies, from pioneering photographs of the nude to exuberant pictures of sport and dance. Photographs of joyous play and gymnastic exercise, as well as images of dancers in motion, celebrate the body as artistic medium.

 

Ethnographic Approaches

During this modern period, numerous women pursued professional photographic careers and traveled extensively for the first time. Many took photographs that documented their experiences abroad in Africa, China, Afghanistan, and elsewhere, while others engaged in more formal ethnographic projects. Some women with access to domains that were off limits to their male counterparts produced intimate portraits of female subjects. While gender may have afforded these photographers special connections to certain communities, it did not exempt some, especially those from Europe and the United States, from producing stereotypical views that reinforced hierarchical concepts of race and ethnocentrism.

 

Fashion and Advertising

Images splashed across the pages of popular fashion and lifestyle magazines vividly defined the New Woman. The unprecedented demand for fashion and advertising photographs between the world wars provided exceptional employment opportunities for fashion reporters, models, and photographers alike, allowing women to emerge as active agents in the profession. Cultivating the tastes of newly empowered female consumers, fashion and advertising photography provided a space where women could experiment with pictures intended for a predominantly female readership.

 

Social Documentary

Galvanised by the effects of a global economic crisis and the growing political and social unrest that began in the 1930s, numerous women photographers produced arresting images of the human condition. Whether working for government agencies or independently, women contributed to the visual record of the Depression and the events leading up to World War II. From images of breadlines and worker demonstrations to forced migration and internment, women photographers helped to expose dire conditions and shaped what would become known as social documentary photography.

 

Reportage

The rise of the picture press established photojournalism as a dominant form of visual expression during a period shaped by two world wars. Women photographers conveyed an inclusive view of worldwide economic depression, struggles for decolonisation in Africa, and the rise of fascism and communism in Europe and the Soviet Union. They often received the “soft assignments” of photographing women and children, families, and the home front, but some women risked their lives close to the front lines. Images of concentration camps and victory parades made way for the complexities of the postwar era, as seen in pictures of daily life in US-occupied Japan and the newly formed People’s Republic of China.

The photographers whose works are in The New Woman Behind the Camera represent just some of the many women around the world who were at the forefront of experimenting with the camera. They produced invaluable visual testimony that reflected both their personal experiences and the extraordinary social and political transformations of the early 20th century. Together, they changed the history of modern photography.

Text from the National Gallery of Art website

 

Nobuko Tsuchiura (Japanese, 1900-1998) 'Untitled (A doll)' c. 1938

 

Nobuko Tsuchiura (Japanese, 1900-1998)
Untitled (A doll)
c. 1938
Gelatin silver print
Image: 21.8 x 14.3cm (8 9/16 x 5 5/8 in.)
Frame: 54.5 x 42.5cm (21 7/16 x 16 3/4 in.)
Frame (outer): 56.3 x 44.1 x 2cm (22 3/16 x 17 3/8 x 13/16 in.)
The Shoto Museum of Art, Tokyo

 

 

Nobuko Tsuchiura (1900-1998) was the first woman architect in Japan.

The wife of architect Kameki Tsuchiura, also an architect, she trained with Frank Lloyd Wright. The couple worked with Wright on the Imperial Hotel. They returned to the United States with Wright and worked for him for two years as draftsmen. After their return to Japan in 1929, they established their own architectural firm. Besides designing homes, the firm also experimented with furniture design. However, her work was always presented under her husband’s name, not her own. In 1937, she founded the Ladies’ Photo Club; at the time, photography was considered to be a more appropriate activity for women than architecture.

Text from the Wikipedia website

 

Sonya Noskowiak (American born Germany, 1900-1975) 'Ohne Titel' (Untitled) c. 1930

 

Sonya Noskowiak (American born Germany, 1900-1975)
Ohne Titel (Untitled)
c. 1930
Gelatin silver print
Image: 24.13 x 17.78cm (9 1/2 x 7 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Michael Mattis and Judith Hochberg

 

 

Sonya Noskowiak (25 November 1900 – 28 April 1975) was a 20th-century German-American photographer and member of the San Francisco photography collective Group f/64 that included Ansel Adams and Edward Weston. She is considered an important figure in one of the great photographic movements of the twewntieth century. Throughout her career, Noskowiak photographed landscapes, still lifes, and portraits. Her most well-known, though unacknowledged, portraits are of the author John Steinbeck. In 1936, Noskowiak was awarded a prize at the annual exhibition of the San Francisco Society of Women Artists. She was also represented in the San Francisco Museum of Art’s “Scenes from San Francisco” exhibit in 1939. Ten years before her death, Noskowiak’s work was included in a WPA exhibition at the Oakland Museum in Oakland, California.

Read a fuller biography on the Wikipedia website

 

Tazue Sato Matsunaga (Japanese) 'Door' 1938-1939

 

Tazue Sato Matsunaga (Japanese)
Door
1938-1939
Gelatin silver print
Image: 28.8 x 22.5cm (11 5/16 x 8 7/8 in.)
Frame: 54.4 x 42.3cm (21 7/16 x 16 5/8 in.)
Frame (outer): 56.3 x 44.1 x 2cm (22 3/16 x 17 3/8 x 13/16 in.)
The Shoto Museum of Art, Tokyo

 

Thérèse Bonney (American, 1894-1978) 'Europe's Children' 1943

 

Thérèse Bonney (American, 1894-1978)
Europe’s Children
1943
Bound volume
Open: 29.85 x 44.45cm (11 3/4 x 17 1/2 in.)
Closed: 29.85 x 22.23cm (11 3/4 x 8 3/4 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

 

Thérèse Bonney (born Mabel Bonney, Syracuse, New York, July 15, 1894 – Paris, France, January 15, 1978) was an American photographer and publicist. Bonney was best known for her images taken during World War II on the Russian-Finnish front. Her war effort earned her the decoration of the Croix de guerre in May 1941, and one of the five degrees the Légion d’honneur. She published several photo-essays, and was the subject of the 1944 True Comics issue “Photo-fighter”.

 

Career

Beginning in 1925, she thoroughly documented the French decorative arts through photography. At this time, most of the photographs were not taken by Bonney herself, but rather gathered from sources such as the collections of fellow photographers, photo agencies, architects, designers, stores, and various establishments. An ardent self-publicist, Bonney acquired the images directly from the Salon exhibitions, stores, manufacturers, architects, and designers of furniture, ceramics, jewellery, and other applied arts as well as architecture. She sold the photographic prints to various client-subscribers primarily in the U.S. (a small-effort precursor to today’s illustrated news agency) and charged fees for reproduction rights in a more traditional manner. She typed captions and glued them to the backs of the photographic prints. These photographs, sometimes garnered without permissions, were widely published – both with and without published credits.

She attended the 1930 “Stockholmsutstäliningen” (Stockholm Exhibition) and gathered photographs there. While in the Netherlands, she collected images of contemporary Dutch architecture.

After her decade-and-a-half activities in publicity and the photography of the decorative arts and architecture by others, Bonney took up photography herself and became a photojournalist. Her concerns with the ravages caused by World War II informed her images, which focused on civilians. Her early photographs focused at first on the individuals at the Russian-Finnish front. For her documentation of this demographic, she was granted the Order of the White Rose of Finland medal for bravery. She also traveled through western Europe during the war, taking photographs of children in dire conditions. A collection of the images were shown at The Museum of Modern Art in New York City in 1940 and later published in her 1943 book Europe’s Children. Other activities included serving with the Croix-rouge (French International Red Cross).

Text from the Wikipedia website

 

Tina Modotti (American born Italy, 1896-1942) 'Campesinos (Farm Labourers) or Workers Parade' 1926

 

Tina Modotti (American born Italy, 1896-1942)
Campesinos (Farm Labourers) or Workers Parade
1926
Gelatin silver print
Image: 21.43 x 18.57cm (8 7/16 x 7 5/16 in.)
Mat: 50.8 x 40.64cm (20 x 16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Daniel Greenberg and Susan Steinhauser

 

 

Tina Modotti (born Assunta Adelaide Luigia Modotti Mondini, August 16/17, 1896 – January 5, 1942) was an Italian American photographer, model, actor, and revolutionary political activist for the Comintern. She left Italy in 1913 and moved to the USA, where she worked as a model and subsequently as a photographer. In 1922 she moved to Mexico, where she became an active Communist. …

 

Photography career

As a young girl in Italy her uncle, Pietro Modotti, maintained a photography studio. Later in the U.S., her father briefly ran a similar studio in San Francisco. While in Los Angeles, she met the photographer Edward Weston and his creative partner Margrethe Mather. It was through her relationship with Weston that Modotti developed as an important fine art photographer and documentarian. By 1921, Modotti was Weston’s lover. Ricardo Gómez Robelo became the head of Mexico’s Ministry of Education’s Fine Arts Department, and persuaded Robo to come to Mexico with a promise of a job and a studio.

Robo left for Mexico in December 1921. Perhaps unaware of his affair with Modotti, Robo took with him prints of Weston’s, hoping to mount an exhibition of his and Weston’s work in Mexico. While she was on her way to be with Robo, Modotti received word of his death from smallpox on February 9, 1922. Devastated, she arrived two days after his death. In March 1922, determined to see Robo’s vision realised, she mounted a two-week exhibition of Robo’s and Weston’s work at the National Academy of Fine Arts in Mexico City. She sustained a second loss with the death of her father, which forced her to return to San Francisco later in March 1922. In 1923, Modotti returned to Mexico City with Weston and his son Chandler, leaving behind Weston’s wife Flora and their youngest three children. She agreed to run Weston’s studio free of charge in return for his mentoring her in photography.

Together they opened a portrait studio in Mexico City. Modotti and Weston quickly gravitated toward the capital’s bohemian scene and used their connections to create an expanding portrait business. Together they found a community of cultural and political “avant-gardists”, which included Frida Kahlo, Lupe Marín, Diego Rivera, and Jean Charlot. In general, Weston was moved by the landscape and folk art of Mexico to create abstract works, while Modotti was more captivated by the people of Mexico and blended this human interest with a modernist aesthetic. Modotti also became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera. Between 1924 and 1928, Modotti took hundreds of photographs of Rivera’s murals at the Secretariat of Public Education in Mexico City. Modotti’s visual vocabulary matured during this period, such as her formal experiments with architectural interiors, blooming flowers, urban landscapes, and especially in her many beautiful images of peasants and workers during the depression. In 1926, Modotti and Weston were commissioned by Anita Brenner to travel around Mexico and take photographs for what would become her influential book Idols Behind Altars. The relative contributions of Modotti and Weston to the project has been debated. Weston’s son Brett, who accompanied the two on the project, indicated that the photographs were taken by Edward Weston.

In 1925, Modotti joined International Red Aid, a Communist organisation. In November 1926, Weston left Mexico and returned to California. During this time Modotti met several political radicals and Communists, including three Mexican Communist Party leaders who would all eventually become romantically linked with her: Xavier Guerrero, Julio Antonio Mella, and Vittorio Vidali.

Starting in 1927, a much more politically active Modotti (she joined the Mexican Communist Party that year) found her focus shifting and more of her work becoming politically motivated. Around that time her photographs began appearing in publications such as Mexican Folkways, Forma, and the more radically motivated El Machete, the German Communist Party’s Arbeiter-Illustrierte-Zeitung (AIZ), and New Masses.

Mexican photographer Manuel Álvarez Bravo divided Modotti’s career as a photographer into two distinct categories: “Romantic” and “Revolutionary”, with the former period including her time spent as Weston’s darkroom assistant, office manager and, finally, creative partner. Her later works were the focus of her one-woman retrospective exhibition at the National Library in December 1929, which was advertised as “The First Revolutionary Photographic Exhibition In Mexico”.

Read a fuller biography on the Wikipedia website

 

Toni Frissell (American, 1907-1988) 'Untitled (Model Natalie Nickerson Paine wearing a bikini, Montego Bay, Jamaica)' 1946

 

Toni Frissell (American, 1907-1988)
Untitled (Model Natalie Nickerson Paine wearing a bikini, Montego Bay, Jamaica)
1946
Gelatin silver print
Sheet: 27.2 x 26cm (10 11/16 x 10 1/4 in.)
Mat: 50.8 x 40.64cm (20 x 16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Toni Frissell Collection, Prints and Photographs Division, Library of Congress, Washington, D.C.

 

 

Antoinette Frissell Bacon (March 10, 1907 – April 17, 1988), known as Toni Frissell, was an American photographer, known for her fashion photography, World War II photographs, and portraits of famous Americans, Europeans, children, and women from all walks of life. …

 

World War II

In 1941, Frissell volunteered her photographic services to the American Red Cross. Later she worked for the Eighth Army Air Force and became the official photographer of the Women’s Army Corps. On their behalf, she took thousands of images of nurses, front-line soldiers, WACs, African-American airmen, and orphaned children.

She travelled to the European front twice. Her first picture to be published in Life magazine was of bombed out London in 1942. Her moving photographs of military women and African American fighter pilots in the elite 332d Fighter Group (the “Tuskegee Airmen”) were used to encourage public support for women and African Americans in the military.

During the War she produced a series of photographs of children that were used in an edition of Robert Louis Stevenson’s much-published A child’s garden of verses which were an early example of the successful use of photography in illustration of children’s literature.

Read a fuller biography on the Wikipedia website

 

Toni Frissell (American, 1907-1988) 'Untitled (William A. Campbell and Thurston L. Gaines, Jr., members of the 332nd Fighter Group in Ramitelli, Italy, March 1945)' 1945

 

Toni Frissell (American, 1907-1988)
Untitled (William A. Campbell and Thurston L. Gaines, Jr., members of the 332nd Fighter Group in Ramitelli, Italy, March 1945)
1945
Gelatin silver print
Sheet: 35.5 x 28.4cm (14 x 11 3/16 in.)
Mat: 50.8 x 40.64cm (20 x 16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Toni Frissell Collection, Prints and Photographs Division, Library of Congress, Washington, D.C.

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Daily 10am – 5pm

National Gallery of Art website

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10
Dec
21

Season’s greetings from Art Blart 2021

December 2021

 

Unknown photographer (Australian) 'Untitled (With Best Wishes for a Happy Christmas and a Bright New Year)' c. 1900

 

Unknown photographer (Australian)
Untitled (With Best Wishes for a Happy Christmas and a Bright New Year)
c. 1900
Cabinet card

 

 

Season’s Greetings from Art Blart

Thank you to all Art Blart readers for their support in 2021!

Marcus

 

 

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04
Dec
21

Exhibition: ‘The New Woman Behind the Camera’ at the National Gallery of Art, Washington Part 1

Exhibition dates: 31st October, 2021 – 30th January, 2022

Curator: The exhibition is curated by Andrea Nelson, associate curator in the department of photographs, National Gallery of Art, Washington.

 

 

Marvin Breckinridge Patterson (American, 1905-2002) 'Frontier Nursing Service, Kentucky' 1937

 

Marvin Breckinridge Patterson (American, 1905-2002)
Frontier Nursing Service, Kentucky
1937
Gelatin silver print
Sheet (trimmed to image): 24.2 x 18.8cm (9 1/2 x 7 3/8 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Gift of Marvin Breckinridge Patterson

 

 

The first of a humungous three-part posting on this archaeological exhibition.

Combined with the posting I did on this exhibition when it was on view at The Metropolitan Museum of Art, this three-part posting will include over 160 new images from the exhibition… meaning a combined total over the four postings of over 200 images with biographical information.

This has been a mammoth effort to construct these postings but so worthwhile!

I will make comment on the exhibition in part 3 of the posting.

Dr Marcus Bunyan

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

 

 

Helen Levitt (American, 1913-2009) 'New York' c. 1942

 

Helen Levitt (American, 1913-2009)
New York
c. 1942
Gelatin silver print
Sheet (trimmed to image): 18.6 x 24.8cm (7 5/16 x 9 3/4 in.)
Frame: 35.56 x 45.72cm (14 x 18 in.)
Frame (outer): 38.1 x 48.26cm (15 x 19 in.)
National Gallery of Art, Washington, Gift of William H. Levitt
© Helen Levitt Film Documents LLC. All rights reserved
Courtesy of Thomas Zander Gallery

 

Renata Bracksieck (German, 1900-1992) 'Karnevalslichter' (Carnival Lights) 1920s-1930s

 

Renata Bracksieck (German, 1900-1992)
Karnevalslichter (Carnival Lights)
1920s-1930s
Gelatin silver print sheet (trimmed to image): 23.8 x 17.8cm (9 3/8 x 7 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 55.25 x 45.09cm (21 3/4 x 17 3/4 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

Renata Bracksieck (German, 1900-1992) was trained as a fashion designer at Christoph Drecoll’s in Berlin, and afterwards ran her own successful fashion studio in Bremen. She started taking photographs in 1929, but had been experimenting with and assisting her close friend and future husband Werner Rohde before. Her photographs were featured in the international exhibition Das Lichtbild in Munich in 1930. In 1937 she married Werner Rohde and subsequently was called Renata Bracksieck-Rohde. After he returned from a POW camp in 1945, they moved to the artist colony Worpswede near the city of Bremen, where they continued to live until their deaths.

Text from the Kicken Berlin website

 

Lotte Jacobi (American, 1896-1990) 'Lieselotte Felger, die Wespentaille in dem Tanz, der Kreisel, Berlin' (Lieselotte Felger as "Die Wespentaille" in the Dance "Der Kreisel," Berlin) 1931

 

Lotte Jacobi (American, 1896-1990)
Lieselotte Felger, die Wespentaille in dem Tanz, der Kreisel, Berlin (Lieselotte Felger as “Die Wespentaille” in the Dance “Der Kreisel,” Berlin)
1931
Gelatin silver print sheet (trimmed to image): 25.2 x 20.2cm (9 15/16 x 7 15/16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

Lotte Jacobi (August 17, 1896 – May 6, 1990) was a leading American portrait photographer and photojournalist, known for her high-contrast black-and-white portrait photography, characterised by intimate, sometimes dramatic, sometimes idiosyncratic and often definitive humanist depictions of both ordinary people in the United States and Europe and some of the most important artists, thinkers and activists of the 20th century.

Read a fuller biography on the Wikipedia website

 

Yva (Else Ernestine Neuländer-Simon) (German, 1900-1944) 'Ohne Titel (Schmuck)' (Untitled (Jewellery)) c. 1930

 

Yva (Else Ernestine Neuländer-Simon) (German, 1900-1944)
Ohne Titel (Schmuck) (Untitled (Jewellery))
c. 1930
Gelatin silver print
Image/sheet: 22.7 x 16.2 cm (8 15/16 x 6 3/8 in.)
Frame: 45.72 x 35.56 cm (18 x 14 in.)
Frame (outer): 50.17 x 40.01 cm (19 3/4 x 15 3/4 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

Yva (26 January 1900 – 31 December 1944) was the professional pseudonym of Else Ernestine Neuländer-Simon who was a German Jewish photographer renowned for her dreamlike, multiple exposed images. She became a leading photographer in Berlin during the Weimar Republic.

When the Nazi Party came to power, she was forced into working as a radiographer. She was deported by the Gestapo in 1942 and murdered, probably in the Majdanek concentration camp during World War II.

Read a fuller biography on the Wikipedia website

 

Yva (Else Ernestine Neuländer-Simon) (German, 1900-1944) 'Ohne Titel (Schmuck)' (Untitled (Jewellery)) c. 1930

 

Yva (Else Ernestine Neuländer-Simon) (German, 1900-1944)
Ohne Titel (Schmuck) (Untitled (Jewellery))
c. 1930
Gelatin silver print
Image: 19.05 x 15.24cm (7 1/2 x 6 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 50.17 x 40.01cm (19 3/4 x 15 3/4 in.)
National Gallery of Art, Washington, Corcoran Collection
Gift of the Women’s Committee of the Corcoran Gallery of Art, Brenda and Robert Edelson Collection

 

Ilse Bing (German, 1899-1998) 'Study for "Salut de Schiaparelli" (Lily Perfume), Paris' 1934

 

Ilse Bing (German, 1899-1998)
Study for “Salut de Schiaparelli” (Lily Perfume), Paris
1934
Gelatin silver print
Overall: 28.2 x 22.3cm (11 1/8 x 8 3/4 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Gift of Ilse Bing Wolff

 

 

During the 1920s, the iconic New Woman was splashed across the pages of magazines and projected on the silver screen. As a global phenomenon, she embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Featuring more than 120 photographers from over 20 countries, the groundbreaking exhibition, The New Woman Behind the Camera, explores the diverse “new” women who embraced photography as a mode of professional and personal expression from the 1920s to the 1950s. The first exhibition to take an international approach to the subject, it examines how women brought their own perspectives to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography, and photojournalism, profoundly shaping the medium during a time of tremendous social and political change. Accompanied by a fully illustrated catalogue, this landmark exhibition will be on view from October 31, 2021 through January 30, 2022, in the West Building of the National Gallery of Art, Washington. It was previously on view at The Metropolitan Museum of Art, New York, from July 2 through October 3, 2021.

In an era when traditional definitions of womanhood were being questioned, women’s lives were a mix of emancipating and confining experiences that varied by country. Many women around the world found the camera to be a means of independence as they sought to redefine their positions in society and expand their rights. This exhibition presents a geographically, culturally, and artistically diverse range of practitioners to advance new conversations about the history of modern photography and the continual struggle of women to gain creative agency and self-representation.

“This innovative exhibition reevaluates the history of modern photography through the lens of the New Woman, a feminist ideal that emerged at the end of the 19th century and spread globally during the first half of the 20th century,” said Kaywin Feldman, director, National Gallery of Art. “The transnational realities of modernism visualised in photography by women such as Lola Álvarez Bravo, Berenice Abbott, Claude Cahun, Germaine Krull, Dorothea Lange, Niu Weiyu, Tsuneko Sasamoto, and Homai Vyarawalla offer us an opportunity to better understand the present by becoming more fully informed of the past.”

 

About the exhibition

This landmark exhibition critically examines the extraordinary impact women had on the practice of photography worldwide from the 1920s to the 1950s. It presents the work of over 120 international photographers who took part in a dramatic expansion of the medium propelled by artistic creativity, technological innovation, and the rise of the printed press. Photographers such as Berenice Abbott, Ilse Bing, Lola Álvarez Bravo, Madame d’Ora, Florence Henri, Elizaveta Ignatovich, Germaine Krull, Dorothea Lange, Dora Maar, Niu Weiyu, Eslanda Goode Robeson, Tsuneko Sasamoto, Gerda Taro, and Homai Vyarawalla, among many others, emerged at a tumultuous moment in history that was profoundly shaped by two world wars, a global economic depression, struggles for decolonisation, and the rise of fascism and communism. Against the odds, these women were at the forefront of experimentation with the camera and produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era.

Organised thematically in eight galleries, The New Woman Behind the Camera illustrates women’s groundbreaking work in modern photography, exploring their innovations in the fields of social documentary, avant-garde experimentation, commercial studio practice, photojournalism, ethnography, and the recording of sports, dance, and fashion. By evoking the global phenomenon of the New Woman, the exhibition seeks to reevaluate the history of photography and advance new and more inclusive conversations on the contributions of female photographers.

Known by different names, from nouvelle femme and neue Frau to modan gāru and xin nüxing, the New Woman was easy to recognise but hard to define. Fashionably dressed with her hair bobbed, the self-assured cosmopolitan New Woman was arguably more than a marketable image. She was a contested symbol of liberation from traditional gender roles. Revealing how women photographers from around the world gave rise to and embodied the quintessential New Woman even as they critiqued the popular construction of the role, the exhibition opens with a group of compelling portraits and self-portraits. In these works, women defined their positions as professionals and artists during a time when they were seeking greater personal rights and freedoms.

For many women, the camera became an effective tool for self-determination as well as a source of income. With better access to education and a newfound independence, female photographers emerged as a major force in studio photography. From running successful businesses in Berlin, Buenos Aires, London, and Vienna, to earning recognition as one of the first professional female photographers in their home country, women around the world, including Karimeh Abbud, Steffi Brandl, Trude Fleischmann, Annemarie Heinrich, Eiko Yamazawa, and Madame Yevonde, reinvigorated studio practice. A collaborative space where both sitters and photographers negotiated gender, race, and cultural difference, the portrait studio was also vitally important to African American communities which sought to represent and define themselves within a society that continued to be plagued by racism. Photography studios run by Black women, such as Florestine Perrault Collins and Winifred Hall Allen, thrived throughout the United States, and not only preserved likenesses and memories, but also constructed a counter narrative to the stereotyping images that circulated in the mass media.

With the invention of smaller lightweight cameras, a growing number of women photographers found that the camera’s portability created new avenues of discovery outside the studio. In stunning photographs of the city, photographers such as Alice Brill, Rebecca Lepkoff, Helen Levitt, Lisette Model, Genevieve Naylor, and Tazue Satō Matsunaga used their artistic vision to capture the exhilarating modern world around them. They depicted everyday life, spontaneous encounters on the street, and soaring architectural views in places like Bombay (now Mumbai), New York, Paris, São Paulo, and Tokyo, revealing the multiplicity of urban experience. Many incorporated the newest photographic techniques to convey the energy of the city, and the exhibition continues with a gallery focused on those radical formal approaches that came to define modern photography. Through techniques like photomontage, photograms, sharp contrasts of light and shadow, extreme cropping, and dizzying camera angles, women including Aenne Biermann, Imogen Cunningham, Dora Maar, Tina Modotti, Lucia Moholy, and Cami Stone pushed the boundaries of the medium.

Women also produced dynamic pictures of the modern body, including innovative nude studies as well as sport and dance photography. Around the world, participation in spectator and team sports increased along with membership in fitness and hygiene reform movements. New concepts concerning health and sexuality along with new attitudes in movement and dress emphasised the body as a central site of experiencing modernity. On view are luminous works by photographers Laure Albin Guillot, Yvonne Chevalier, Florence Henri, and Jeanne Mandello who reimagined the traditional genre of the nude. Photographs by Irene Bayer-Hecht and Liselotte Grschebina highlight joyous play and gymnastic exercise, while Charlotte Rudolph, Ilse Bing, Trude Fleischmann, and Lotte Jacobi made breathtaking images of dancers in motion, revealing the body as artistic medium.

During the modern period, a growing number of women pursued professional photographic careers and traveled widely for the first time. Many took photographs that documented their experiences abroad and interactions with other cultures as they engaged in formal and informal ethnographic projects. The exhibition continues with a selection of photographs and photobooks by women, mainly from Europe and the United States, that reveal a diversity of perspectives and approaches. Gender provided some of these photographers with unusual access and the drive to challenge discriminatory practices, while others were not exempt from portraying stereotypical views. Publications by Jette Bang, Hélène Hoppenot, Ella Maillart, Anna Riwkin, Eslanda Goode Robeson, and Ellen Thorbecke exemplify how photographically illustrated books and magazines were an influential form of communication about travel and ethnography during the modern period. Other works on display include those by Denise Bellon and Ré Soupault, who traveled to foreign countries on assignment for magazines and photo agencies seeking ethnographic and newsworthy photographs, and those by Marjorie Content and Laura Gilpin, who worked on their own in the southwestern United States.

The New Woman – both as a mass-circulating image and as a social phenomenon – was confirmed by the explosion of photographs found in popular fashion and lifestyle magazines. Fashion and advertising photography allowed many women to gain unprecedented access to the public sphere, establish relative economic independence, and attain autonomous professional success. Producing a rich visual language where events and ideas were expressed directly in pictures, illustrated fashion magazines such as Die DameHarper’s Bazaar, and Vogue became an important venue for photographic experimentation by women for a female readership. Photographers producing original views of women’s modernity include Lillian Bassman, Ilse Bing, Louise Dahl-Wolfe, Toni Frissell, Toni von Horn, Frances McLaughlin-Gill, ringl + pit, Margaret Watkins, Caroline Whiting Fellows, and Yva.

The rise of the picture press also established photojournalism and social documentary as dominant forms of visual expression during the modern period. Ignited by the effects of a global economic crisis and growing political and social unrest, numerous women photographers including Lucy Ashjian, Margaret Bourke-White, Kati Horna, Elizaveta Ignatovich, Kata Kálmán, Dorothea Lange, and Hansel Mieth engaged a wide public with gripping images. So-called soft topics such as “women and children,” “the family,” and “the home front” were more often assigned to female photojournalists than to their male counterparts. The exhibition asks viewers to question the effect of having women behind the camera in these settings. Pictures produced during the war, from combat photography by Galina Sanko and Gerda Taro to images of the Blitz in London by Thérèse Bonney and the Tuskegee airmen by Toni Frissell, are also featured. At the war’s end, haunting images by Lee Miller of the opening of Nazi concentration camps and celebratory images of the victory parade of Allied Forces in New Delhi by Homai Vyarawalla made way for the transition to the complexities of the postwar era, including images of daily life in US-occupied Japan by Tsuneko Sasamoto and the newly formed People’s Republic of China by Hou Bo and Niu Weiyu.

The New Woman Behind the Camera acknowledges that women are a diverse group whose identities are defined not exclusively by gender but rather by a host of variable factors. It contends that gender is an important aspect in understanding their lives and work and provides a useful framework for analysis to reveal how photography by women has powerfully shaped our understanding of modern life.

 

Exhibition catalog

Published by the National Gallery of Art, Washington and distributed by DelMonico Books | D.A.P., this groundbreaking, richly illustrated 288-page catalog examines the diverse women whose work profoundly marked the medium of photography from the 1920s to the 1950s. The book – featuring over 120 international photographers, including Lola Álvarez Bravo, Elizaveta Ignatovich, Germaine Krull, Dorothea Lange, Tsuneko Sasamoto, and Homai Vyarawalla – reevaluates the history of modern photography through the lens of the iconic New Woman. Inclusive scholarly essays introduce readers to these important photographers and question the past assumptions about gender in the history of photography. Contributors include Andrea Nelson, associate curator in the department of photographs, National Gallery of Art; Elizabeth Cronin, assistant curator of photography in the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library; Mia Fineman, curator in the department of photographs, Metropolitan Museum of Art; Mila Ganeva, professor of German in the department of German, Russian, Asian, and Middle Eastern languages and cultures, Miami University, Ohio; Kristen Gresh, Estrellita and Yousuf Karsh Senior Curator of Photographs, Museum of Fine Arts, Boston; Elizabeth Otto, professor of modern and  contemporary art history, University at Buffalo (The State University of New York); and Kim Sichel, associate professor in the department of the history of art and architecture at Boston University; biographies of the photographers by Kara Felt, Andrew W. Mellon postdoctoral fellow in the department of photographs, National Gallery of Art.

Press release from the National Gallery of Art

 

Olga Máté (Hungarian, 1878-1961) 'Horgász-stég' (Fisherman's Dock) c. 1930

 

Olga Máté (Hungarian, 1878-1961)
Horgász-stég (Fisherman’s Dock)
c. 1930
Gelatin silver print
Overall: 22.38 x 17.46cm (8 13/16 x 6 7/8 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1cm (19 x 15 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

Olga Máté (1878-1961) was one of the first women Hungarian photographers, most known for her portraits. She was known for her lighting techniques and used lighted backgrounds to enhance her portraits and still life compositions. In 1912 she won a gold medal in Stuttgart at an international photography exhibit. Perhaps her best-known images are portraits she took of Mihály Babits and Margit Kaffka. She was also an early suffragist in Hungary and during the Hungarian White Terror assisted several intellectuals in their escapes.

Read a fuller biography on the Wikipedia website

 

Kata Kálmán (Hungarian, 1909-1978) 'Weisz Ernö 23 éves gyári munkás, Budapest' (Ernö Weisz, 23-Year-Old Factory Worker, Budapest) 1932, printed before 1955

 

Kata Kálmán (Hungarian, 1909-1978)
Weisz Ernö 23 éves gyári munkás, Budapest (Ernö Weisz, 23-Year-Old Factory Worker, Budapest)
1932, printed before 1955
Gelatin silver print image: 24.2 x 17.6cm (9 1/2 x 6 15/16 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1cm (19 x 15 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

Marianne Brandt (German, 1893-1983) 'Ohne Titel' (Untitled) 1930

 

Marianne Brandt (German, 1893-1983)
Ohne Titel (Untitled)
1930
Photomontage on paper
Overall: 65 x 50.1cm (25 9/16 x 19 3/4 in.)
Frame: 89.22 x 73.98 x 4.13cm (35 1/8 x 29 1/8 x 1 5/8 in.)
National Gallery of Art, Washington, Gift of Pepita Milmore Memorial Fund, R. K. Mellon Family Foundation, and Thomas Walther

 

 

Marianne Brandt (1 October 1893 – 18 June 1983) was a German painter, sculptor, photographer, metalsmith, and designer who studied at the Bauhaus art school in Weimar and later became head of the Bauhaus Metall-Werkstatt (Metal Workshop) in Dessau in 1927. Today, Brandt’s designs for household objects such as lamps, ashtrays and teapots are considered timeless examples of modern industrial design. She also created photomontages. …

Brandt is also remembered as a pioneering photographer. She created experimental still-life compositions, but it is her series of self-portraits which are particularly striking. These often represent her as a strong and independent New Woman of the Bauhaus; other examples show her face and body distorted across the curved and mirrored surfaces of metal balls, creating a blended image of herself and her primary medium at the Bauhaus. Brandt was one of few women at Bauhaus who distanced herself from the fields considered more feminine at the time such as weaving or pottery.

Read a fuller biography on the Wikipedia website

 

Rosalie Gwathmey (American, 1908-2001) 'Tobacco Picker, Rocky Mount, North Carolina' 1943

 

Rosalie Gwathmey (American, 1908-2001)
Tobacco Picker, Rocky Mount, North Carolina
1943
Gelatin silver print
Image: 25.56 x 34.13cm (10 1/16 x 13 7/16 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 43.18 x 53.34cm (17 x 21 in.)
National Gallery of Art, Washington, Gift of Mary and Dan Solomon and Patrons’ Permanent Fund

 

 

Rosalie Gwathmey or Rosalie Hook (September 15, 1908 – February 12, 2001) was an American painter and photographer known for her photos of black southern communities around her hometown of Charlotte, North Carolina. …

Her photography was known for capturing the lives of residents of Southern African American communities. She focused on black life in her home of Charlotte and Rocky Mount, North Carolina. She photographed many of the black sharecroppers and southern townscapes that became the basis of her husband’s paintings. While Rosalie’s social documentary photographs offer no stylistic revolution, her life and art reflect significant issues relating to politics and race relations in the United States during the 1940s. While in the Photo League, she worked with many radical photographers of the era: Paul Strand, Aaron Siskind, Sid Grossman, Dorothea Lange, Bernice Abbott, Lizette Modell, Walter Rosenblum, Dan Weiner, and Lou Stettner.

Text from the Wikipedia website

 

Marjorie Content (American, 1895-1984) 'Adam Trujillo and His Son Pat, Taos' Summer 1933

 

Marjorie Content (American, 1895-1984)
Adam Trujillo and His Son Pat, Taos
Summer 1933
Gelatin silver print
Image: 11.5 x 14.2cm (4 1/2 x 5 9/16 in.)
Frame: 35.56 x 45.72cm (14 x 18 in.)
Frame (outer): 38.1 x 48.26cm (15 x 19 in.)
National Gallery of Art, Washington, Purchased as the Gift of the Gallery Girls
© Estate of Marjorie Content

 

 

Marjorie Content (1895-1984) was an American photographer from New York City active in modernist social and artistic circles. Her photographs were rarely published and never exhibited in her lifetime. Since the late 20th century, collectors and art historians have taken renewed interest in her work. Her photographs have been collected by the Metropolitan Museum of Art and the Chrysler Museum of Art; her work has been the subject of several solo exhibitions.

She was married several times, including for a short period to Harold Loeb, a writer and the editor of the avant-garde journal, Broom. Her marriage to writer Jean Toomer in 1934 lasted more than 30 years, to his death. …

 

Photographic years (1926-1935)

Content began serious photography while married to her second husband, the painter Michael Carr. She used a 3+1⁄4 × 4+1⁄4 inch Graflex, and, after 1932, a 5×7 inch Graflex as well. Despite reports that Stieglitz taught her developing techniques, some scholars believe it was her friend Consuelo Kanaga. Content sometimes worked in Kanaga’s darkroom.

Her travels in the West and Southwest with painter Gordon Grant influenced her style toward a more formalist aesthetic. She briefly worked for the Bureau of Indian Affairs photographing rural Native American life. She married a third time, to Leon Fleischman.

In the 1930s Content was also close to painter Georgia O’Keeffe. In 1933 she traveled with her to Bermuda to nurse her through a depression. The following year, she drove with her to New Mexico, where O’Keefe had settled. Other close friends of this period included Stieglitz, Ridge, Sherwood Anderson, Paul Rosenfeld, and Margaret Naumburg, at whose Walden School in New York City both of her children were educated.

Read a fuller biography on the Wikipedia website

 

Madame d'Ora (Austrian, 1881-1963) 'Mariette Pachhofer (later Mariette Lydis)' 1921

 

Madame d’Ora (Austrian, 1881-1963)
Mariette Pachhofer (later Mariette Lydis)
1921
Gelatin silver print image: 21.9 x 13.9cm (8 5/8 x 5 1/2 in.)
Mount: 38.7 x 26.4cm (15 1/4 x 10 3/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 44.45 x 54.61cm (17 1/2 x 21 1/2 in.)
National Gallery of Art, Washington, Robert B. Menschel and the Vital Projects Fund and the R. K. Mellon Family Foundation

 

 

Dora Philippine Kallmus (20 March 1881 – 28 October 1963), also known as Madame D’Ora or Madame d’Ora, was an Austrian fashion and portrait photographer.

Dora Philippine Kallmus was born in Vienna, Austria, in 1881 to a Jewish family. Her father was a lawyer. Her sister, Anna, was born in 1878 and deported in 1941 during the Holocaust. Although her mother, Malvine (née Sonnenberg), died when she was young, her family remained an important source of emotional and financial support throughout her career.

She became interested in the photography field while assisting the son of the painter Hans Makart, and in 1905 she was the first woman to be admitted to theory courses at the Graphische Lehr- und Versuchsanstalt (Graphic Training Institute). That same year she became a member of the Association of Austrian photographers. At that time she was also the first woman allowed to study theory at the Graphischen Lehr- und Versuchsanstalt, which in 1908 granted women access to other courses in photography.

In 1907, she established her own studio with Arthur Benda in Vienna called the Atelier d’Ora or Madame D’Ora-Benda. The name was based on the pseudonym “Madame d’Ora”, which she used professionally. D’ora and Benda operated a summer studio from 1921 to 1926 in Karlsbad, Germany, and opened another gallery in Paris in 1925. She was represented by Schostal Photo Agency (Agentur Schostal) and it was her intervention that saved the agency’s owner after his arrest by the Nazis, enabling him to flee to Paris from Vienna.

Her subjects included Josephine Baker, Coco Chanel, Tamara de Lempicka, Alban Berg, Maurice Chevalier, Colette, and other dancers, actors, painters, and writers.

Text from the Wikipedia website

 

Alma Lavenson (American, 1897-1989) 'Self-Portrait' 1932

 

Alma Lavenson (American, 1897-1989)
Self-Portrait
1932
Gelatin silver print
Image: 17.9 x 24.5cm (7 1/16 x 9 5/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 43.18 x 53.34cm (17 x 21 in.)
National Gallery of Art, Washington, Robert B. Menschel and the Vital Projects Fund, Diana and Mallory Walker Fund, New Century Fund, and the Eugene L. and Marie-Louise Garbáty Fund
© Alma Lavenson Archives, All Rights Reserved, 2020
Courtesy Susan Ehrens

 

 

Alma Ruth Lavenson (May 20, 1897, in San Francisco – September 19, 1989 in Piedmont, California) was an American photographer of the early 20th century. She worked with and was a close friend of Ansel Adams, Imogen Cunningham, Edward Weston and other photographic masters of the period.

 

Rogi André (French born Hungary, 1900-1970) 'Dora Maar' 1941

 

Rogi André (French born Hungary, 1900-1970)
Dora Maar
1941
Gelatin silver print
Image: 17 x 11.9cm (6 11/16 x 4 11/16 in.)
Mount: 28 x 20cm (11 x 7 7/8 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
rame (outer): 49.53 x 39.37cm (19 1/2 x 15 1/2 in.)
National Gallery of Art, Washington, Robert B. Menschel and the Vital Projects Fund

 

 

Rogi André (born Rozsa Klein, 10 August 1900, Budapest – 11 April 1970, Paris) was a Hungarian-born French photographer and artist. She was the first wife of André Kertész. …

In 1935, the photographer and theoretician of photography Emmanuel Sougez, writing in the journal Arts et Métiers Graphique compared the photography of Rogi André and that of Laure Albin Guillot, and criticised the former for posing her subjects in their environment. Some critics have noted in her portraits an influence of Cubism, for example in the portrait of Dora Maar (c. 1940) in which she creates a geometric composition using the play of shadows and lights.

What a life she had!

Read a fuller biography on the Wikipedia website

 

Anna Barna (Hungarian, 1901-1964) 'Leskelodo' (Onlooker) 1930s

 

Anna Barna (Hungarian, 1901-1964)
Leskelodo (Onlooker)
1930s
Gelatin silver print
Image: 22.6 x 16.9cm (8 7/8 x 6 5/8 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1cm (19 x 15 in.)
National Gallery of Art, Washington, Robert B. Menschel and the Vital Projects Fund

 

 

Behind the Camera

Women actively participated in the development of photography soon after its inception in the 19th century. Yet it was in the 1920s, after the seismic disruptions of World War I, that women entered the field of photography in force. Aided by advances in technology and mass communications, along with growing access to training and acceptance of their presence in the workplace, women around the world made an indelible mark on the growth and diversification of the medium. They brought innovation to a range of photographic disciplines, from avant-garde experimentation and commercial studio practice to social documentary, photojournalism, ethnography, and the recording of sports, dance, and fashion.

 

The New Woman

A global phenomenon, the New Woman of the 1920s embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Her image – a woman with bobbed hair, stylish dress, and a confident stride – was a staple of newspapers and magazines first in Europe and the United States and soon in China, Japan, India, Australia, and elsewhere. A symbol of the pursuit of liberation from traditional gender roles, the New Woman in her many guises represented women who faced a mix of opportunities and obstacles that varied from country to country. The camera became a powerful means for female photographers to assert their self-determination and redefine their position in society. Producing compelling portraits, including self-portraits featuring the artist with her camera, they established their roles as professionals and artists.

 

The Studio

Commercial studio photography was an important pathway for many women to forge a professional career and to earn their own income. Running successful businesses in small towns and major cities from Buenos Aires to Berlin and Istanbul, women reinvigorated the genre of portraiture. In the studio, both sitters and photographers navigated gender, race, and cultural difference; those run by women presented a different dynamic. For example, Black women operated studios in Chicago, New Orleans, and elsewhere in the United States, where they not only preserved likenesses and memories, but also constructed a counter narrative to racist images then circulating in the mass media.

 

The City

The availability of smaller, lightweight cameras and the increasing freedom to move about cities on their own spurred a number of women photographers to explore the diversity of the urban experience beyond the studio walls. Using their creative vision to capture the vibrant modern world around them, women living and working in Bombay (now Mumbai), London, New York, Paris, São Paulo, Tokyo, and beyond photographed soaring architecture and spontaneous encounters on the street.

 

Avant-Garde Experiments

Creative formal approaches – photomontage, photograms, sharp contrasts of light and shadow, unconventional cropping, extreme close-ups, and dizzying camera angles – came to define photography during this period. Women incorporated these cutting-edge techniques to produce works that conveyed the movement and energy of modern life. Although often overshadowed by their male partners and colleagues, women photographers were integral in shaping an avant-garde visual language that promoted new ways of seeing and experiencing the world.

 

Modern Bodies

Beginning in the 1920s, new concepts concerning health and sexuality, along with changing attitudes about movement and dress, emphasised the human body as a central site of experiencing modernity. Women photographers produced incisive visions of liberated modern bodies, from pioneering photographs of the nude to exuberant pictures of sport and dance. Photographs of joyous play and gymnastic exercise, as well as images of dancers in motion, celebrate the body as artistic medium.

 

Ethnographic Approaches

During this modern period, numerous women pursued professional photographic careers and traveled extensively for the first time. Many took photographs that documented their experiences abroad in Africa, China, Afghanistan, and elsewhere, while others engaged in more formal ethnographic projects. Some women with access to domains that were off limits to their male counterparts produced intimate portraits of female subjects. While gender may have afforded these photographers special connections to certain communities, it did not exempt some, especially those from Europe and the United States, from producing stereotypical views that reinforced hierarchical concepts of race and ethnocentrism.

 

Fashion and Advertising

Images splashed across the pages of popular fashion and lifestyle magazines vividly defined the New Woman. The unprecedented demand for fashion and advertising photographs between the world wars provided exceptional employment opportunities for fashion reporters, models, and photographers alike, allowing women to emerge as active agents in the profession. Cultivating the tastes of newly empowered female consumers, fashion and advertising photography provided a space where women could experiment with pictures intended for a predominantly female readership.

 

Social Documentary

Galvanised by the effects of a global economic crisis and the growing political and social unrest that began in the 1930s, numerous women photographers produced arresting images of the human condition. Whether working for government agencies or independently, women contributed to the visual record of the Depression and the events leading up to World War II. From images of breadlines and worker demonstrations to forced migration and internment, women photographers helped to expose dire conditions and shaped what would become known as social documentary photography.

 

Reportage

The rise of the picture press established photojournalism as a dominant form of visual expression during a period shaped by two world wars. Women photographers conveyed an inclusive view of worldwide economic depression, struggles for decolonisation in Africa, and the rise of fascism and communism in Europe and the Soviet Union. They often received the “soft assignments” of photographing women and children, families, and the home front, but some women risked their lives close to the front lines. Images of concentration camps and victory parades made way for the complexities of the postwar era, as seen in pictures of daily life in US-occupied Japan and the newly formed People’s Republic of China.

 

The photographers whose works are in The New Woman Behind the Camera represent just some of the many women around the world who were at the forefront of experimenting with the camera. They produced invaluable visual testimony that reflected both their personal experiences and the extraordinary social and political transformations of the early 20th century. Together, they changed the history of modern photography.

Text from the National Gallery of Art website

 

Constance Stuart Larrabee (English, 1914-2000) 'Johannesburg Social Center, South Africa' 1948, printed later

 

Constance Stuart Larrabee (English, 1914-2000)
Johannesburg Social Center, South Africa
1948, printed later
Gelatin silver print
Sheet: 50.8 x 40.48cm (20 x 15 15/16 in.)
Image: 43.18 x 37.94cm (17 x 14 15/16 in.)
Frame: 60.96 x 50.8cm (24 x 20 in.)
Frame (outer): 62.23 x 52.07cm (24 1/2 x 20 1/2 in.)
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase)

 

 

Constance Stuart Larrabee (7 August 1914 – 27 July 2000) was an English photographer best known for her images of South Africa and her photo-journalism on Europe during World War II. She was South Africa’s first female war correspondent. …

 

Career

On her return to South Africa in 1936 she established the Constance Stuart Portrait Studio in Pretoria. She became a renowned portraitist, and photographed many of the leading statesmen, generals, artists, writers, society and theatrical personalities of that period. In 1946 she opened a second studio in Johannesburg.

Between 1937 and 1949 Stuart developed her lifelong interest in recording and exhibiting the vanishing ethnic cultures of South Africa: the Ndebele, Bushmen, Lobedu, Zulu, Swazi, Sotho and Transkei peoples. Some of them she took during the visit of the British Royals to South Africa in 1947. Stuart was the official photographer of the royal tour, and while traveling throughout Basutoland (Lesotho), Swaziland and Bechuanaland (Botswana), which were at the time the three British protectorates in South Africa. She photographed tribal people dressed up for the occasion in their native costumes. She exhibited these photographs, and many like them in Preotria, Johannesburg and Cape Town, which led to her appointment as South Africa’s first woman war correspondent for Libertas magazine. Between 1945 and 1955 she served in Egypt, Italy, France and England, attached to the American 7th Army and the South African 6th Division in the Italian Apennines. Although she had only been hired to photograph the South African troops in the army, Stuart went well beyond her assignment. She photographed the American, French, British and Canadian troops as well as her South African countrymen. She also photographed the civilians the soldiers met on the way to Germany, and she photographed the devastated villages, towns and cities in their path. As a female war correspondent Stuart was often held back from the front for days, and as she was billeted separately from her male co-workers the facilities available to her were often uncomfortable. She took all the difficulties in stride, accepting them as part of the war, and quickly gained the respect of the people around her. One co-worker wrote: ‘Constance Stuart… has made a fine art of getting around the fronts. She has seen more of war than any other woman I have met.’

Although she was not permitted to keep a diary on the front, she compiled her photographic notes and letters into a memoir named Jeep Trek, published in 1946.

When she returned to South Africa in 1945 she travelled throughout the country exhibiting many of these photographs, as well as her depictions of South African tribal people. In 1948, the National Party came to power in South Africa and instituted a policy of strict racial segregation. The following year, Stuart left South Africa for America.

Text from the Wikipedia website

 

Constance Stuart Larrabee (English, 1914-2000) 'Untitled (Collaborators, St. Tropez, France)' 1944

 

Constance Stuart Larrabee (English, 1914-2000)
Untitled (Collaborators, St. Tropez, France)
1944
Gelatin silver print, printed later
Image: 39.53 x 38.1cm (15 9/16 x 15 in.)
Sheet: 50.32 x 40.48cm (19 13/16 x 15 15/16 in.)
Frame: 60.96 x 50.8 cm (24 x 20 in.)
Frame (outer): 62.23 x 52.07cm (24 1/2 x 20 1/2 in.)
National Gallery of Art, Washington, Corcoran Collection
Gift of the Artist, Constance Stuart Larrabee WWII Collection

 

Margaret De Patta (American, 1903-1964) 'Untitled' 1939

 

Margaret De Patta (American, 1903-1964)
Untitled
1939
Gelatin silver print
Image: 17.8 x 21.9cm (7 x 8 5/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund

 

 

“I find work problems as set for myself fall into these main directions: space articulation, movement to a purpose, visual explorations with transparencies, reflective surfaces, negative positive relationships, structures and new materials. A single piece may incorporate one or many of these ideas. Problems common to sculpture and architecture are inherent in jewellery design, i.e. – space, form, tension, organic structure, scale, texture, interpenetration, superimposition and economy of means – each necessary element playing its role in a unified entity.”

~ Margaret De Patta (Design Quarterly #33)

 

Cami Stone (Belgian, 1892-1975) 'Ohne Titel (Nachtaufnahme, Berlin)' (Untitled (Night shot, Berlin)) c. 1929

 

Cami Stone (Belgian, 1892-1975)
Ohne Titel (Nachtaufnahme, Berlin) (Untitled (Night shot, Berlin))
c. 1929
Gelatin silver print
Image: 9.5 x 14cm (3 3/4 x 5 1/2 in.)
Frame: 30.48 x 40.64cm (12 x 16 in.)
Frame (outer): 33.02 x 43.18cm (13 x 17 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund

 

ringl + pit (Grete Stern German-Argentine, 1904-1999, Ellen Auerbach American born Germany, 1906-2004) 'Die Ringlpitis' 1931

 

ringl + pit (Grete Stern German-Argentine, 1904-1999, Ellen Auerbach American born Germany, 1906-2004)
Die Ringlpitis
1931
Bound volume of 6 photographs, 12 collages, 8 watercolours, 6 texts, and 1 drawing
Open: 20.32 x 38.1cm (8 x 15 in.)
Closed: 20.32 x 20.32cm (8 x 8 in.)
Fold-out page: 37.5 x 57.2cm (14 3/4 x 22 1/2 in)
Sits: 20.3cm (8 in.)
Tall; plus pop-out element: 10.2cm (4 in.)
Cradle: 10.8 x 39.37 x 20.32cm (4 1/4 x 15 1/2 x 8 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund
© ringl + pit, courtesy Robert Mann Gallery, New York

 

 

Ringl and Pit were the childhood nicknames of Grete Stern (Ringl) and Ellen Auerbach (Pit). Together, they established a photography studio in 1930 in Berlin. Both studied privately with Walter Peterhans, a photography instructor at the Bauhaus, whose promulgation of a highly rationalized style of advertising photography – one that signified “machine made” in its emphasis on sleek form and graphic design – was proposed as a solution to the question of art’s role in industrial society. …

In their representation of the “modern woman,” a new social type emerging out of the political upheaval of the Weimar Republic, the duo employed visual strategies subversive to traditional conceptions of woman. Often using mannequins, wigs, and other symbols of femininity, Stern and Auerbach worked to question the artifice and masquerade of feminine identity.

Text from The Metropolitan Museum of Art website

 

Ellen Auerbach and Grete Stern met as private students of Bauhaus professor Walter Peterhans. Stern took over Peterhans’s studio in 1929, and the following year Stern and Auerbach formed the studio foto ringl + pit. “Ringl” and “Pit” were their respective childhood nicknames.

“I frivoled and she was serious,” Auerbach recalled of their personalities in the partnership. ringl + pit specialised in advertising photography, and their photographs redefined the image of women in advertising. Their work came to define the “new women” that emerged in the 1910s and 20s, as women gained the right to vote and entered the work force in increasing numbers. Their partnership ended when they both emigrated in 1933.

Text from the J. Paul Getty website

 

Márta Aczél (Hungarian, 1909-1997) 'Cím nélkül (Tál)' (Untitled (Bowl)) 1935

 

Márta Aczél (Hungarian, 1909-1997)
Cím nélkül (Tál) (Untitled (Bowl))
1935
Gelatin silver print
Image: 23.3 x 17.2cm (9 3/16 x 6 3/4 in.)
Sheet: 23.8 x 17.5cm (9 3/8 x 6 7/8 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1 cm (19 x 15 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund

 

 

Born in Budapest in 1909. Educated in a private school Receives a degree in history of arts and German literature at the University of Frankfurt. Returns to Hungary in 1935. Jzsef Pcsi invites her to his private school. Although she did photography prior to that time, Pcsi’s school is a turning point in her life. Not only does the famous photographer teach her the technique but also influences her intellectually. At that time a substantial part of her advertising work and object photographs are made; she also she starts to exhibit her photographs. In 1936 she meets her future husband, György Kreilisheim. Magazines publish articles about their travels illustrated with her photos. After an apprenticeship exam Márta Aczél works for two years as an assistant to Elemérn Marsovszky (Fot Ada). She passes her master exam at Angelo’s. In 1950 starts working for Iparterv, and subsequently deals with industrial photography. At that time she travels widely across the whole country.

Anonymous text from the Luminous-Lint website [Online] Cited 25/11/2021

 

Margaret Watkins (Canadian, 1884-1969) 'Domestic Symphony' 1919

 

Margaret Watkins (Canadian, 1884-1969)
Domestic Symphony
1919
Gelatin silver print, printed 1920s
Image: 21.59 x 16.51cm (8 1/2 x 6 1/2 in.)
Mount: 35.56 x 27.94cm (14 x 11 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 54.61 x 44.45cm (21 1/2 x 17 1/2 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund
© The Estate of Margaret Watkins, Courtesy Robert Mann Gallery

 

 

Margaret Watkins (1884-1969) was a Canadian photographer who is remembered for her innovative contributions to advertising photography. She lived a life of rebellion, rejection of tradition, and individual heroism; she never married, she was a successful career woman in a time when women stayed at home, and she exhibited eroticism and feminism in her art and writing.

 

Career

Watkins opened a studio in Greenwich Village, New York City, and in 1920 became editor of the annual publication Pictorial Photography in America. She worked successfully as an advertising photographer for Macy’s and the J. Walter Thompson Company and Fairfax, becoming one of the first women photographers to contribute to advertising agencies. She also produced landscapes, portraits, nudes and still lifes. While teaching at the Clarence White school from 1916 to 1928, her students included Margaret Bourke-White, Laura Gilpin, Paul Outerbridge, Ralph Steiner and Doris Ulmann.

One of the earliest art photographers in advertising, her images of everyday objects set new standards of acceptability. From 1928, when she was based in Glasgow, she embarked on street photography in Russia, Germany and France, specialising in store fronts and displays.

Watkins died in Glasgow, Scotland in 1969, largely forgotten as a photographer.

 

Legacy

Watkins legacy exists in her exemplary work left behind, but also her example as an independent, successful woman. The Queen’s Quarterly suggests her life is an inspiration for single women, who are fulfilled by their careers, rather than the traditional gender roles women face of fulfilment through marrying and having children.

Text from the Wikipedia website

 

Margaret Watkins (Canadian, 1884-1969) 'Woodbury Soap' 1924

 

Margaret Watkins (Canadian, 1884-1969)
Woodbury Soap
1924
Palladium print
Image: 15.4 x 20.4cm (6 1/16 x 8 1/16 in.)
Mount: 24 x 31.2cm (9 7/16 x 12 5/16 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 44.45 x 54.61 cm (17 1/2 x 21 1/2 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund
© The Estate of Margaret Watkins, Courtesy Robert Mann Gallery

 

Aenne Biermann (German, 1898-1933) 'Ohne Titel (Anthurium)' (Untitled (Anthurium)) 1927

 

Aenne Biermann (German, 1898-1933)
Ohne Titel (Anthurium) (Untitled (Anthurium))
1927
Gelatin silver print
Image: 37.7 x 48.6cm (14 13/16 x 19 1/8 in.)
Frame: 55.88 x 66.04cm (22 x 26 in.)
Frame (outer): 60.33 x 70.49cm (23 3/4 x 27 3/4 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund

 

 

Aenne Biermann (March 8, 1898 – January 14, 1933), born Anna Sibilla Sternfeld, was a German photographer of Ashkenazi origin. She was one of the major proponents of New Objectivity, a significant art movement that developed in Germany in the 1920s.

 

Career

Biermann was a self-taught photographer. Her first subjects were her two children, Helga and Gershon. The majority of Biermann’s photographs were shot between 1925 and 1933. Gradually she became one of the major proponents of New Objectivity, an important art movement in the Weimar Republic. Her work became internationally known in the late 1920s, when it was part of every major exhibition of German photography.

Major exhibitions of her work include the Munich Kunstkabinett, the Deutscher Werkbund and the exhibition of Folkwang Museum in 1929. Other important exhibitions include the exhibition entitled Das Lichtbild held in Munich in 1930 and the 1931 exhibition at the Palace of Fine Arts (French: Palais des Beaux Arts) in Brussels. Since 1992 the Museum of Gera has held an annual contest for the Aenne Biermann Prize for Contemporary German Photography, which is one of the most important events of its kind in Germany.

Text from the Wikipedia website

 

Louise Dahl-Wolfe (American, 1895-1989) 'Model outside the Rose Pauson House' 1942

 

Louise Dahl-Wolfe (American, 1895-1989)
Model outside the Rose Pauson House
1942
Gelatin silver print
Image: 22.25 x 19.7cm (8 3/4 x 7 3/4 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund
© Center for Creative Photography, Arizona Board of Regents

 

 

Louise Dahl-Wolfe (November 19, 1895 – December 11, 1989) was an American photographer. She is known primarily for her work for Harper’s Bazaar, in association with fashion editor Diana Vreeland. …

 

Style

Among the celebrated fashion photographers of the 20th century, Louise Dahl-Wolfe was an innovator and influencer who significantly contributed to the fashion world. She was most widely known for her work with Harper’s Bazaar. Dahl-Wolfe was considered a pioneer of the ‘female gaze’ in the fashion industry. Dahl-Wolfe created the new image of American women during the World War II. They were strong and independent. Dahl-Wolfe often shot on location and outdoors, bringing her models out of the studio and to exotic locales such as Tunisia, Cuba and South America. Her models pose candidly, almost as if Dahl-Wolfe had just walked in on them. Dahl-Wolf innovatively used colour in photography and mainly concerned with the qualities of natural lighting, composition, and balance. Her methodology in using natural sunlight and shooting outdoors became the industry standard even now. …

“She is the most important woman, fashion photographer of the first half of the 20th century,” according to photographic expert Terrence Pepper and for Valerie Steele, the vitality and dynamism in Dahl-Wolfe’s work “were a big part of the rise of the American look.”

Read a fuller biography on the Wikipedia website

 

Genevieve Naylor (American, 1915-1989) 'Models wearing suits by Carolyn Schnurer' 1945-1946

 

Genevieve Naylor (American, 1915-1989)
Models wearing suits by Carolyn Schnurer
1945-1946
Gelatin silver print
Image: 27.4 x 25.2cm (10 13/16 x 9 15/16 in.)
Mount: 50.5 x 25.2cm (19 7/8 x 9 15/16 in.)
Frame: 55.88 x 40.64cm (22 x 16 in.)
Frame (outer): 58.42 x 43.18cm (23 x 17 in.)
National Gallery of Art, Washington, Gift of Peter Rezniko

 

 

Genevieve Naylor (February 2, 1915 – July 21, 1989) was an American photographer and photojournalist, best known for her photographs of Brazil and as Eleanor Roosevelt’s personal photographer.

 

Career

At the age of 22, in 1937, Naylor was chosen by Holger Cahill of the Works Progress Administration (WPA) as a photographer for the Harlem Arts Center. She also worked for the WPA in New Hampshire, Pennsylvania, Washington D.C., and New York. She then worked for the Associated press and was one of the first women photojournalists to be hired by any American news wire services.

In 1940, Genevieve Naylor was assigned by the U.S. State department as part of a team to travel to Brazil. In an effort to further and strengthen the anti-Nazi relationship between the United States and Brazil and to promote mutual cultural awareness, the U.S. Office of Inter-American Affairs, under the leadership of Nelson Rockefeller, created a team of notable Americans that included Orson Welles, Errol Flynn, and Walt Disney. Genevieve Naylor and her partner (and later husband) Misha Reznikoff arrived in Brazil in October, 1940, where he showed his paintings while Miss Naylor took photographs. Naylor’s assignment was to document Brazil’s progress toward becoming a modern nation, capture images that would boost war-time morale, foster cultural interchange, and promote the Allied cause. But Naylor, with her energetic and outgoing personality, soon ventured into other milieus, taking photographs of Brazilian workers jammed into trams, school children, religious and street festivals, and various aspects of everyday lives. Because it was war time, film was rationed, and Naylor’s equipment was modest. She had neither flash nor studio lights and had to carefully choose her shots, balancing spontaneity with careful composition. Of her work, nearly 1,350 photos survived and were preserved. After her return to the states in 1943, Naylor become only the second woman photographer to be given a one-woman show when her work was exhibited by New York’s Museum of Modern Art.

Naylor later spent 15 years as a photographer with Harper’s Bazaar and from 1944 to 1980 was a freelance photographer for Vogue, McCall’s, Town and Country, Life, Look, Saturday Evening Post, Women’s Home Companion, Cosmopolitan, Fortune, Collier’s, Glamour, Good Housekeeping, Vanity Fair, Elle, Ladies’ Home Journal, Redbook, House Beautiful, Holiday, Mademoiselle, American Home, Seventeen, Better Homes and Gardens, Charm, Bride’s, amongst others. She was a war time photographer, covering parts of the Korean War for Look magazine.

Naylor’s work has been included in numerous group exhibitions in the United States, the UK, and Europe. The most recent, The New Women Behind the Camera 2021-2022, opened at The Metropolitan Museum of Art, in the summer of 2021, and will continue into 2022 at The National Gallery of Art in Washington, D.C. Her historic alliance with Brazil continues in 2022 with the SESC 24 de Maio, Sao Paulo, exhibition, Raio-Que-O-Parta: Modern Fictions in Brazil.

Text from the Wikipedia website

 

Olive Cotton (Australian, 1911-2003) 'Teacup Ballet' 1935

 

Olive Cotton (Australian, 1911-2003)
Teacup Ballet
1935
Gelatin silver print
Image: 40.64 x 30.48cm (16 x 12 in.)
Frame (outer): 53.34 x 45.72 x 4.45cm (21 x 18 x 1 3/4 in.)
The Sir Elton John Photography Collection

 

 

Olive Cotton (11 July 1911 – 27 September 2003) was a pioneering Australian modernist female photographer of the 1930s and 1940s working in Sydney. Cotton became a national “name” with a retrospective and touring exhibition 50 years later in 1985. A book of her life and work, published by the National Library of Australia, came out in 1995. Cotton captured her childhood friend Max Dupain from the sidelines at photoshoots, e.g. “Fashion shot, Cronulla Sandhills, circa 1937” and made several portraits of him. Dupain was Cotton’s first husband. …

 

Style

During the 1930s Cotton developed mastery using the ‘Pictorial’ style of photography popular at the time and also incorporated a very modern style approach. Cotton’s photography was personal in feeling with an appreciation of certain qualities of light in the surroundings. From mid-1934 until 1940 she worked as Max Dupain’s assistant in his largely commercial studio in Bond Street, Sydney, where she developed a very personal approach which concentrated on capturing the play of light on inanimate objects and in nature. She would often use her Rolleiflex camera to secure unposed reactions while Max set up the lighting for a portrait. Her style soon became distinguishable from that of other modernist photographers’ of her time.

 

Signature photographs

Tea cup ballet (1935) was photographed in the studio after Cotton had bought some inexpensive china from Woolworth’s to replace the old chipped studio crockery. In it she used a technique of back of the lighting to cast bold shadows towards the viewer to express a dance theme between the shapes of the tea cups, their saucers and their shadows. It was exhibited locally at the time and in the London Salon of Photography in 1935. It has become Cotton’s signature image and was acknowledged on a stamp commemorating 150 years of photography in Australia in 1991. Tea cup ballet features on the cover of the book Olive Cotton: Photographer published by the National Library of Australia in 1995.

Text from the Wikipedia website

 

Caroline Whiting Fellows (American, 1905-1989) 'Untitled (Vermouth and rye)' 1930s

 

Caroline Whiting Fellows (American, 1905-1989)
Untitled (Vermouth and rye)
1930s
Dye imbibition print
Image: 21.6 x 17cm (8 1/2 x 6 11/16 in.)
Mount: 27 x 22.2cm (10 5/8 x 8 3/4 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1cm (19 x 15 in.)
National Gallery of Art, Washington, Gift of Isabell VanMerlin

 

Trude Fleischmann (American born Austria, 1895-1990) 'Toni Birkmeyer-Ballett in "Cancan," Wien' (Toni Birkmeyer Ballet Company in "Cancan," Vienna) c. 1930

 

Trude Fleischmann (American born Austria, 1895-1990)
Toni Birkmeyer-Ballett in “Cancan,” Wien (Toni Birkmeyer Ballet Company in “Cancan,” Vienna)
c. 1930
Gelatin silver print
Image: 19.05 x 17.46cm (7 1/2 x 6 7/8 in.)
Mat: 45.72 x 35.56cm (18 x 14 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1cm (19 x 15 in.)
Michael Mattis and Judith Hochberg

 

 

Trude Fleischmann (22 December 1895 – 21 January 1990) was an Austrian-born American photographer. After becoming a notable society photographer in Vienna in the 1920s, she re-established her business in New York in 1940. …

 

Early life

Born in Vienna in December 1895, Fleischmann was the second of three children in a well-to-do Jewish family. After matriculating from high school, she spent a semester studying art history in Paris followed by three years of photography at the Lehr- und Versuchsanstalt für Photographie und Reproduktionsverfahren in Vienna. She then worked for a short period as an apprentice in Dora Kallmus’ fashionable Atelier d’Ora and for a longer period for photographer Hermann Schieberth. In 1919, she joined the Photographische Gesellschaft in Wien (Vienna Photographic Society).

 

Career

In 1920, at the age of 25, Fleischmann opened her own studio close to Vienna’s city hall. Her glass plates benefitted from her careful use of diffuse artificial light. Photographing music and theatre celebrities, her work was published in journals such as Die Bühne, Moderne Welt, ‘Welt und Mode and Uhu. She was represented by Schostal Photo Agency (Agentur Schostal). In addition to portraits of Karl Kraus and Adolf Loos, in 1925 she took a nude series of the dancer Claire Bauroff which the police confiscated when the images were displayed at a Berlin theatre, bringing her international fame. Fleischmann also did much to encourage other women to become professional photographers.

With the Anschluss in 1938, Fleischmann was forced to leave the country. She moved first to Paris, then to London and finally, together with her former student and companion Helen Post, in April 1939 to New York. In 1940, she opened a studio on West 56th Street next to Carnegie Hall which she ran with Frank Elmer who had also emigrated from Vienna. In addition to scenes of New York City, she photographed celebrities and notable immigrants including Albert Einstein, Eleanor Roosevelt, Oskar Kokoschka, Lotte Lehmann, Otto von Habsburg, Count Richard von Coudenhove-Kalergi and Arturo Toscanini. She also worked as a fashion photographer, contributing to magazines such as Vogue. She established a close friendship with the photographer Lisette Model.

Text from the Wikipedia website

 

Trude Fleischmann (American born Austria, 1895-1990) 'Katharine Cornell' 1939

 

Trude Fleischmann (American born Austria, 1895-1990)
Katharine Cornell
1939
Gelatin silver print
Image: 31.43 x 25.4cm (12 3/8 x 10 in.)
Mat: 33.5 x 35.56cm (13 3/16 x 14 in.)
Mount: 31.4 x 25.4cm (12 3/8 x 10 in.)
Frame (outer): 52.7 x 42.4 cm (20 3/4 x 16 11/16 in.)
The Metropolitan Museum of Art, Gift of Herbert F. and Teruko S. Neuwalder, 1991
Image © The Metropolitan Museum of Art. Image source: Art Resource, NY

 

Wynn Richards (American, 1888-1960) 'Preparing Yarn for Weaving' 1948

 

Wynn Richards (American, 1888-1960)
Preparing Yarn for Weaving
1948
Collage of gelatin silver prints
Sheet: 24 x 20.9cm (9 7/16 x 8 1/4 in.)
Mount: 34.8 x 25.7cm (13 11/16 x 10 1/8 in.)
Frame: 45.72 x 35.88cm (18 x 14 1/8 in.)
Frame (outer): 48.26 x 38.74cm (19 x 15 1/8 in.)
Prints and Photographs Division, Library of Congress, Washington, D.C.

 

 

Richards trained as a Pictorialist in 1918 and 1919 at the Clarence White School of Photography in New York City, and then operated a portrait studio in her hometown of Greenville, Mississippi. After centuries of looking to Europe for cultural leadership, America was developing its own forms of creative expression and New York City was emerging as the centre of that movement. In 1922 Richards relocated there and soon found work at Vogue magazine.

After World War I, people showed little interest in the quality of illusion characteristic of the Pictorialist aesthetic. Sharp-focus and artificial lighting were replacing the soft-focus, available-light style she learned initially. With course work in advertising photography at the White School in 1924, Richards broke ground as one of the very first women in a newly emerging area of fashion photography. Richards not only successfully bridged the Pictorialist and Modernist movements but rose to the top of her field and remained there for more than 25 years. …

Richards’s established a career when few professional photography opportunities existed for women. She entered her profession just as formal education and institutional frameworks for fashion photographers began to operate in New York. Even so, she felt forced to choose between being a wife, mother, and social leader or a woman with a career. Richards made a lifelong commitment to photography – not just as a career, but as an art form.

Through her work with schools and professional organisations, Richards helped advance the concept of careers for women. Although she dropped from popular view in the last quarter of the twentieth century, Richards’ photographs are being rediscovered through exhibitions and the art photography market.

Beverly W. Brannan, Curator of Photography, Prints & Photographs Division. “Wynn Richards (1888-1960),” on the Library of Congress website 2013 updated 2015 [Online] Cited 26/11/2021

 

Frances McLaughlin-Gill (American, 1919-2014) 'Untitled' 1940s

 

Frances McLaughlin-Gill (American, 1919-2014)
Untitled
1940s
Gelatin silver print
Image: 24 x 19.5cm (9 7/16 x 7 11/16 in.)
Mount: 38.2 x 29.5cm (15 1/16 x 11 5/8 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, R. K. Mellon Family Foundation
© The Estate of Frances McLaughlin-Gill, 2018

 

 

Frances McLaughlin-Gill (1919-2014) was an American photographer and the first female fashion photographer under contract with Vogue. After two decades in the fashion industry, she worked as an independent film producer for a decade making commercials and films. One of her films won the Gold Medal at the 1969 International Films and TV Festival of New York. In her later career, she published several collections both with her sister and in collaboration with other authors.

Read a fuller biography on the Wikipedia website

 

Frances McLaughlin-Gill (American, 1919-2014) 'Untitled' 1946

 

Frances McLaughlin-Gill (American, 1919-2014)
Untitled
1946
Gelatin silver print
Image/sheet: 25.4 x 26.67cm (10 x 10 1/2 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, R. K. Mellon Family Foundation
© The Estate of Frances McLaughlin-Gill, 2018

 

Frances McLaughlin-Gill (American, 1919-2014) 'Untitled (Toni Frissell photographing three models at a fashion shoot with her husband and daughter in the foreground)' c. 1940

 

Frances McLaughlin-Gill (American, 1919-2014)
Untitled (Toni Frissell photographing three models at a fashion shoot with her husband and daughter in the foreground)
c. 1940
Gelatin silver print
Sheet: 27.3 x 26cm (10 3/4 x 10 1/4 in.)
Mat: 50.8 x 40.64cm (20 x 16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Toni Frissell Collection, Prints and Photographs Division, Library of Congress, Washington, D.C.

 

Anna Riwkin (Swedish born Russia, 1908-1970) 'Nomads of the North' 1950

 

Anna Riwkin (Swedish born Russia, 1908-1970)
Nomads of the North
1950
Bound volume
Open:
27.94 x 44.45cm (11 x 17 1/2 in.)
Mount: 3.02 x 43.82 x 28.26cm (1 3/16 x 17 1/4 x 11 1/8 in.)
National Gallery of Art Library, Gift of the Department of Photographs

 

 

Anna Riwkin-Brick or just Anna Riwkin (Surazh, Chernigov Governorate, Russia 23 June [O.S. 10 June] 1908 – Tel Aviv 19 December 1970) was a Russian-born Swedish photographer. …

Riwkin-Brick contributed significantly to the growing use of photographs in children’s picture-books, a genre that developed in the second half of the century.

In 1950, with the aim of promoting tolerance by introducing children from different countries to each other’s lives, and international understanding through children’s literature that would also be read by adults, Riwkin-Brick was commissioned by the UNESCO to make a photo book about the Sami people. She persuaded Elly Jannes, a journalist for the journal Vi, to write the text for Vandrande by (‘Wandering Village’, also released as ‘Nomads of the North’), published in 1950. Anna Riwkin-Brick took many photos of a Sami family’s little girl Elle Kari that were not included in the Vandrande by edition, and Elly Jannes suggested they make another photo book about Elle Kari and to aim it at a child audience which was published in 1951.

It was the first Swedish picturebook with photos of everyday life of a child in a continuous story, and the first of many such books that the photographer was to make. It was a success. Translated into eighteen languages in editions with high print runs; 25,000 copies were printed for the first edition released in Germany, the United Kingdom, and the United States.

Text from the Wikipedia website

 

Annelise Kretschmer (German, 1903-1987) 'Junges Mädchen' (Young Woman) 1928

 

Annelise Kretschmer (German, 1903-1987)
Junges Mädchen (Young Woman)
1928
Gelatin silver print
Image: 46.7 x 39.8cm (18 3/8 x 15 11/16 in.)
Frame: 65 x 50cm (25 9/16 x 19 11/16 in.)
Frame (outer): 67 x 52 x 3cm (26 3/8 x 20 1/2 x 1 3/16 in.)
Museum Folkwang, Essen
© Christiane von Königslöw
Photo © Museum Folkwang Essen – ARTOTHEK

 

 

Annelise Kretschmer (1903-1987) was a German portrait photographer. Kretschmer is best known for her depictions of women in Germany in the early 20th century and is credited with helping construct the ‘Neue Frau’ or New Woman image of modern femininity.

 

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930

 

Berenice Abbott (American, 1898-1991)
Page from New York Album
1929-1930
Ten gelatin silver prints
Mat: 40.6 x 50.8cm (16 x 20 in.)
Mount: 37.1 x 35.7cm (14 5/8 x 14 1/16 in.)
Images: each 5.6 x 8.2cm (2 1/4 x 3 1/4 in.) or 8.2 x 5.6 cm (3 1/4 x 2 1/4 in.)
Reverse album page size: 25.4 x 33.02cm (10 x 13 in.)
Frame (outer): 42.6 x 51.4cm (16 3/4 x 20 1/4 in.)
The Metropolitan Museum of Art, Gift of Emanuel Gerard, 1984
Berenice Abbott / Masters Collection / Getty Images
Image © The Metropolitan Museum of Art; Art Resource, NY

 

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

 

Berenice Abbott (American, 1898-1991)
Page from New York Album (details)
1929-1930
Ten gelatin silver prints
Mat: 40.6 x 50.8cm (16 x 20 in.)
Mount: 37.1 x 35.7cm (14 5/8 x 14 1/16 in.)
Images: each 5.6 x 8.2cm (2 1/4 x 3 1/4 in.) or 8.2 x 5.6 cm (3 1/4 x 2 1/4 in.)
Reverse album page size: 25.4 x 33.02cm (10 x 13 in.)
Frame (outer): 42.6 x 51.4cm (16 3/4 x 20 1/4 in.)
The Metropolitan Museum of Art, Gift of Emanuel Gerard, 1984
Berenice Abbott / Masters Collection / Getty Images
Image © The Metropolitan Museum of Art; Art Resource, NY

 

Berenice Abbott (American, 1898-1991) 'Vanderbilt Avenue from East 46th Street' October 9, 1935

 

Berenice Abbott (American, 1898-1991)
Vanderbilt Avenue from East 46th Street
October 9, 1935
Gelatin silver print
Overall: 23.7 x 16.5cm (9 5/16 x 6 1/2 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, The Marvin Breckinridge Patterson Fund and Robert B. Menschel Fund

 

Berenice Abbott (American, 1898-1991) 'Janet Flanner' 1927

 

Berenice Abbott (American, 1898-1991)
Janet Flanner
1927
Gelatin silver print
Sheet: 22.6 x 17.2cm (8 7/8 x 6 3/4 in.)
Mat: 45.72 x 35.56cm (18 x 14 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 49.53 x 39.37cm (19 1/2 x 15 1/2 in.)
Prints and Photographs Division, Library of Congress, Washington, D.C.
Berenice Abbott / Masters Collection / Getty Images

 

Louise Barbour Davis (American, 1905-1955) 'Abstraction' 1953

 

Louise Barbour Davis (American, 1905-1955)
Abstraction
1953
Gelatin silver print
Image: 34.29 x 27.31cm (13 1/2 x 10 3/4 in.)
Mount: 36.83 x 29.85cm (14 1/2 x 11 3/4 in.)
Frame: 55.88 x 45.72cm (22 x 18 in.)
Frame (outer): 60.33 x 50.17cm (23 3/4 x 19 3/4 in.)
From the estate of Louise Barbour Davis
© Louise Barbour Davis

 

Emmy Andriesse (Dutch, 1914-1953) 'Amsterdam tijdens de hongerwinter' (Amsterdam during the hunger winter) 1947

 

Emmy Andriesse (Dutch, 1914-1953)
Amsterdam tijdens de hongerwinter (Amsterdam during the hunger winter)
1947
Bound volume
Closed:
29.21 x 22.86cm (11 1/2 x 9 in.)
Open: 29.21 x 44.45cm (11 1/2 x 17 1/2 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

 

Emmy Eugenie Andriesse (Dutch, 1914-1953) was a Dutch photographer best known for her work with the Underground Camera group (De Ondergedoken Camera [nl]) during World War II. …

 

War years and the ‘Underground Camera’

In June 1941 Andriesse married graphic designer and visual artist Dick Elffers (a gentile with whom she had two sons, one who died young), but as a Jew during the Nazi occupation Andriesse was no longer able to publish and she was forced into hiding. At the end of 1944, with the assistance of the anthropologist Arie de Froe [nl] she forged an identity card and re-engaged in everyday life, joining a group of photographers, including Cas Oorthuys and Charles Breijer, working clandestinely as De Ondergedoken Camera. The photos that Andriesse made under very difficult conditions of famine in Amsterdam, include Boy with pan, The Gravedigger and Kattenburg Children are documents of hunger, poverty and misery during the occupation in the “winter of hunger” of 1944-1945.

 

Post-war

After the war, she became a fashion photographer and was an associate and mentor of Ed van der Elsken. She participated in the group show Photo ’48 and in 1952, together with Carel Blazer [nl], Eva Besnyö and Cas Oorthuys, the exhibition Photographie, both in Amsterdam’s Stedelijk Museum. Edward Steichen chose her 1947 portrait of a staid and elderly Dutch couple for the section ‘we two form a multitude’ in the Museum of Modern Art world-touring The Family of Man that was seen by an audience of 9 million. More recently (October 2006 – January 2007) she was included in a display of Twentieth Century European photography at the Barbican Art Gallery, London.

Andriesse’s last commission, the book The World of Van Gogh – published posthumously in 1953 – was not yet complete when she became ill and after a long battle with cancer, died at the age of 39.

Text from the Wikipedia website

 

Emmy Andriesse (Dutch, 1914-1953) 'Amsterdam tijdens de hongerwinter' (Amsterdam during the hunger winter) 1947 (detail)

 

Emmy Andriesse (Dutch, 1914-1953)
Amsterdam tijdens de hongerwinter (Amsterdam during the hunger winter) (detail)
1947
Bound volume
Closed:
29.21 x 22.86cm (11 1/2 x 9 in.)
Open: 29.21 x 44.45cm (11 1/2 x 17 1/2 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

 

Steeds grauwer werd het beeld de steden. Schoeisel en kleding raakten totaal versleten
The image of the cities became increasingly grey. Footwear and clothing became totally worn out

 

Emmy Andriesse (Dutch, 1914-1953) 'Amsterdam tijdens de hongerwinter' (Amsterdam during the hunger winter) 1947 (detail)

 

Emmy Andriesse (Dutch, 1914-1953)
Amsterdam tijdens de hongerwinter (Amsterdam during the hunger winter) (detail)
1947
Bound volume
Closed:
29.21 x 22.86cm (11 1/2 x 9 in.)
Open: 29.21 x 44.45cm (11 1/2 x 17 1/2 in.)
National Gallery of Art Library, David K.E. Bruce Fund

 

 

De etalages waren leeg of toonden alleen vervangingsmiddelen
The shop windows were empty or only showed substitutes

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Daily 10am – 5pm

National Gallery of Art website

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28
Nov
21

New website: Marcus Bunyan – celebrating 30 years of art practice in 2021

November 2021

 

Celebration!

 

 

Recent work

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2021
From the series Resonance

 

 

In 2021, I celebrate 30 years of art practice with the creation of a new website, the first to contain all my bodies of work since 1991 (note: more bodies of work still have to be added between 1996-1999).

My first solo exhibition was in a hair dressing salon in High Street, Prahran, Melbourne in 1991, during my second year of a Bachelor of Arts (Fine Art Photography) at RMIT University (formerly Phillip Institute out in Bundoora). Titled Of Magic, Music and Myth it featured black and white medium format photographs of the derelict Regent Theatre and the old Victorian Railway’s Newport Workshops.

The concerns that I had at the time in my art making have remained with me to this day: that is, an investigation into the boundaries between identity, space and environment. Music and “spirit” have always been an abiding influence – the intrinsic music of the world and the spirit of objects, nature, people and the cosmos … in a continuing exploration of spaces and places, using found images and digital and film cameras to record glances, meditations and movement through different environments.

30 years after I started I hope I have learnt a lot about image making … and a lot about myself. I also hope the early bodies of my work are still as valid now as they were when I made them. In the 30 years since I became an artist my concerns have remained constant but as well, my sense of exploration and joy at being creative remains undimmed and an abiding passion.

Now, with ego integrated and the marching of the years I just make art for myself, yes, but the best reason to make art is … for love and for the cosmos. For I believe any energy that we give out to the great beyond is recognised by spirit. Success is fleeting but making art gives energy to creation. We all return to the great beyond, eventually.

Dr Marcus Bunyan

.
Each photograph in this posting links to a different body of work on my new website. Please click on the photographs to see the work.

 

 

Unknown photographer. 'Opening of Marcus Bunyan's exhibition 'The Naked Man Fears No Pickpockets' at The Photographers' Gallery and Workshop, Melbourne, 1993 showing at left (behind the crowd) the photograph 'Richmond Steps' 1993' 1993

 

Unknown photographer
Opening of Marcus Bunyan’s exhibition The Naked Man Fears No Pickpockets at The Photographers’ Gallery and Workshop, Melbourne, 1993 showing at left (behind the crowd) the photograph Richmond Steps 1993
1993
Polaroid

 

Ian Lobb (Australian, b. 1948) 'Marcus 31/8/92 Taken by Ian Lobb at Phillip [Institute]' 1992

 

Ian Lobb (Australian, b. 1948)
Marcus 31/8/92 Taken by Ian Lobb at Phillip [Institute]
1992
Polaroid

 

Jeff Whitehead (Australian) 'Marcus in his Fred Perry and Doc Martens with his Mamiya RZ67 on tripod with Pelican case on Jeff's car, Studley Park, Melbourne' 1991-1992

 

Jeff Whitehead (Australian)
Marcus in his Fred Perry and Doc Martens with his Mamiya RZ67 on tripod with Pelican case on Jeff’s car, Studley Park, Melbourne
1991-1992
Colour photograph

 

The only photograph of me with my camera 30 years ago!

 

Marcus Bunyan. 'Untitled' from the series 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2017-2020
From the series Stones, Vaults, Flowers: Père Lachaise

 

Marcus Bunyan (Australian, b. 1958). 'Untitled' from the series 'A Day in the Tiergarten' 2019-2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019-2020
From the series A Day in the Tiergarten

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey

 

Marcus Bunyan (English-Australian, b. 1958) 'Untitled' 2019 From the series 'Oblique'

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series Oblique

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film

 

 

War dreams 2007-2017

 

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013-2017
From the series The Shape of Dreams

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2015
From the series Too Much of the Air

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'upside down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside down

 

Marcus Bunyan. 'Untitled' from the series 'Vertical' 2011

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2011
From the series Vertical

 

Marcus Bunyan. 'Untitled' from the series 'The Symbolic Order (cartes de visite)' 2011

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2011
From the series The Symbolic Order (cartes de visite)

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Missing in Action (red kenosis)' 2010

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2010
From the series Missing in Action (red kenosis)

 

Marcus Bunyan. 'Missing in Action (dark kenosis) No.68' 2010

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2010
From the series Missing in Action (dark kenosis)

 

Marcus Bunyan. 'Missing in Action (horizontal kenosis) No.17' 2010

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2010
From the series Missing in Action (horizontal kenosis)

 

Marcus Bunyan. 'Untitled' from the series 'There But For The Grace of You Go I' 2009

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2009
From the series There but for the Grace of You Go I

 

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2009

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2009
From the series The Shape of Dreams

 

Marcus Bunyan. 'Untitled' from the series 'Momentum' 2009

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2009
From the series Momentum

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Cut and Thrust' 2008

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2008
From the series Cut and Thrust

 

Marcus Bunyan. 'Untitled' from the series 'Drone' 2007

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2007
From the series Drone

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Nebula' 2007

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2007
From the series Nebula

 

 

Transformations 1996-2008

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Discarded Views' 2008

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2008
From the series Discarded Views

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Last Stand' 2008

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2008
From the series Last Stand

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Wonders Never Cease' 2007

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2007
From the series Wonders Never Cease

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Unearth' 2007

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2007
From the series Unearth

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Aporia' 2006

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2006
From the series Aporia

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Photos My Mother Sent Me' 2005

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2005
From the series Photos My Mother Sent Me

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'No Man's Land' 2005

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2005
From the series No Man’s Land

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Tokern' 2005

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2005
From the series Tokern

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Inurtia' 2005

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2005
From the series Inurtia

 

Marcus Bunyan (Australian, b. 1958) 'VV – 09GI and NV – 17EP during a thunderstorm, Albury' from the series 'Enclosure' 2005

 

Marcus Bunyan (Australian, b. 1958)
VV – 09GI and NV – 17EP during a thunderstorm, Albury
2005
From the series Enclosure

 

Marcus Bunyan (Australian, b. 1958) 'Bedtime' from the series 'Neo_mort' 2004

 

Marcus Bunyan (Australian, b. 1958)
Bedtime
2004
From the series Neo_mort

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Desideratum' 2003

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2003
From the series Desideratum

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Last Days at Karngara' 2002

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2002
From the series Last Days at Karngara

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'The Wrestlers' 2001

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2001
From the series The Wrestlers

 

Marcus Bunyan (Australian, b. 1958) 'Button 2B' from the series 'D O < R >' 2001

 

Marcus Bunyan (Australian, b. 1958)
Button 2B
2001
From the series D O < R >

 

Marcus Bunyan (Australian, b. 1958) 'Plane 6' from the series 'Throw High and Hard' 2001

 

Marcus Bunyan (Australian, b. 1958)
Plane 6
2001
From the series Throw High and Hard

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' 2000 From the series 'Thirdspace'

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2000
From the series Thirdspace

 

 

Black and white archive 1991-1997

 

PLEASE VIEW THE BLACK AND WHITE ARCHIVE POSTINGS

 

 

Marcus Bunyan black and white archive 1991-1997

PLEASE VIEW THE BLACK AND WHITE ARCHIVE POSTINGS

 

 

Marcus Bunyan website

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24
Oct
21

Photographs: Marcus Bunyan. ‘Resonance’ 2021

October 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

Resonance noun: the power to bring images, feelings, etc. into the mind of the person reading or listening; the images, etc. produced in this way…

 

 

A body of work for 2021. Very proud of this sequence…

Taken in heavy overcast conditions with slight rain after a thunderstorm had passed through on my Mamiya RZ67 medium format film camera, at Eagle’s Nest, Bunurong Marine and Coastal Park, Victoria, Australia.

A period of intense seeing and previsualisation.

No cropping, all full frame photographs. The colours are as the camera saw them.

See the layout of the series on my website.

Dr Marcus Bunyan

48 images
© Marcus Bunyan

 

Please click on the photographs for a larger version of the image.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ print costs $1,000 plus tracked and insured shipping. For more information please see the Store web page.

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021