If someone asked me who the two living photographers that I would most like to meet were, one of them would be Wolfgang Tillmans … and the other would be Sally Mann. Both artists produce work that has a social conscience, social conscience being a person’s moral sense of right and wrong, viewed as acting as a guide to one’s behaviour. In both artists’ cases this social integrity acts as a guide in the production of their art.
In this latest exhibition on Mann’s complex body of work built on years of personal reflection, reading and research the title is instructive, Macula et materia, which can be variously translated from the Latin as stain and matter; stain and substance; stain and spirit or, more poetically, “the blemish and the essence”. Personally I like the last translation which is particularly pertinent for Mann’s work.
In an erudite but anonymous piece of writing “Sally Mann. Macula et Materia,” on the diChroma photography website (see below) the author grasps the essences embedded within Mann’s photography, the stain and spirit of her work, that is, blemishes, clefts, black orbs and fragments, traces of history rendered present in our collective consciousness: knowledge of history, place, war, segregation, slavery, racism:
“Here, in Virginia and the Deep South, history and human memory lie still smouldering in the depths of the earth. Sally Mann’s images are crystalline impressions, imprints bearing these deep truths that she brings up to our eyes. They will live on through the centuries, and enrich our collective memory.”
What Mann does so well is that she listens to the passing of time and then inscribes an ode to what remains, the tainted blemish of the past re-inscribed in her photographs as an essence before our eyes – essence being that spark of pure consciousness and awareness that grounds our place on this earth, the silent (still?), timeless presence that flows underneath all time, space, place.
Mann is attuned to these vibrations of history, energy and spirit. She has grounded herself and her family in the place of the American South. She knows the region intimately, much as I would hope to know the stories and history of the city of Melbourne where I live. Her roots are there and she draws sustenance and inspiration from its history, the region’s blemishes in the continuum.
As the exhibition guide observes,
“The American South, a region steeped in tradition and mythology, occupies a central place in her imagination… The landscape is never neutral; it is permeated by a complex collective memory.
One of the strengths of her work lies in the interplay between the intimate and the collective. The photographs of her children belong to the family sphere. However, they question universal themes such as childhood, vulnerability or identity construction. Similarly, the landscapes of Virginia allude to American national history, despite being linked to Mann’s personal history and sense of belonging to that territory. In this way, the intimate and the political are inextricably linked.”
In this sense “knowing your place” has a double meaning, both knowing the place where you live / accepting your position or social status without trying to change it or question authority. “Historically and socially, it implies that a person should remain submissive or compliant to superiors rather than speak out or challenge the system.” Thus place – both territory (intimate) and tyranny (political) – is pertinent in terms of the history of racism and subjugation in the American South. The intimate and political inextricably linked.
As I observed in an earlier piece of writing on the artist’s work, “Mann’s sense of fusedness with others, both alive and dead, now and then, and here and there, leads to a temporal complexity bound up with the notion of history and collective memory. How she iterates such concepts in her sensual photographs “with affection” is at the core of her art practice: the discontinuity of life in all its contexts, made eternal.”1
Please click on the photographs for a larger version of the image.
“From low to high doth dissolution climb, And sink from high to low, along a scale Of awful notes, whose concord shall not fail; A musical but melancholy chime, Which they can hear who meddle not with crime, Nor avarice, nor over-anxious care. Truth fails not; but her outward forms that bear The longest date do melt like frosty rime, That in the morning whitened hill and plain And is no more; drop like the tower sublime Of yesterday, which royally did wear His crown of weeds, but could not even sustain Some casual shout that broke the silent air, Or the unimaginable touch of Time.”
William Wordsworth “Mutability” Ecclesiastical Sketches 1822
“A few signs, cosmic convergences, emerge in Sally Mann’s images, distilled like sunspots; brief, bright disturbances that alter the permanence of things, piercing and destabilising their meaning. A dark gash in the trunk of a tree, a bite mark, black orbs in the shape of bullet holes that pierce the image against a battlefield backdrop -these vivid marks are redolent of the words written by William Faulkner in The Sound and The Fury (1929). They speak of dark visions and plumb the horrific remnants of the American Civil War, of the crimes and violence perpetrated against minorities, of Emmett Till’s martyrdom on the banks of the Tallahatchie River, the great burnt swamps of the South, of segregation, slavery and racism. Here, in Virginia and the Deep South, history and human memory lie still smouldering in the depths of the earth. Sally Mann’s images are crystalline impressions, imprints bearing these deep truths that she brings up to our eyes. They will live on through the centuries, and enrich our collective memory.”
Anonymous. “Sally Mann. Macula et Materia,” on the diChroma photography website Nd [Online] Cited 02/10/2026. Used under fair use conditions for the purposes of education and research
Installation views of the exhibition Sally Mann. Macula et materia at Kutxa Fundazioa Tabakaleran, San Sebastián, Spain, July – October, 2026 showing in the bottom image at left, photographs from Sally Mann’s series Virginia; and at right, photographs from her series Immediate Family
Installation views of the exhibition Sally Mann. Macula et materia at Kutxa Fundazioa Tabakaleran, San Sebastián, Spain, July – October, 2026 showing in the bottom image photographs from Sally Mann’s series Faces
Installation view of the exhibition Sally Mann. Macula et materia at Kutxa Fundazioa Tabakaleran, San Sebastián, Spain, July – October, 2026 showing from left to right, Sally Mann’s Lisa and the dog (1983-1985, below); Jenny Hanging (1983-1985, below); and Cindy and the Dog Statue (1983-1985, below)
Sally Mann (born in Lexington, Virginia, 1951) is one of the most important figures in contemporary American photography. Active since the late sixties, she has built up a consistent and demanding body of work that primarily focuses on her native region of the American South, which she continues to explore. She has received many awards, including grants from the National Endowment for the Arts, the National Endowment for the Humanities and the Guggenheim Foundation, and her work is now held in the collections of major international institutions.
From the outset, Sally Mann has been part of a photographic tradition that pays attention to the materiality of the medium and its place in history. Self-taught, she developed an early practice based on the use of large-format cameras, which demand patience, precision and technical rigour. This choice proved decisive, as it structures her relationship with time, her subjects and the landscape, imbuing her images with a particular density that is uniquely Mann’s.
The Macula et Materia exhibition at Kutxa Fundazioa Artegunea offers a journey through the major series that define her oeuvre. Among others, it brings together At Twelve (1983-1985), Immediate Family (1984-1994), landscapes of Virginia (1992-1996), Georgia (1996) and the Deep South (1998), as well as later works such as Faces (2004), Proud Flesh (2006-2015), Delta (2016), Platinum Stones (2022) and Goshen (2025). These series demonstrate the continuity of the artist’s concerns despite the apparent diversity of the themes addressed: childhood, family, landscape, historical memory, illness, decay and corporeality.
The creation of the At Twelve series represents one of the most significant moments in her career. Produced in her native region, it features portraits of twelve-year-old girls photographed in their everyday environments. The images explore the transition from childhood to adolescence, a time of instability and identity transformation, without any idealisation at all. Mann established here a working method based on collaboration with her models and the use of minimal staging, in which domestic or rural spaces play a defining role.
However, it is with Immediate Family that Sally Mann achieved international recognition and also media visibility marked by controversy. Produced over a period of ten years, the series documents the daily lives of her three children on the family property in Virginia. When the book was published in 1992, it sparked an intense debate in the United States because some critics considered it to be a transgression of social norms regarding the representation of childhood.
From the early 1990s onwards, Sally Mann shifted her focus to landscape photography without abandoning her concerns regarding history and time. The series dedicated to Virginia, Georgia and the Deep South mark a decisive turning point. In them, she photographed places associated with the American Civil War (1861-1865), slavery and racial segregation. Far from producing a strictly historical document, she offers a visual meditation on the persistence of the past in the landscape.
Human presence is often absent from these images, yet history inhabits them. Battlefields, swamps, rivers and forests are photographed as surfaces charged with memory. Mann occasionally uses antique processes, particularly wet collodion, a 19th-century technique that involves manually applying a chemical solution to a glass plate. The process, creating imperfections, fogging and alterations, enhances the material dimension of the image, establishing a direct link with the history of photography. Chemical accidents thus become an integral part of the work’s meaning, suggesting erosion, degradation and the fragility of traces.
The question of American history, particularly that of the South, is central to these works. The landscapes photographed are associated with episodes linked to violence. Rather than depicting these events directly, Sally Mann suggests their persistence through topography and light. Her approach therefore differs from traditional photojournalism or documentary photography, prioritising a form of visual meditation on the layers of the past.
This reflection on time continues in later works such as Faces and Proud Flesh. The first brings together a series of portraits in which the face is envisaged as a territory for recording time. Proud Flesh, images of her husband Larry Mann, who suffers from a Muscular Dystrophy, an untreatable muscle-wasting disease, explores the body’s progressive degeneration, physical fragility and the enduring nature of the marital bond. The body appears as a place where time is inscribed biologically, reminiscent of landscapes marked by history.
Through these different series, Sally Mann has created a body of work structured around several consistent themes: geographical roots in the American South, focus on the physical nature of the photographic medium, exploration of the relationship between personal memory and collective history and, finally, contemplation of the passage of time. Her use of antique photographic processes is far from merely an aesthetic choice, but part of an inquiry into photography as a trace.
The exhibition Macula et Materia highlights this coherence. By bringing together portraits, landscapes and studies of the body, it demonstrates that themes in Sally Mann’s work are not compartmentalised, but rather participate in a single enquiry into memory, transmission and disappearance. The American South is not merely a backdrop; it constitutes the historical and cultural context for which the artist constructs her work. The history of slavery, the Civil War and racial violence are present as a structural reality whose effects extend into the present day.
Consequently, Sally Mann’s work is framed within both an American photographic tradition – paying attention to landscape and national identity – and a personal inquiry into family, the body and loss. By articulating these dimensions, she creates work that questions the very conditions of visual memory: how can an image capture that which is no longer visible? How can time be inscribed onto a fixed surface?
More than a simple retrospective, Macula et Materia helps us understand the continuity of a trajectory spanning more than five decades. Rather than taking a strictly poetic or symbolic approach, Sally Mann’s work unfolds as a historical and material investigation of territory, the body and self-image.
Immediate Family: Childhood and Temporality
Between 1984 and 1994, Sally Mann created this series dedicated to her three children: Emmett, Jessie and Virginia. Taken in a rural setting, the photographs show the children playing, injured, pensive or absorbed in their activities. The series sparked significant controversy upon its publication, in some cases because of the childrens’ nudity, and in others because of the viewer’s feelings that the approach presented a problematic staging of childhood.
Nonetheless, beyond the controversy, the series belongs to a tradition of family portraiture, questioning the boundary between private life and public space. It also reflects on vulnerability, the construction of identity and family memory because the images do not necessarily resemble spontaneous family photographs, as they are carefully composed. The children often participated in the construction of the image, in some cases inspired by classical pictorial references.
Childhood is presented here as an intermediate stage, situated between freedom and the nascent awareness of finitude. The bodies are simultaneously powerful and fragile.
A fundamental aspect of this series is the suppression of contemporary temporal markers. Clothing, modern objects and period details are either absent or reduced to a minimum so that the images acquire a timeless quality, making the children seem as though they belong to an indeterminate, almost mythical time.
Photography here becomes a tool for suspending time. It captures a precise instant while simultaneously inscribing it within an extended duration. In Mann’s work, childhood is not merely a biological period; it is a symbolic territory.
Faces: Portraiture and Finitude
In 2004, Sally Mann began her Faces series, featuring intimate portraits of her adult children. The faces are framed closely, often bathed in soft light. Long exposure times produce a slight stillness and occasionally an opacity in the gaze.
Departing from the narrative energy of Immediate Family, these portraits introduce a more explicit reflection on the passage of time. The frontal presentation of the faces alludes to certain ancient traditions of funerary portraiture. The model’s fixed stare establishes a direct relationship with the viewer. The focus is no longer on capturing a moment of childhood, but on questioning the permanence of identity in the face of transformation.
Photography acts as a trace and paradoxical device in Faces: it captures while simultaneously pointing to future disappearance. The faces are recorded with almost sculptural precision, yet they are also subject to progressive alteration through changes in light and exposure time.
This theme would continue in the self-portraits Sally Mann produced later. The photographer’s aging body, in turn, becoming an object of exploration.
Proud Flesh: The Body and Illness
In the series Proud Flesh (2006-2015), Sally Mann photographed her husband, Larry Mann, who suffers from a degenerative muscular disease. The images show a body marked by the beginning of an inevitable and irreversible physical deterioration: muscle atrophy, fragility and loss of mobility.
Rather than adopting a clinical documentary approach, Mann treats the body with almost sculptural care. Light underscores volumes, folds and tensions. The illness is not aestheticised but integrated into a reflection on human vulnerability and dignity.
Materiality as Thought
One of Sally Mann’s key contributions is the importance she places on photographic matter. Chemical runoff, stains and alterations are not defects to be corrected. They are part of the work’s meaning.
Using antique processes such as wet collodion acts in favour of the work, reinforcing the image’s materiality, underlining the material and unstable nature of photography. Chemical alterations become visible signs of time in action. Rather than presenting a linear narrative, her work reveals cycles: birth, transformation, disappearance. Each image captures a moment while simultaneously reminding us that all presence is transient. It questions the memory inscribed in places and bodies, transforming photography into a means of reflecting on the human condition. Photography somehow ceases to be merely a record of reality and becomes a physical object subject to chemical processes, accidents and imperfection.
This approach aligns her work with a pictorial tradition in which the material trace – the brushstroke, the drip, the impasto – is an integral part of the work. Sally Mann’s work therefore belongs to a photographic tradition that transcends mere representation.
The Influence of the American South
The American South, a region steeped in tradition and mythology, occupies a central place in her imagination. This duality is evident in Sally Mann’s work: natural beauty and historical violence coexist. The landscape is never neutral; it is permeated by a complex collective memory.
One of the strengths of her work lies in the interplay between the intimate and the collective. The photographs of her children belong to the family sphere. However, they question universal themes such as childhood, vulnerability or identity construction. Similarly, the landscapes of Virginia allude to American national history, despite being linked to Mann’s personal history and sense of belonging to that territory. In this way, the intimate and the political are inextricably linked.
Sally Mann does not seek to illustrate a historical or theoretical discourse. She creates open images, inviting meditative interpretation. Each image is the result of a lengthy and arduous process. This temporal aspect of production is reflected in how the images are perceived: viewers are invited to look slowly.
Sally Mann’s work explores the relationship between time, memory and matter. Through landscapes of the American South, the faces of her children, her husband’s ailing body or her self-portraits, she examines human fragility and the enduring nature of traces.
Goshen: The Zero Degree of Color
In the Goshen series (2025), Sally Mann quite literally pushes color to its furthest limits, even to its ultimate point of exhaustion and extinction. Here, color survives only as the residual idea of itself, a kind of afterimage or lingering trace.
The images of these abandoned places are haunted by the lives that once inhabited them. Everything seems to be slowly drained of its narrative substance, as though subjected to a silent hemorrhage. Nothing happens; things remain suspended, floating, in a state of dissolution.
The texture and almost pointillist density of the images evoke both the earliest autochromes and Turner’s Pictures of Nothing: matter held in suspension, atmosphere, the density of air, the vibration of light. Barely an oscillation. Color is out of breath; it fades away without the slightest regret.
Reality appears sparingly before gradually withdrawing, and the image slowly slips toward a form of abstraction, ultimately resolving into a nearly monochrome image of faintly tinted white. The imperceptible final breath of color inevitably recalls the paintings of Robert Ryman, where the erased trace of a former image still persists.
It is here that Mann reaches the zero degree of color.
Curators: Kristin Bartels, with Carla Huttenloher serving as the assistant (or curatorial) curator
Artists featured in the exhibition: Gertrud Arndt; Ellen Auerbach; Irene Bayer; Lotte Beese; Irena Blühov; Marianne Brandt; Lotte Gerson-Collein; Barbara Crane (New Bauhaus); Margarete Dambeck-Keller; Charlotte Grunert; Ise Gropius; Ise Gropius; Toni von Haken-Schrammen; Florence Henri; Catherine Hinkle (New Bauhaus); Irene Hoffmann; Hilde Hubbuch; Grit Kallin-Fischer; Judit Kárász; Ivana Meller-Tomljenović; Etel Mittag-Fodor; Lucia Moholy; Lony Neumann; Ricarda Schwerin; Ré Soupault; Grete Stern; Elsa Thiemann; Else Tholstrup (New Bauhaus); Mili Thompson (New Bauhaus); Edith Tudor-Hart
This is the case with some of the female photographers in this posting, many unknown to me. What a joy it is to see their photographs.
It is a blessing to be able to study their life story, to imbibe (take in ideas and knowledge) of their art, to acknowledge and admire these New Women who had a passion for seeing the world in new ways, using photography as an artistic and social instrument.
I know the work of that accomplished artist Lucia Moholy (British born Czech, 1894-1989) who made focused, thoughtful, beautiful photographs; Marianne Brandt (German, 1893-1983); socialist Edith Tudor-Hart (British born Austria, 1908-1973); modernist, surrealist Grete Stern (Argentine born Germany, 1904-1999); and the ever inventive Gertrud Arndt (German, 1903-2000) who has never had a posting on Art Blart because of the paucity of exhibitions on her work.
What I didn’t know were the photographs of Etel Mittag-Fodor (Hungarian, 1905-2005), Grit Kallin-Fischer (German, 1897-1973), Ivana Meller-Tomljenović (Croatia, 1906-1988) – I love all these double-barrelled surnames! – Lotte Collein (German, 1905-1995), Lony Neumann (German, 1902-1996), Ré Soupault (French-German born Poland, 1901-1996) and Elsa Thiemann (German born Poland, 1910-1981).
How exciting and a little dangerous it must have been to have studied at the Bauhaus during this period,1 early 1920s-1933 (the photography course established in 1929), before the “school’s leadership voted to dissolve it in July 1933 under intense police raids, harassment, and crushing political pressure from the Nazi regime who labelled its avant-garde, modern style as “degenerate”.” (Google AI)
To be part of a school that contained an incredible coterie of friends and artists which, then and now, continues to construct important social, cultural and artistic legacies.
Through knowledge hopefully wisdom.
Dr Marcus Bunyan
1/ “Under the Nazi regime, about twenty Bauhauslers are known to have been killed in prison or concentration camps. Some emigrated, while others adapted and participated in propaganda exhibitions and design fairs, produced photographic and graphic works such as magazine covers, movie posters, and designed furniture, carpets, household objects and even busts of Hitler. Of 119 teaching staff c. 15 emigrated between 1933 and 1938. Of the c. 1,250 students who were enrolled when Hitler came to power in 1933, approximately 900 are thought to have remained in Germany. Of those, 188 joined the National Socialist Party (170 men and 18 women), 14 were part of the brown shirts, 12 joined the SS, and one was involved in the design of the crematoria at Auschwitz.”
Anonymous. “Bauhaus,” on the Wikipedia website Nd [Online] Cited 18/09/2026
Many thankx to the Museum für Fotografie for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Lucia Moholy, née Schulz, was born in Prague on 18 January 1894. After studying art history and philosophy, she began working as an editor and proofreader at various publishing houses in Germany in 1915. In 1921 she married the artist László Moholy-Nagy. The couple experimented with photograms and wrote texts on the theory of photography. In 1923 Moholy-Nagy received a teaching position at the Bauhaus in Weimar. Lucia Moholy trained in Otto Eckner’s photography studio there, and she additionally attended photo and printing courses at Leipzig’s Academy of Graphic Arts and Book Trade. Between 1923 and 1928, Moholy photographed the Bauhaus: buildings, workshops, products, teachers and students. Her photos continue to shape the image of the school today. In 1928 the couple left the Bauhaus and moved to Berlin. They separated one year later. In 1930 Moholy became head of the photography class at the Itten-School in Berlin. At the same time, she started gathering material for a history of photography. In 1933 her partner, the communist politician Theodor Neubauer, was arrested by the Nazis and Moholy had to flee Berlin. By way of Prague, Vienna and Paris, she reached London, where she established herself as a portrait photographer. Her book “A Hundred Years of Photography” appeared in 1939 and became a bestseller. She began documenting British archival material on microfilm in 1941 and later worked for UNESCO. In 1959 Lucia Moholy moved to Zurich, where she worked as an author and art critic. She died there on 17 May 1989.
Installation view of the exhibition New Woman, New Vision. Women Photographers of the Bauhaus at the Bauhaus-Archiv / Museum für Gestaltung at the Museum für Fotografie, April – October 2026, showing the work of Lucia Moholy and Marianne Brandt
Outstanding women photographers have been around since the invention of photography in the early 19th century. They experimented with photographic and artistic techniques and probed the boundaries of the new medium. So too did the women photographers of the Bauhaus. They observed the world around them through the camera lens and often captured subjects from novel and unconventional perspectives. The spectrum of their artistic production ranges from figurative portraits and architectural photography to abstract photographic experimentation.
The exhibition features some 300 photographs from the collection of the Bauhaus-Archiv / Museum für Gestaltung in Berlin. Many people today are familiar with the iconic images, but only few are aware of the women who recorded them. With this exhibition, the Bauhaus-Archiv celebrates the significant contribution of these women artists and their photographic oeuvre for the first time. The photographs by these Bauhaus artists will be complemented by others produced by women artists from the Institute of Design in Chicago (New Bauhaus), the successor institution of the Bauhaus in the USA.
Even now in the 21st century, women artists continue to explore the multifaceted potential of photography. Like the Bauhaus women before them, they seek to capture the present day in the photographic moment while challenging the conventional forms of the medium. For this exhibition, the Bauhaus-Archiv has invited three contemporary women artists – Kalinka Gieseler, Caroline Kynast and Sinta Werner – to engage in dialogue with the historic photographs
A special exhibition of the Bauhaus-Archiv / Museum für Gestaltung in cooperation with the Kunstbibliothek – Staatliche Museen zu Berlin
Marianne Brandt, née Liebe, was born in Chemnitz on 1 October 1893. In 1911 she began studying painting at the School for Fine Arts in Weimar. In 1919 she married the painter Erik Brandt. The couple lived together in Oslo and Paris for a number of years. After she returned to Germany, Brandt initially studied sculpture in Weimar. In 1924 the artist switched to the Bauhaus, where she was trained by László Moholy-Nagy in the metal workshop. She celebrated her first successes as a designer and became acting head of the workshop in 1928. Inspired by the Parisian avant-garde as well as by Moholy-Nagy, Brandt also began to occupy herself intensively with photography. She created self-portraits, photocollages and experimental images. Instead of accepting an offer to receive training in Walter Peterhans’s photo class, she decided to leave the Bauhaus in 1929. Several of her photographs could be seen that same year in the section “Photography at the Bauhaus” at the “Film und Foto” exhibition in Stuttgart. After briefly working at Walter Gropius’s construction office in Berlin, Brandt worked as a designer for the Ruppelwerke metalware factory in Gotha until 1932. She continued to shoot photographs, particularly private ones. When the Nazis came to power, Brandt lost her job and returned back to Chemnitz. From 1949 to 1954, she taught at the University of Applied Arts in Dresden and the institute of industrial design at School of Art and Design Berlin-Weissensee. She then designed lamps and radiators for production in East Germany and once again dedicated her attention to painting and photography. Marianne Brandt died in Kirchberg on 18 June 1983.
Edith Tudor-Hart (British born Austria, 1908-1973)
Edith Tudor-Hart, née Suschitzky, was born in Vienna on 28 August 1908. Her father and uncle ran a left-wing bookstore in a working-class neighborhood. In 1925 her training as a Montessori educator led her to London for an internship. Tudor-Hart began studying at the Bauhaus in Dessau in 1929, and she attended Walter Peterhans’s photography class there in 1930. During a 1931 stay in England, her connections to the Communist Party led to her deportation, and she returned to Vienna. There she produced photographs for the Soviet news agency TASS. Her social-documentary photo essays were published in periodicals such as the “Arbeiter-Illustrierte-Zeitung (AIZ)” as well as “Kuckuck”. In 1933 she was arrested for spying for the Communist Party, and large portions of her photographic work were confiscated. She was able to avoid conviction by marrying the doctor Alexander Tudor-Hart. That same year, the couple emigrated to England, where their son was born in 1936. Tudor-Hart’s photography provided the family’s sole source of income while her husband was serving as a doctor in the Spanish Civil War. She concentrated on documentary photography. For example, she created a photo essay on child education for England and Wales’s Ministry of Education. Her continued espionage activities repeatedly drew the scrutiny of the British secret service. This constant surveillance led her to destroy large portions of her work. Impoverished, she moved to Brighton, where she worked as an antique dealer. Edith Tudor-Hart died there on 12 May 1973.
Gertrud Arndt, née Hantschk, was born in Racibórz (Silesia, Poland) on 20 September 1903. Seeking to become an architect, she began working at the architectural office of Karl Meinhardt in Erfurt in 1919. She simultaneously attended the school of applied arts there. Arndt taught herself photography so that she could document buildings for the architectural office. In 1923 she began studying at the Bauhaus and trained in the weaving workshop. After her final exam in 1927, she stopped weaving and focused on photography again. That same year, she married fellow Bauhaus member and architect Alfred Arndt and moved to Probstzella in Thuringia. There she photographed his construction projects. At the same time, she also created private photographs and photocollages. In 1929 Alfred Arndt was offered a teaching position at the Bauhaus in Dessau. Gertrud Arndt set up a darkroom for herself in the masters’ house and began photographing the activities and life at the school. She created documentary and portrait photos as well as numerous self-portraits. Although Arndt was not a student in Walter Peterhans’s photo class, several of her images were shown together with works from his students in the 1930 travelling exhibition on the Bauhaus. Arndt had her first child in 1931. One year later, the couple returned to Probstzella and, from then on, Arndt devoted her time to her family. In 1948 they fled from the Soviet-occupied zone to western Germany. In 1979 an exhibition at the Folkwang Museum in Essen led to Arndt’s discovery as a photographer. Since that time, her works have been presented in a number of exhibitions and publications. Gertrud Arndt died in Darmstadt on 10 July 2000.
Etel Mittag-Fodor, née Fodor, was born in Zagreb on 28 December 1905, and grew up in Pécs and Budapest. In 1925 she began studying photography and graphic design at Vienna’s Federal Education and Research Institute for Graphics in Vienna, while also working part-time in a photo studio. In 1928 she decided to study at the Bauhaus in Dessau, where she attended Walter Peterhans’s photography class. She was in a relationship with fellow student Ernst Mittag, whom she married in 1930 to gain independence from her parents’ home and its rules. After Mittag-Fodor left the Bauhaus in 1932, she worked as a freelance photographer for clients, including the newspaper “Arbeiter-Illustrierte-Zeitung (AIZ)”. She was also active in the antifascist resistance from 1933 on. As a Jew, she was no longer granted a work permit. In 1936 she and her husband fled to Pécs by way of Bratislava, where she earned money creating portraits of children. After the birth of their first son in 1938, the family emigrated to South Africa. There, Mittag-Fodor initially photographed architecture but soon began to work as a translator for financial reasons. At the same time, she assisted Ernst Mittag at his architectural office. She turned her attention to weaving in the mid-1960s. Etel Mittag-Fodor died in the Cape Town suburb of Wynberg on 13 August 2005.
Grit Kallin-Fischer was born as Margit Vries in Frankfurt am Main on 26 April 1896. She received her first art lessons, focusing on landscapes and still lifes, at a boarding school in Belgium. In 1910 she began studying painting in Marburg and then continued under Lovis Corinth at Leipzig’s Academy for Graphic Art and Book Trade. She developed tuberculosis during the First World War and suffered from the after-effects for the rest of her life. In 1919 Kallin-Fischer went to Berlin, where she met the Russian musician Marik Kallin. The couple married in 1920, lived in London and separated after six years. In the autumn of 1927, Kallin-Fischer enrolled at the Bauhaus in Dessau. She began taking pictures there and developed portrait studies in the style of the New Vision. She also attended László Moholy-Nagy’s metal workshop and was involved with the Bauhaus stage, creating numerous portraits of its members. In late 1928, she went to Berlin with the American Bauhaus member Edward Fischer and continued to shoot photographs there. Several of her designs were published in the monthly graphic-design journal “Gebrauchsgraphik” in 1930; one year later, her works were shown at the exhibition “Foreign Advertising Photography” in New York. She married Edward Fischer in 1934 and emigrated to the US with him. Grit Kallin-Fischer gave up photography after 1945 and turned her attention to sculpture. She died in Newton, Pennsylvania, on 17 July 1973.
The Weimar Republic (1919-1933) was a time of social and cultural upheaval. The young democracy was confronted not only with the consequences of World War I, but also a rapid succession of technical advances, the rise of new media and a society that was questioning traditional values.
Women’s role in society was changing as well. As voting rights were granted to women for the first time in November 1918, a new chapter of political participation began. It was also a time when more and more women aspired to financial independence and professional self-realisation. Photography offered them an ideal opportunity in both arenas – it promised artistic freedom and a living income. The camera became the tool of female self-empowerment.
By the late 19th century, photography had become a significant occupational field for women. Because it was a relatively young field, regarded as a handcraft and not yet academically anchored, photography offered women career opportunities at an early stage. Women were believed to have skills that were well-suited to certain photographic activities, such as portrait photography or retouching. Consequently, a growing number of women began learning the trade in photo studios. In 1890 the Berlin Lette Association started a photography course for women, and in 1905, the Teaching and Research Institute for Photography in Munich followed suit with institutional training for women photographers.
The number of women photographers rose steadily in the Weimar Republic. This occurred as an increasing number of higher education institutions began offering training courses in photography. The Bauhaus Dessau established a photography course in 1929. Many students – almost half of them women – received professional training there. Yet women photographers had been playing a central role at the Bauhaus even years before. In the early 1920s, photography was used to advertise the products and works created by the influential school of art, design and architecture – and many of those photos were taken by professional women photographers, such as Paula Stockmar, the women-managed Atelier Hüttich und Oemler, and Lucia Moholy. The increasing prevalence of the small-format camera after 1925 sparked a surge of interest in the medium among the students. Many female students began observing their surroundings through the camera lens and captured new and unusual perspectives. While many of these photos have since become world-famous, the women who took them have often been forgotten.
The Exhibition
The exhibition “New Woman, New Vision. Women Photographers of the Bauhaus” is the first ever to explore the extensive impact of these photographers and tell their story from a gender-historical perspective. The presentation, comprising some 300 works from 29 photographers from the Bauhaus-Archiv / Museum für Gestaltung collection, explores art- and media-historical questions and how they relate to such topics as authorship, visibility and social participation. The exhibition presents photographs by well-known figures such as Lucia Moholy and Florence Henri, as well as works by artists who have received less recognition, including Irene Hoffmann and Grit Kallin-Fischer. Not only does its scope extend beyond the era of the historic Bauhaus, it also highlights the later works by these remarkable artists. The presentation is supplemented by works by women artists from the Institute of Design in Chicago, the American successor institution to the Bauhaus founded by Bauhaus master László Moholy-Nagy in 1937.
Key Themes
One of the central themes of the exhibition is portrait photography. The chapters “Viewing the Self” and “Woman’s Images” examine how the photographers and their fellow female classmates presented themselves against the backdrop of society’s evolving image of women. Oftentimes they referred to the ideal of the New Woman – which had become ubiquitous in the Weimar Republic – and translated it into the modern visual imagery of New Vision. Another chapter sheds light on the photography lessons taught by Walter Peterhans at the Bauhaus. In portraits, landscapes, nature studies and still lifes, the students experimented with and selectively integrated photographic design elements into their works, e.g. textures, materiality, directed lighting and image sharpness. The chapter “Art and Experimentation” focuses specifically on experimental practice; photo collages and photograms offered forms of expression beyond what the camera could capture and illustrate how readily the women photographers embraced the avant-garde. The chapter “People and Countries” is dedicated to social-documentary and photo-journalistic works. The photos capture everyday life, social inequality and moments of political upheaval. They also show how the photographers, who were often forced into exile, safeguarded their work under changing political circumstances. The chapter “The Allure of Architecture” examines modern architectural photography. Unusual perspectives, extreme high- and low-angle shots, and close-ups helped architectural photography break away from its original documentary function and transform it into artistic and sometimes abstract visual compositions.
The exhibition shows how the women photographers of the Bauhaus used photography as an artistic and social instrument – for achieving greater self-determination, conducting artistic experimentation and documenting social and political realities. Its relevance today is evident in how integral these methods have become in contemporary art. The Berlin artists Kalinka Gieseler, Caroline Kynast and Sinta Werner engage in the discourse as contemporary voices. Like their historic role models, they too use photographic images to analyse space and society and probe the boundaries of the medium.
Relevance Today
When reflecting on women photographers and their life stories from a gender-critical perspective, the first question we encounter is what we mean by the term “women”. We do not mean a clearly defined or homogenous group, but rather a historical attribution that mirrors the respective social norms of the time. The biographies of these women photographers are as varied as their personal convictions, predilections and relationships. What they all have in common, however, is the traditional gender roles they were assigned which limited their career opportunities and even worsened them under National Socialism and in post-war Western Europe. In that male-dominated art world, their works were marginalised and driven from art-historical memory – a structurally induced invisibility, the effects of which are still felt today.
Against this background, we must ask what role exhibitions have that are specifically dedicated to women artists. Do we not run the risk of perpetuating existing attributions and designating female-perceived individuals once again as a special case? The answer is complex. Back in 1914 the art historian Emmy Voigtländer, reporting on the Leipzig exhibition “Das Haus der Frau”, remarked: ‘Perhaps in the future the most valuable outcome of these special exhibitions will be to prove their superfluousness, in that women’s achievements will gradually become a widely accepted part of general cultural activity where one recognises the value of the work and then of its creators […].’ Based on current figures, however, this goal has not yet been achieved. Recent studies show, such as one conducted by the Berlin initiative “fair share!”, that works by female-perceived persons and especially mothers are presented and collected less often and obtain lower market prices and less funding. As long as gender equality in the art world remains elusive, visibility in the form of such exhibitions will remain necessary – not to emphasise distinction, but as a means to combat structural forgetting.
Text from the Bauhaus-Archiv / Museum für Gestaltung at the Museum für Fotografie website
Irene Bayer was born as Irene Angela Hecht in Chicago on 28 October 1898 and grew up in Budapest. In 1920 she began studying at the Berlin University of the Arts. She applied to the Bauhaus in 1923 but was not accepted. She then moved to Paris and audited classes at the Sorbonne and the École des Beaux-Arts. She established connections with the avant-garde there. In 1925 she married Bauhaus member Herbert Bayer. She then attended the preliminary course at the Bauhaus without being officially enrolled. In 1926 she began training as a photographer at the State Academy of Graphic Arts and Books in Leipzig. From then on, she documented life and work at the Bauhaus as well as her husband’s works. She additionally created portrait and advertising photos. Several of her images were used for Bauhaus publications. László Moholy-Nagy also published a number of her photos in his article “Photography as Light Design”. In 1928 the Bayers left the Bauhaus and moved to Berlin. In 1929 Irene Bayer’s work was presented at the “Film und Foto” exhibition in Stuttgart. She stopped working in photography when her daughter was born later that year; she had been separated from the child’s father, Herbert Bayer, since 1928. In 1938 Irene Bayer moved to the US, where she worked as a translator. She also briefly returned to Germany after the Second World War to work in this role for the American military administration in Munich. Irene Bayer died in Los Angeles on 12 July 1991.
Ivana Meller-Tomljenović, née Tomljenović, was born in Zagreb on 2 September 1906. As a young woman, she initially made a name for herself in the 1920s as a track-and-field athlete and basketball player. From 1924 to 1928, she completed a degree at the Royal College of Arts and Crafts in Zagreb, graduating with honours. In 1929 she began studying metal design at Vienna’s University of Applied Arts. Impressed by a lecture given by Bauhaus director Hannes Meyer, Meller-Tomljenović transferred to the Bauhaus Dessau that same year. She experimented with photomontage and printing techniques in Walter Peterhans’s photography class. During this period, she also filmed life at the Bauhaus. Meller-Tomljenović joined the Communist Student Faction. She was among the students who left the Bauhaus when Hannes Meyer was dismissed in 1930. She initially worked in Berlin as a set designer for the Piscator Stage as well as a freelance graphic designer. In 1931 she briefly studied literature at the Sorbonne in Paris before moving to Prague. There she married Alfred Meller, the owner of a large advertising agency. After his death, Meller-Tomljenović returned to Yugoslavia in 1934. In Belgrade she taught art, graphic design and poster design until the 1960s. A late reception of her photographic work began in the 1980s. Ivana Meller-Tomljenović died in Zagreb on 30 August 1988.
Ré Soupault (French-German born Poland, 1901-1996)
Ré Soupault was born as Meta Erna Niemeyer in Bobolice (then German Pomerania, now Poland) on 29 October 1901. In 1921 she began studying at the Bauhaus in Weimar. She attended the preliminary course and then studied in the weaving workshop. At the Bauhaus, she also began to experiment with photography. In 1923 she met the avant-garde filmmaker Viking Eggeling and played a substantial role in the creation of his film “Diagonal Symphony”. After her brief marriage to the Dadaist Hans Richter in 1926, she worked as a fashion journalist for the magazine “Sport im Bild” in Berlin. Her work led her to Paris in 1929. There, she once again situated herself at the center of the artistic avant-garde and founded her fashion studio “Ré Sport” in 1931. In 1933 she met the author and journalist Philippe Soupault. While accompanying him on his journalistic tours, she began documenting them in photographs. The couple married in 1937. In 1938 they went to Tunis, where Ré Soupault continued with her social-documentary photography. Because of Philippe Soupault’s openly antifascist position, the couple had to flee, only narrowly evading German troops by escaping to Algeria. They travelled to New York in 1943 and separated in 1945. It was not until after the war that Ré Soupault learned parts of her photographic work had survived in Tunis. In 1948 Ré Soupault returned to Europe and lived in Basel, where she worked as a translator and radio commentator. She created her final photojournalistic work in the mid-1950s: photographs of German refugees from the former eastern territories. In 1958 she moved back to Paris and concentrated on her literary work. Ré Soupault died in Versailles on 12 March 1996.
Grete Stern was born in Wuppertal on 9 May 1904. Due to her father’s work in international trade, she grew up in London as well as Wuppertal. After studying graphic design in Stuttgart and then briefly working, she began training as a photographer with Walter Peterhans in 1927. There she met Ellen Auerbach, who was also being taught by Peterhans. When he received a position at the Bauhaus in Dessau in 1929, Stern and Auerbach founded the agency ringl + pit in his former studio. In 1932 Stern attended Peterhans’s photography class at the Bauhaus. Just one year later, her Jewish descent forced her to emigrate to London. Her British passport made her life in exile easier: she was able to work as a portrait photographer in England without facing any major bureaucratic obstacles. Stern and Auerbach worked together again in London for a short time. In 1935 Stern married the Argentinian photographer and former Bauhaus student Horacio Coppola. In 1936 they moved to Buenos Aires, where they opened a studio. Their home became a meeting place for the local art scene. After separating from Coppola, Stern worked as a freelance photographer. Among other things, she created surrealistic photomontages for the magazine “Idilio”. Stern founded the photography workshop of the Argentinian Museo Nacional de Bellas Artes in 1956. Additionally, she documented the indigenous people of the Gran Chaco up into the 1960s. She stopped working as a photographer in 1985. Grete Stern died in Buenos Aires on 24 December 1999.
Lotte Collein was born as Anny Amely Lotte Gerson in Essen on 17 March 1905. After training in a tailoring workshop in Munich and a hand-weaving workshop in Dachau, she attended the women’s social school in Bremen. In 1927 she began studying at the Bauhaus. She wanted to become an architect. After the preliminary course, she went to the furniture workshop and then switched to the department of architecture and interior design. Collein also began taking photographs during the period she spent at the Bauhaus. She recorded life at the school and documented works by other members of the Bauhaus, such as Erich Borchert. Although she did not attend any photography classes, one of her images was featured in an article about the current state of photography published by Walter Peterhans in the journal “ReD” in 1930. In the autumn of that year, Collein submitted a request for her diploma as an architect, but was rejected. She then left the school and moved to Vienna with the architect Edmund Collein. The two married in 1931, and their child was born that same year. In 1938 the couple returned to Germany. Collein, who was half Jewish and a communist, survived the Nazi period through her marriage to an “Aryan” husband. After the war, the couple moved to the Soviet-occupied sector of Berlin. While Edmund Collein pursued a career as an East German architectural official, Lotte Collein supported his work from behind the scenes. She died in Berlin on 3 May 1995.
Lony Neumann was born as Leoni Cohn in Bytom (then German Silesia, now Poland) on 15 April 1902. In 1919 she began an apprenticeship as a tailor and passed the final examination. Parallel to this, she attended courses at the Wrocław State Academy of Arts and Crafts, where she met and then married the student Theodor Neumann. After the couple moved to Leipzig, their son was born in 1926. In 1928 Neumann became a student at the Bauhaus Dessau. She attended Walter Peterhans’s photography class and the advertising workshop. Her role as a parent meant she was largely forced to carry out the assignments from her classes at the Bauhaus in Leipzig, where she continued to live. Neumann was already politically active at this point. She photographed workers and participated in left-wing demonstrations. In 1931 she separated from her husband. Together with her new partner, the architect and Bauhaus graduate Philipp Tolziner, she joined a group of Bauhaus students immigrating to Russia. She left her son with his father. From 1931 to 1938, she worked as an art journalist and designer in Moscow and continued to create photographs, particularly of women and children. She married the Russian painter Aleksandr Labas during this period. Neumann was presumably able to escape the Soviet state’s persecution of German immigrants under Stalin by withdrawing from the cultural public sphere: she began providing foreign-language lessons. After the Second World War, she worked as a translator. Lony Neumann died in Moscow on 27 February 1996.
Irene Hoffmann, née Wallbrecht, was born in Hanover on 14 December 1903. In 1928 she became a student at the Bauhaus in Dessau. She studied in the advertising department and began attending classes taught by Walter Peterhans in 1932. In addition to photographs, graphic designs and experimental photograms, she also created collages during this period. She met the architecture student Hubert Hoffmann at the Bauhaus. The couple married in 1929. One of Irene Hoffmann’s works was presented at the Bauhaus’s travelling exhibition the following year. In 1933 she completed her studies at the Bauhaus with a diploma from the advertising workshop. She then ran a studio for advertising and portrait photography in Berlin together with fellow Bauhaus graduate Hannes Schmitt. She also did freelance work for the graphic and design studio of former Bauhaus master László Moholy-Nagy until 1934. Between 1934 and 1936, she created additional projects in the field of advertising-related graphic design together with Hubert Hoffmann. Irene Hoffmann emigrated to the US in 1936, but her husband remained in Germany. They were divorced in 1938. Irene Hoffmann died in Allentown, Pennsylvania, on 16 February 1982.
Elsa Thiemann, née Franke, was born in Toruń, then West Prussia, on 7 February 1910. In 1927 she began studying applied art at Berlin-Charlottenburg’s United State Schools for Fine and Applied Arts. In 1929 she transferred to the Bauhaus in Dessau. After her preliminary training, she studied in Joost Schmidt’s advertising workshop and, from the summer of 1930, in Walter Peterhans’s photography class. In 1931 she completed her studies with a Bauhaus diploma. From then on, Thiemann worked in Berlin as a freelance photojournalist and captured life in the city. In 1944 she accepted a position as a secretary in the Berlin editorial office of the Hoffmann und Campe publishing house. After the war she resumed her work as an independent photojournalist. She used her photographs to document the transformation of the German capital: from the ruins of a devastated Berlin after 1945 to the renewed flourishing of urban life in the West Berlin of the 1950s. She also created numerous portraits of artists. In 1947 she married the painter Hans Thiemann, whom she knew from their time at the Bauhaus. When the couple moved to Hamburg in 1960, Elsa Thiemann stopped working as a professional photographer and began documenting the work of her husband. After his death in 1977, she managed his estate while also tending to her own photo archive. Elsa Thiemann died in Hamburg on 15 November 1981.
Brassaï’s chimerical – an idea that seems real or possible but is actually an impossible illusion – shimmering, urban light creations are photographs, sometimes staged, from the imagination and nocturnal life of the photographer.
As I have written elsewhere, “It takes a great eye and a great mind, and the liberation of that mind, to be able to transform the mundane, the everyday, the vernacular – into art. Brassaï’s folklore, his mythology of life, suggests that the life of others (those living on the edge) is as valuable and essential to the formation of culture as any other part of existence.”
Brassaï saw something clearly, so that we might see it now.
Dr Marcus Bunyan
Many thankx to the Moderna Museet for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Brassaï’s photographs invite us to decipher signs – the traces of events and human presence – and to search for the answer to the city’s many mysteries.”
Anna Tellgren, Curator
Brassaï | Introduction by Anna Tellgren with Martina Hoogland Ivanow
In this video, you meet curator Anna Tellgren and artist Martina Hoogland Ivanow, who introduce the exhibition “Brassaï – The Secret Signs of Paris” at Moderna Museet in Stockholm.
Brassaï is one of the most famous photographers in the history of photography. In the early 1930s, he set out with his camera on long nocturnal walks through Paris. Revolving around this treasure of images, the exhibition “Brassaï – The Secret Signs of Paris” includes over 160 black-and-white photographs.
Text from the YouTube website
Installation view of the exhibition Brassaï – The Secret Signs of Paris at Moderna Museet, Stockholm, March – October, 2026 showing at right in the bottom image, Brassaï’s Open Gutter (c. 1931/1956, below)
Brassaï (Hungarian-French, 1899-1984) Open Gutter c. 1931/1956 Gelatin silver print
Installation view of the exhibition Brassaï – The Secret Signs of Paris at Moderna Museet, Stockholm, March – October, 2026 showing at left, Brassaï’s Night View Old Paris from Notre Dame – “the Devil” Chimaera (1933); at top right, Morris Column (1933, below); and at bottom right, Urinal on Boulevard Auguste-Blanqui (c. 1930-32)
Brassaï (1899-1984) is the pseudonym of Gyula Halász, who grew up in Brassó in Transylvania, then Hungary. After studying in Budapest and Berlin, he moved to Paris at the age of twenty-five.
There are three themes in Brassaï’s photographic production and in the exhibition “Brassaï – The Secret Signs of Paris”: the city of Paris with its inhabitants and environments, the portraits of artists and their works, and the city’s graffiti.
Nocturnal Environments and People
When Brassaï moved to Paris in 1924, he first worked as a journalist. His major breakthrough as a photographer came with the book “Paris de nuit” (Paris by Night), published in 1933. Many of his famous motifs can be found here – Notre-Dame and the Eiffel Tower, bars and dance halls, artists and workers, policemen and petty thieves.
The black-and-white photographs with motifs in soft tones were the result of his long nocturnal walks through Paris – his camera lens captures environments and people in the light of street lamps and the light falling from the buildings of the city.
Bars, Dance Halls and Brothels
After the success of “Paris de nuit”, Brassaï received requests to publish the material that includes his more intimate photographs of Paris by night – the bars, dance halls, gay clubs and brothels. But at that time, in post-war Paris, censorship had become stricter and publication had to wait.
It was not until about forty years later, in 1976, that the book “Le Paris secret des années 30” (The Secret Paris of the 30’s) was published, based on Brassaï’s large collection of photographs.
Night Photographs, Graffiti, and Life in Paris
The exhibition “Brassaï – The Secret Signs of Paris” includes more than 160 vintage gelatine silver prints made by the photographer himself.
The first room of the exhibition features Brassaï’s legendary night photographs of Paris, its inhabitants and environments. The middle room shows his extensive documentation of the city’s graffiti, and the last room of the exhibition presents more of his images of life in Paris.
Brassaï’s film from the mid-1950s, “Tant qu’il y aura des bêtes” (As Long as There Are Animals), which was awarded as the most innovative short film at at the Cannes Film Festival in 1956, is also included in the exhibition.
Biography Gyula Halász
Gyula Halász (1899-1984) grew up in Brassó in Transylvania, then Hungary.
After studying art in Budapest and Berlin, he moved to Paris in 1924 and took the name Brassaï, which means “from Brassó”. He was versatile and devoted himself to drawing, painting, sculpture and photography in parallel. Literature was another great interest.
Brassaï moved in Parisian artist circles and his contact with the surrealists, as well as his friendship with Pablo Picasso, sharpened his eye for the unexpected and overlooked. His major breakthrough as a photographer came with the book “Paris de nuit” (“Paris by Night”), published in 1933.
On his wanderings in Paris, Brassaï also discovered street graffiti, which he documented in an extensive series of photographs until the 1950s. At the same time, he also made reporting trips for the magazine “Harper’s Bazaar” to Brazil, Greece and Sweden, among other places.
Brassaï died in 1984, after receiving several awards and participating in exhibitions throughout Europe and the United States during his final years.
Text from the Moderna Museet website
Installation view of the exhibition Brassaï – The Secret Signs of Paris at Moderna Museet, Stockholm, March – October, 2026 showing at centre second left, Brassaï’s Bal des Quatre Saisons, rue de Lappe (c. 1932, below)
Brassaï (Hungarian-French, 1899-1984) Bal des Quatre Saisons, rue de Lappe c. 1932 Gelatin silver print
Brassaï (Hungarian-French, 1899-1984) Couple d’amoureux dans un petit café, quartier Italie c. 1932 Gelatin silver print
Installation view of the exhibition Brassaï – The Secret Signs of Paris at Moderna Museet, Stockholm, March – October, 2026 showing from left to right, top to bottom, Brassaï’s A Couple at the Magic-City Dance Hall, Rue Cognacq-Jay (c. 1931-32); A Two-in-One Suit, the Magic-City Dance Hall (1931, below); Magic-City Dance Hall, Rue de l’Universite (1931); The Magic-City Dance Hall, Rue Cognacq-Jay (c. 1931-32)
Brassaï (Hungarian-French, 1899-1984) A Two-in-One Suit, the Magic-City Dance Hall 1931 Gelatin silver print
Brassaï is one of the most famous photographers in the history of photography. In the early 1930s, he set out with his camera on long nocturnal walks through Paris. Revolving around this treasure of images, the exhibition at Moderna Museet includes over 160 black-and-white photographs and is the first major presentation of Brassaï in Sweden.
Brassaï (1899-1984) is a pseudonym for Gyula Halász, who grew up in Brassó in Transylvania, then Hungary. After studying in Budapest and Berlin, he moved to Paris at the age of twenty-five. There he became part of the Humanist Photography that emerged during the interwar period. The street and the life that unfolded on the sidewalks and cafes became typical motifs for the genre.
Paris, Portraits and Graffiti
The exhibition “Brassaï – The Secret Signs of Paris” includes more than 160 vinted gelatin silver prints, made by the photographer himself.
The audience encounters three central themes in Brassaï’s photographic production: the city of Paris with its inhabitants and environments, the portraits of artists and their works, as well as his extensive documentation of the city’s graffiti.
The title of the exhibition alludes to how Brassaï opens up a hidden world with the help of his camera, his curiosity and his artistic practice, curator Anna Tellgren says.
His photographs invite us to decipher signs – the traces of events and human presence – and to search for the answer to the city’s many mysteries. Here, the extensive series of photographs of graffiti becomes an important part of understanding what Brassaï saw and how he moved in the city. In the exhibition, we follow in his footsteps.
In the exhibition, Brassaï’s short film “Tant qu’il y aura des bêtes” (As long as there are animals) from the mid-1950s is also shown. At the Cannes Film Festival in 1956 it was named the most innovative short film.
The Environments and People of the Night
Brassaï’s major breakthrough as a photographer came with the book “Paris de nuit” (“Paris by Night”), published in 1933. The black-and-white photographs with motifs in soft tones were the result of his long nocturnal walks through Paris – a city in transition between history and modernity. His camera lens captures environments and people in the light of street lamps and the light falling from the city’s most characteristic buildings.
After the success of “Paris de nuit”, Brassaï received requests to publish the material that includes his more intimate photographs of Paris by night – the bars, dance halls, gay clubs and brothels. But at that time, in post-war Paris, censorship had become stricter and publication had to wait.
It was not until about forty years later, in 1976, that the book “Le Paris secret des années 30” (The Secret Paris of the 30’s, 1976) was published, based on Brassaï’s large collection of photographs. In the book, he himself wrote and told the stories behind the images and about the personalities he had met and portrayed.
Press release from Moderna Museet
Installation view of the exhibition Brassaï – The Secret Signs of Paris at Moderna Museet, Stockholm, March – October, 2026 showing from left to right, Brassaï’s Fairgrounds, Place d’Italie (c. 1931); “No One Under 18 Allowed”, at the Fairgrounds (1932-33); Three Women Masked for the Parade (1931, below); The Hands of the Fortune Teller (1933, below)
Installation view of the exhibition Brassaï – The Secret Signs of Paris at Moderna Museet, Stockholm, March – October, 2026 showing from left to right, Brassaï’s Hotel du lion d’Or in the Chaconne Neighbourhood (c. 1934); Marlene, Paris (1937, below); Kiss on a Swing at a Street Fair (c. 1935-37)
At the age of twenty-five, the Hungarian-born Gyula Halász, better known as Brassaï, moved to Paris, the city that became his home and which came to shape his entire life and oeuvre. Brassaï was multifaceted, using a variety of media, including drawing, sculpture, painting and photography. Literature was another of his major interests and writing was part of his practice throughout his career.
In different contexts, Brassaï has elaborated on why he started photographing, on his longing to preserve everything he experienced and was fascinated by as a flâneur through Paris. Photography became the form of expression that best corresponded to what he wanted to achieve. A shimmer lies over the memories from the first years in the French capital, from the bars in the neighbourhoods around Montparnasse and Montmartre where he hung out with his friends until the early hours of the morning. Through the images, we gain access to the famous monuments, bridges, the small squares, markets, and fairgrounds – magically illuminated by the glow of gas lanterns. But we see them captured from another perspective, from other angles, presenting an alternative Paris, beyond the tourist hotspots. The exhibition focuses on the intense period in the 1930s when Brassaï became an innovator of nocturnal photography and one of the foremost portraitists of the city and life in Paris. The title of the exhibition, “The Secret Signs of Paris”, alludes to how the photographer opened the door to a hidden world using his camera, his curiosity, and his artistic practice [1]. His photographs challenge us to interpret signs – the traces of events and human presence – and to look for the answer to the many mysteries of the city. Here, the comprehensive series of photographs of graffiti becomes an important element in understanding what Brassaï saw and how he moved through the city. The exhibition allows us to follow in his footsteps.
Gyula Halász was born in 1899 in Brassó, Transylvania, which was part of Hungary at the time [2]. That was also where he grew up, with the exception of when his father, a professor of French, stayed in Paris with his family from 1903 to 1904 [3]. In the lead-up to the First World War, the family fled to Budapest. After serving a year in the Austro-Hungarian cavalry, Gyula Halász started studying at the art academy in Budapest in 1918. He moved to Berlin in 1920, where he continued studying art. In February 1924 he arrived in Paris, where he stayed for the rest of his life, never returning to his home country.
In the early years in Paris, he supported himself by writing articles for Hungarian and German magazines, illustrated with his photographs and those of other photographers. He assumed the pseudonym Brassaï, which means “from Brassó”, and continued to publish and work under this artist name. He moved in artist circles, and contacts in the Hungarian diaspora led to different kinds of commissions. Photographer André Kertész and Charles Rado were among his compatriots. The latter started the photo agency Rapho, which represented Brassaï both in Paris and New York. Around 1930 he began photographing more seriously, using a folding camera of the brand Voigtländer Bergheil with glass negatives (6.5 x 9 cm), switching to a Rolleiflex in the mid-1930s with medium-format (6 x 6 cm) negatives. His career as aphotographer took off fast and photography became his main source of income. He took all kinds of jobs, even photographing hairstyles for the famous hairdresser Monsieur Antoine and hiring two assistants to keep up [4]. In the early years, Brassaï moved around between small hotels in Montparnasse, where he even installed a darkroom to develop his own photographs, which he continued doing throughout his career.
Brassaï’s photographic production encompasses three main themes, of which the city of Paris is the most famous; but his portraits of artists and their work, as well as his interest in graffiti are also well-known. One of the many writers and artists that Brassaï met and socialised with over the years was Henry Miller, who lived in Paris from 1930 to 1939, becoming a friend and champion of Brassaï’s photography in several contexts [5]. Another major influence was Pablo Picasso. They were introduced to each other in 1932 by the publisher Tériade, ahead of a commission for the Surrealist magazine Minotaure, leading to a lifelong friendship. Brassaï continued to photograph Picasso’s sculptures and published the book “Conversations avec Picasso” (Conversations with Picasso) in 1964, which presents personal and everyday images of one of modern art’s most celebrated artists [6]. Other artists that he portrayed in text and image include Pierre Bonnard, Georges Braque, Salvador Dalí, Henri Matisse, Germaine Richier, and Jacques Villon – later collecting the portraits in a book about the artists in his life [7].
Brassaï’s major breakthrough as photographer came with the book “Paris de nuit” (Paris by night) which was published by Arts et Métiers graphiques in 1933, with a text by the writer and diplomat Paul Morand. The book contains sixty-four carefully selected photographs published in a spiral-bound soft-cover book (25 x 19.3 cm). The photographs are printed as full-page bleeds on matt, black, relatively thick paper. The title on the cover is written with red dots to resemble the city’s many neon lights. The book includes many of the famous motifs – the dark cobblestone streets, the narrow alleyways, the prostitutes, Notre-Dame, the metro, the Eiffel Tower, and the cats – all rendered in dark tones, only illuminated by the light emanating from the many characteristic buildings around Paris. The production of the book is a complex story, with Brassaï collaborating closely with the designer and publisher Charles Peignot and the journalist Jean Bernier, who wrote all the captions [8]. The book was part of a tradition from the late nineteenth century, in which established writers, and later filmmakers, were fascinated by the underworld of Paris, describing it from the perspective of a flâneur. Other popular publications at the time were the many magazines reporting on crime and publishing detective stories illustrated with images by Brassaï and other photographers who specialised in these nocturnal adventures.
After the success of “Paris de nuit”, Brassaï started a new collaboration around his more intimate photographs of Paris by night – the bars, dance establishments, the homosexual clubs, bordellos [9]. Despite the interest it generated, he decided to pursue other projects instead. After the war, the atmosphere had shifted and stricter censorship than in the 1930s was put into place, making it simply too difficult to publish these types of images openly. It wasn’t until the mid-1970s that Brassaï got in touch with the publisher Claude Gallimard, suggesting a number of book projects based on the vast material from Paris. This led to the book “Le Paris secret des années 30” (1976) for which Brassaï himself developed the design idea and was closely involved in the entire process [10]. With the distance of forty years, he told the story behind the images and whom we encounter. We learn of Grand Albert and his gang, La Môme Bijou, Kiki de Montparnasse, of the atmosphere at Le Monocle and Chez Suzy. But, as it turns out, we weren’t told everything – it was later revealed that Brassaï’s assistant Gabriel Kiss played the role of customer in the series from Chez Suzy, but the prostitutes were really working there. Brassaï staged a sequence of events at the brothel, which was probably necessary to fulfil the discretion guaranteed to customers and to obtain permission to enter as a photographer. The photographs included in the book were all taken between 1929 and 1934, and it’s as if Brassaï here achieved his photographic zenith and is one with the events, people, and surroundings he lived in and documented. The book has become one of the most important sources with regards to his practice as a photographer and is a classic within the history of photobooks.
At the time of Brassaï’s breakthrough as a photographer, the medium was in an intense phase of development, which was influenced by the breakthrough of the small-format camera and the major entry that photography made into the illustrated press [11]. News from all corners of the world was reported in the form of large photo reportages. There was a high demand for photographs and a market emerged in which different types of photo agencies and photo editors handled the assignments and managed the contacts. Examples of these popular magazines include the French Vu, and the English Picture Post, American Life and Look and in Sweden, from 1938 onwards, the illustrated magazine Se. While press photography was professionalised, many of the avant-garde movements, like Futurism, Bauhaus, Russian Constructivism, Dada, and Surrealism, were also interested in photography. Paris was a hub and had been the epicentre of new ideas since the discovery and establishment of photography from the mid-nineteenth century onwards. This is where many of the most famous photographers came to live and work, including Brassaï and his colleagues Henri Cartier-Bresson, Robert Doisneau, André Kertész, Germaine Krull, and Sabine Weiss. They were all representatives of the so-called humanist photography, a movement that arose in the interbellum years in parallel with technological, artistic, and commercial progress [12]. The streets and the life that unfolded on their sidewalks and in the cafés, became symbols in themselves for this special visual poetry, which enticed the photographers, like the writers and artists, to go on long, lonely rambles through the city.
On his recurring walks through Paris, Brassaï discovered street graffiti [13]. Throughout his entire oeuvre from the early 1930s onwards, these signs from walls are present. His work on the graffiti images continued until the late 1950s and was collected in a book by the photographer in 1960, where he sorted them into nine different themes [14]. The collection included the well-known “Le Roi Soleil” (The sun king) and other images of primitive masks, faces, and animals, as well as expressions of magic, love, and death. Brassaï wrote about his extensive series of graffiti photographs in several articles, interpreting these signs on the city walls as a kind of original writing, reading mythological figures into the motifs – demons, heroes, and gods [15]. One could define his collection of graffiti as a kind of archive of human expressivity and creativity. Later he wrote specifically about graffiti in Paris and reflected on his interest in this art form with neither name nor status [16].
In connection with his interest in graffiti, Brassaï collaborated with and moved in Surrealist circles for some years [17]. His first commission was to photograph Picasso’s sculptures for the debut issue of Minotaure in 1933 [18]. Thereafter his article on graffiti was published in the double number 3-4 and in the same number he collaborated with Salvador Dalí on an article about unintended sculptures, as well as one about modern architecture, in which his close-ups of the famous Art Nouveau Paris metro entrances were included [19]. He had many friends in the group and also shared Surrealism’s interest in the rediscovered French photographer Eugène Atget, who had documented the old Paris during the decade following the turn of the twentieth century. Later, Brassaï came to oppose the view of his photographs as “Surrealist” and unreal, claiming that everything he documented was real – which did not, however, hinder him from participating in Minotaure or André Breton’s books [20]. In this period he also created a series of nude studies, whose forms made their way into his sculptures and the series “Transmutations” (1934), a kind of engravings executed on his already exposed photographic glass plates, clearly influenced by his association with the Surrealist movement.
In the war years, Brassaï stayed in Paris, since he didn’t want to leave his photographic archive of negatives in the apartment on rue du Faubourg Saint-Jacques, where he had moved in 1935 and that he kept for the rest of his life. But he refused to have his photographs published during the war or to work for the German occupying forces and spent his time writing and drawing instead. After the war, he started photographing again and his photographs were among other things shown as enormous enlargements as part of the set design in several theatre productions. This was when he met Gilberte Boyer. They married in 1948 and she would accompany her husband on trips and work assignments. One of his most important employers at the time was Carmel Snow, the legendary editor of the fashion magazine Harper’s Bazaar in New York [21]. They had met in 1937 and collaborated for over twenty-five years. Initially he took portraits of artists in their studios for the magazine, but later he also engaged in fashion photography – from balls, exclusive dinner parties, and Parisian high society. In the 1950s he started producing photographic travel reportages for Harper’s Bazaar, travelling to Brazil, Greece, Italy, Morocco, Spain, and Sweden.
When the borders reopened after the Second World War, many young photographers went out into the world and established themselves for shorter or longer periods in the French capital to learn and experience. One of this next generation of photographers was the American photographer Louis Stettner, who made the acquaintance of Brassaï when he settled in Paris [22]. Stettner’s inner circle included the Frenchman Édouard Boubat and the Swedish photographers Rune Hassner and Tore Johnson [23]. They were inspired by and worked in the tradition of the humanist photographers. Rune Hassner was based in Paris from 1949 to 1957; he took on reportage commissions from various magazines, as well as working as a fashion photographer. Through the years he wrote a large number of articles for Swedish photo magazines, in which he introduced European photography and its practitioners to Swedish readers [24]. Brassaï was one of the people he met and interviewed, describing him as one of the most innovative photographers of our time and a well-known personality in French cultural circles [25]. The article is one of several published to highlight Brassaï’s visit to Stockholm and Vålådalen in December 1953.
In the 1950s, Brassaï became the object of several retrospective exhibitions and new book projects. Early on, he had participated in a number of group exhibitions of contemporary photography at galleries in Paris and already in 1937 six photographs by him were included in the exhibition “Photography 1839-1937” at the Museum of Modern Art in New York. Later, in 1956, MoMA presented the celebrated exhibition “Language of the Wall: Parisian Graffiti Photographed by Brassaï”, which was followed by a retrospective in 1968. The exhibition led to him being rediscovered by American photo historians, curators, and gallerists, which resulted in further exhibitions and inclusion in the collections of many of the major art institutions in the US, as well as the many important museums and collections in France. He stopped photographing in the 1970s, stating that he preferred to travel in his own universe of photographs and make them better known [26]. In the last ten years of his life, he received several prizes and distinctions, such as the first Grand Prix National de la Photographie in 1978. Brassaï died in 1984 in Beaulieu-sur-Mer on the French Riviera. His spirit hovers over all of us who love Paris and return again and again to visit our own favourite places – and over new generations of young people who travel there for several months or years to find themselves and the soul of the city.
Anna Tellgren
Notes
1/ The title is inspired by the book Paris’ hemliga tecken, Stockholm: Wahlström & Widstrand, 1952, with texts by Göran Schildt and photographs by Tore Johnson. The book is one of many slightly more poetic travelogues from Paris that came about as a collaboration between a writer or poet and a photographer.
2/ For a detailed biography see Giberte Brassaï, “Biographie”, in Alain Sayag and Annick Lionel-Marie, Brassaï, Paris: Centre Pompidou and Éditions du Seuil, 2000, pp. 303-305. See also, Stuart Alexander, “Chronology”, Brassaï, ed. Peter Galassi, Madrid: Fundación Mapfre, 2018, pp. 338-343.
3/ Brassaï’s father, whose name was also Gyula Halász, was professor of French literature at the local university. His mother’s name was Matilde Verzár, and he had two younger brothers, Kálmán Halász (1900-1978) and Endre “Bandi” Halász (1913-1944). Brassaï wrote to his parents regularly – these letters were published in Hungarian in 1980 and later in translation. They are the main source of information when it comes to his early life and career, see Brassaï, Letters to My Parents, Chicago: The University of Chicago Press, 1997.
4/ For an in-depth analysis and interpretation of all the different steps in Brassaï’s career, see Peter Galassi, “Brassaï: Photographer”, Brassaï, ed. Peter Galassi, Madrid: Fundación Mapfre, 2018, pp. 10-71.
5/ Henry Miller wrote an essay about Brassaï, “The Eye of Paris”, c. 1932, which was published in Henry Miller, Max and the White Phagocytes, Paris: Obelisk Press, 1938. The essay was also published in the photobook Brassaï, Paris: Édition Neuf, 1952, edited by Robert Delpire and Pierre Faucheux.
6/ The book was illustrated with 53 photographs by the photographer, Brassaï, Conversations avec Picasso, Paris: Gallimard, 1964.
7/ Brassaï, Les artistes de ma vie , Paris: Éditions Denoël, 1982.
8/ See also Sylvie Aubenas and Quentin Bajac, “From Paris After Dark to the Secret Paris of the 1930s”, Brassaï Paris Nocturne, London: Thames & Hudson, 2013, pp. 11-33. The book was printed in an edition of 12,000 starting at the end of 1932 and into early 1933, which is why both years of publication occur in bibliographies.
9/ It resulted in the book Volupté de Paris, Paris: Paris-Publications, 1934, published in a small edition by Victor Vidal, who worked with erotic literature. Brassaï was very critical of how the content was changed without consulting him and he never included it in his own bibliography. When it came to the photographs in Paris de nuit, the publisher never returned the negatives to the photographer and they were first found in 1984 in the archives of the publishing house Flammarion, which had bought up Arts et Métiers graphiques, see Kim Sichel, Brassaï: Paris le jour, Paris la nuit, Paris: Musée Carnavalet, 1988.
10/ Brassaï, Le Paris secret des années 30, Paris: Éditions Gallimard, 1976. In English translation by Richard Miller, The Secret Paris of the ’30s, London: Thames & Hudson, 1976.
11/ See Stuart Alexander, “Brassaï and the Illustrated Press”, Brassaï, ed. Peter Galassi, Madrid: Fundación Mapfre, 2018, pp. 72-87.
12/ On humanist photography see Marie de Thézy, La photographie humaniste 1930-1960, Histoire d’un movement, Paris: Contrejour, 1992.
13/ See also Karolina Lewandowska, Graffiti Brassaï. Le langage du mur, Paris: Édition du Centre Pompidou and Édition Xavier Barral, 2016.
14/ Brassaï Graffiti. Zwei Gespräche mit Picasso, Stuttgart: Chr. Belser Verlag, 1961. Graffiti de Brassaï, Paris: Les éditions du temps, 1960. See also the later expanded edition in English Brassaï Graffiti, Paris: Flammarion, 2002.
15/ Brassaï, “Du mur des cavernes au mur d’usine”, Minotaure, no. 3-4, 1933, pp. 6-7.
17/ See further La Subversion des images: Surréalisme, photographie, film, eds. Quentin Bajac and Clément Chéroux, Paris: Édition du Centre Pompidou, 2009.
18/ André Breton, “Picasso dans son element”, Minotaure, no. 1, 1933, pp. 8-29.
19/ Salvador Dalí and Brassaï, “Sculptures involontaires”, Minotaure, no. 3-4, 1933, p. 68; Salvador Dalí, “De la beauté terrifiante et comestible, de l’architecture modern’ style”, Minotaure, no. 3-4, 1933, pp. 69-76.
20/ Sylvie Aubenas, “Brassaï and Paris by Night”, Brassaï Paris Nocturne, London: Thames & Hudson, 2013, pp. 110-113. Three night photographs by Brassaï are included in André Breton, L’Amour fou, Paris: Gallimard, 1937.
21/ Together with the Russian art director Alexey Brodovitch, Carmel Snow made the fashion magazine Harper’s Bazaar into one of the more innovative magazines in the 1940s and ’50s, both in terms of form and content. See also Gabriel Bauret, Alexey Brodovitch, Paris: Éditions Assouline, 1998.
22/ Brassaï later wrote a foreword dated 1983, published in the book by Louis Stettner, Early Joys. Photographs from 1947-1972, New York: Janet Iffland, 1987, pp. 7-9.
23/ For more information on the young Swedish photographers in Paris, see Anna Tellgren, Tio fotografer. Självsyn och bildsyn. Svensk fotografi under 1950-talet i ett internationellt perspektiv (Ten Photographers. Self-perception and Pictorial Perception. Swedish Photography in the 1950s in an International Perspective), diss., Linköping Studies in Arts and Science no. 151, Stockholm: Informationsförlaget, 1997, pp. 151-229.
24/ See for example Rune Hassner, “Fotobohemer, skickliga yrkesmän och ‘konstfotografer'”, Svensk Fotografisk Tidskrift, no. 7, 1949, pp. 139-142. For a compilation see also Rune Hassner, Bilder & Ord. Bibliografi, filmografi, utställningsförteckning med mera, eds. Rune Hassner and Birgitta Forsell, Visuellt. Konst- och bildvetenskapliga institutionens skriftserie no. 7, Gothenburg: Gothenburg University, 2002. In 1988 Rune Hassner (1928-2003) became the first director of the Hasselblad Centre (part of the Hasselblad Foundation in Gothenburg) – a position that he held until his retirement in 1994.
25/ Rune Hassner, “Brassaï”, Nordisk Tidskrift för Fotografi, no. 1, 1954, pp. 13-15.
26/ From an interview with Brassaï in 1974 in Paul Hill and Thomas Cooper, “Brassaï”, Dialogue with Photography, Manchester: Cornerhouse Publication, 1979/1992, pp. 38-42.
Installation view of the exhibition Brassaï – The Secret Signs of Paris at Moderna Museet, Stockholm, March – October, 2026 showing Brassaï’s Graffiti – Croix de Lorraine (Series II) (c. 1945)
Installation view of the exhibition Brassaï – The Secret Signs of Paris at Moderna Museet, Stockholm, March – October, 2026 showing from left to right, top to bottom, Brassaï’s Graffiti from series III The Birth of Mankind c. 1932/1956; Graffiti from series III The Birth of Mankind c. 1932/1956; Graffiti from series VII Death c. 1932/1956; Graffiti from series VIII Magic c. 1932/1956
Installation view of the exhibition Brassaï – The Secret Signs of Paris at Moderna Museet, Stockholm, March – October, 2026 showing Brassaï’s Graffiti de la série IX “Images primitives”/Graffiti from Series IX “Primitive Images” (c. 1932-1956)
Hungarian-born Gyula Halász, better known as Brassaï, was only twenty-five when he moved to Paris, the city that became his home and shaped the rest of his life and work. His walks through the city awakened a longing to preserve all the fascinating things he saw and experienced, not least the people and milieus that emerged after nightfall. The exhibition focuses on the intense period in the 1930s when Brassaï became an innovator of nocturnal photography and one of the foremost portraitists of Paris.
Brassaï was born in 1899 in Brassó, Transylvania, and studied art in Budapest and Berlin. Versatile in his practice, he worked across drawing, painting, sculpture and photography. Literature was another major interest, and writing remained important to him throughout his career. After arriving in Paris in 1924, he initially worked as a journalist. His breakthrough as photographer came with the 1933 book Paris de nuit. It features many of the city’s famous motifs, evocatively illuminated by the glow of gas streetlights – Notre-Dame and the Eiffel Tower, bars and dancehalls, performers and workers, policemen and thieves.
He moved in artist circles and his interaction with the Surrealists, as well as his friendship with Pablo Picasso, sharpened his awareness of the unexpected and overlooked. On his rambles through the city, Brassaï also discovered street graffiti and he continued to document these signs, symbols and traces of life in a comprehensive series of photographs until the 1950s. He compared them to children’s drawings and cave paintings, but also saw similarities with contemporary art. In the final years before his death in 1984, Brassaï received major recognition, including numerous awards and exhibitions around Europe and the USA.
The title of the exhibition, The Secret Signs of Paris, alludes to how the photographer revealed a hidden world through his camera. His photographs become clues to interpreting the city’s poetry. In the exhibition, we follow Brassaï through all hours of the day, from evening to early morning, during the day in the streets and squares of Paris, and back to the night’s shadowy activities.
Technique and Practice
Around 1930, Brassaï started photographing in earnest. He used a Voigtländer Bergheil folding camera with a glass negative (6.5 x 9cm), and, from the mid-1930s onwards, a Rolleiflex with medium-format negatives (6 x 6cm). In the early years he installed a darkroom in the hotel he was staying at, in which he developed his own photographs. In 1935, he bought an apartment on rue du Faubourg Saint-Jacques in Montparnasse, which was both his home and his studio, including a darkroom and his photographic archive. Throughout his career he continued to develop his own photographs. Initially the prints were relatively small, from c. 5 x 5cm to c. 20 x 30cm, on different types of photo papers. From the 1950s onwards, Brassaï worked on larger prints, up to 40 x 50cm, on glossy paper in editions of c. 30, adapted to the American market.
Paris has long been perceived as the city above all others for lovers and romantic encounters. Many of Brassaï’s nocturnal photographs show couples entwined on benches, in parks and in dark allies. The flip-side of this was the widespread prostitution, that had women offering their services to passing men in the alleyways and hotels around town. Brassaï often photographed the women who worked the streets around the old fresh food market in central Paris, Les Halles, which was demolished in 1971. His images speak the tough lives of the prostitutes, but also the strong sense of community among them and the invisible safety net that it provided. In recent years, his photographs of prostitutes and other marginalised people have been criticised for aestheticising vulnerable lives and reinforcing the position of power that the photographer – and thus also the viewer – occupies. Brassaï himself saw his nocturnal photographs as a way of preserving the old, mythical Paris that writers and artists have depicted for centuries.
Brassaï and Swedish Photographers
When the borders re-opened after the Second World War, a great number of young photographers went abroad. Several of them established themselves in Paris to learn, work, and experience the city – some briefly, others for longer periods of time. Among them were the Swedes Rune Hassner and Tore Johnson. Hassner started his career as a fashion and documentary photographer, but he also wrote articles for Swedish photography magazines, in which he introduced European photography to his colleagues and photo enthusiasts back home in Sweden. One of the people he met and interviewed was Brassaï, who in turn was producing travel reportages for Harper’s Bazaar, visiting places such as Brazil and Greece – as well as Stockholm and Vålådalen, in December 1953. During this visit, he had his portrait taken by Hans Hammarskiöld, who, together with Hassner and Johnson, belonged to the circle of Swedish photographers who debuted in the early 1950s, and later formed the influential group Tio fotografer (Ten Photographers).
Les Bals Musette
In the 1976 book Le Paris secret des années 30 (The Secret Paris of the ’30s) Brassaï recounts about the dance halls that were popular at the time, the so-called Bals musette, which were often located on the outskirts of Paris. Young working-class women and men gathered there to socialise and dance to small orchestras of brass instruments, drums, and accordions. The bal musette scene had its own fashion, music, codes, and often even interiors, featuring fixed benches upholstered in red imitation leather, glass lights, and multicoloured paper garlands hanging from the ceiling. It radiated poetry, gaiety, and dreams, but also came with risks. This was where pimps found young girls to exploit, and knife fights between rival gangs were not uncommon. Several of these establishments were on the rue de Lappe in the 11th arrondissement. With time they were bought up and remade into a kind of scenography for tourists looking for the “real Paris”, seeking out the city’s underworld.
The Balls
At this time, several large-scale public balls were organised, that would spread across Parisian streets and squares. At the ball for medical students that was held every autumn after their final exams the participants appeared almost naked, covered in nothing but gold glitter. One of the more famous balls was Le Bal des Quat’z’Arts, the art students’ spring ball. Although the theme changed from year to year, for example from Egyptian to Gallic, not many people actually wore a costume. Instead the event was known for its playful atmosphere. The festivities kicked off in the art school courtyard, continuing into the rue Bonaparte and the surrounding quarters, ending in a morning dip in the fountain at the Place de la Concorde. One of the balls that Brassaï attended and documented was Magic-City, the legendary masquerade ball organised for a few years around 1930 for members of the queer community. Here he met all of them who came to dance, party and be seen. Brassaï’s photographs today stand as important testimonies to an early queer nightlife in Paris.
Queer lives
In the 1930s, there were a few meeting places for the city’s queer communities in the area around Montparnasse in Paris. One of the first lesbian bars was Le Monocle on boulevard Edgar-Quinet, or “the temple of Sapphic love”, as Brassaï put it. He was introduced to the scene by “La grosse Claude”, one of the regulars. Fat Claude’s real name was Violette Morris and she was a renowned athlete, who during the Second World War, was recruited as a Nazi spy. She was killed in 1944 by activists in the French Resistance Movement. Brassaï’s photographs of the queer scene were early, unusually candid depictions of what was then a marginalised and often disregarded group. In his writings, he often reiterated how he was drawn to the people who lived and worked at night, describing his method of being introduced and accepted into the scenes that he moved in. He never photographed in secret. Even so, he was more than once threatened and had his plates stolen by those who did not want to risk being recognised and exposed.
Graffiti
Brassaï discovered the city’s graffiti on his recurring rambles through Paris. From the early 1930s until the end of the 1950s he worked on documenting these signs on walls and facades. Over the years he refined his method, carrying a notepad around with him in which he sketched the figures and noted their locations so he could revisit them. Sometimes he returned to photograph them in better light or he would find them several years later to examine how they had developed. In this way he assembled a kind of visual archive of human expression and creativity. Brassaï collated the images in the book Graffiti (1960), where he organises them in nine chapters, each with their own theme. The first chapter was entitled “The Wall as Proposition”, followed by “Language of the Wall”, “The Birth of Mankind”, “Masks and Faces”, “Animals”, “Love”, “Death”, “Magic”, and “Primitive Images”.
Presented here are around forty of Brassaï’s graffiti photographs, including the well-known Le Roi Soleil (The Sun King). In several articles, Brassaï wrote about his comprehensive graffiti series, explaining how he understood these spontaneous signs on the city’s walls as a form of archetypal writing. He saw the motifs as representing mythological figures like demons, heroes and gods, comparing them to children’s drawings and cave paintings. He shared this interest with the Surrealists and one of Brassaï’s first articles was published under the title “Du mur et des cavernes au mur d’usine” (From cave walls to factory walls) in Minotaure no. 3-4 1933, a Surrealist-oriented art journal.
Brassaï developed his thoughts on graffiti in dialogue with others, notably the artist Pablo Picasso and the poet Jacques Prévert. At the same time, the French artist Jean Dubuffet developed the term l’art brut (raw art) in his search for a more original, primitive imagery beyond the art establishment. Graffiti came to be part of this artistic movement and Dubuffet included photographs by Brassaï in his vast collection, now housed at the museum Collection de l’Art Brut in Lausanne. The first monographic exhibition of the series, Language of the Wall. Parisian Graffiti Photographed by Brassaï, was presented in 1956 at the Museum of Modern Art in New York. It featured some 120 photographs, among them a number in larger formats, a few of which are also included in this exhibition.
Conversations with Picasso
The artist who came to mean the most to Brassaï was Pablo Picasso. They were introduced to each other in 1932 by the publisher Tériade, ahead of an assignment for the Surrealist magazine Minotaure. This led to Brassaï photographing Picasso’s sculptures for an article by André Breton. In the 1930s, they moved in the same circles, but it was not until the war years in the early 1940s that their friendship deepened. Brassaï continued documenting Picasso in his studio – his sculptures, work process, visiting artist friends – collating his recollections of their encounters in the book Conversations with Picasso (1964). Reflected in recurring motifs in their respective oeuvres, such as acrobats, horses and clowns, is their shared love of the circus, which they often attended together. There are several examples from the legendary Cirque Medrano on boulevard Marguerite de Rochechouart in Montmartre, a place that had been a hub for artists and performers since the late nineteenth century.
Chez Suzy
In the 1930s, bordellos were still a lucrative industry. The businesses were spread all over the city, both in affluent areas and in those marked by organised crime. Often there was just an illuminated, enlarged house number sign indicating that there was a bordello behind the closed doors. Chez Suzy was a smaller bordello in the Latin Quarter, where clients could come and go completely anonymously. Brassaï photographed the Madame and “her girls”, for example when meeting with a client. Later, it was revealed that the man seen in these images was Brassaï’s assistant Gabriel Kiss and that the captured events were staged, which was probably necessary in order to uphold the promised customer discretion. When the so-called Marthe Richard law came into power in 1946, the system in which prostitutes were controlled by the state, forced to register with the police and undergo regular medical exams was abolished. The law also criminalised pimping. As a result, over one hundred bordellos in Paris closed down.
As Long as There Are Animals
In the years 1954 and 1955 Brassaï returned again and again to Zoo de Vincennes (Parc zoologique de Paris), not with his still camera but with a 16 mm film camera. The result is the 1956 short film Tant qu’il y aura des bêtes (As Long as There Are Animals), in which the animals’ movements and behaviour produce a kind of visual choreography. The film consists of a series of scenes that register rather than explain, working with repetition, rhythm, and form. It was first shown at the Cannes film festival in 1956, where it won an honorary mention for innovative and experimental short film: Mention au film de recherche – court métrage. In retrospect, it appears as a moving-image work related to Brassaï’s graffiti studies, reflecting his interest in the hidden patterns of existence.
Violette Morris, known as Fat Claude, was a multi-talented athlete who excelled in soccer, car racing, shot put, and boxing during the 1920s. She was well-known in Parisian bohemian and queer circles, frequently dressed in men’s suits, and captured iconically by Brassaï. During the Nazi occupation of France, Morris became an informer and collaborator for the Gestapo, accused of passing French military secrets and intelligence to Germany. She was assassinated by the French Resistance in 1944 while driving her car in Normandy.
Brassaï – The Secret Signs of Paris exhibition catalogue cover
Explore the exhibition catalogue
An extensive catalogue accompanies the exhibition, published by Moderna Museet and Silvana Editoriale, Milan.
The catalogue reproduces all of the more than 160 photographs included in the exhibition and features, among other texts, a piece by Brassaï himself, one by his nephew Philippe Ribeyrolles, along with a newly written essay by the French author Nina Bouraoui. Design: Malmsten Hellberg, Stockholm.
Writers: Nina Bouraoui, Brassaï, Philippe Ribeyrolles, Anna Tellgren Editor: Anna Tellgren Binding: Hardcover with dust jacket Language: English Graphic design: Malmsten Hellberg Format: 21.7 × 28 cm Number of pages: 208 Number of images: approx. 160
ISBN 978-91-988136-1-6
Published in collaboration with Silvana Editoriale, Milan
Moderna Museet, Stockholm
Moderna Museet is ten minutes away from Kungsträdgården, and twenty minutes from T-Centralen or Gamla Stan. Walk past Grand Hotel and Nationalmuseum on Blasieholmen, opposite the Royal Palace. After crossing the bridge to Skeppsholmen, continue up the hill. The entrance to Moderna Museet and Arkitekturmuseet is on the left-hand side.
It’s such a pity when a gallery or museum spends an inordinate amount of time, energy and money to put on an exhibition and then doesn’t do all it can to promote the exhibition by providing media and installation photographs.
As I observed to my friend Colin Vickery on the Art Blart Facebook page, I can’t really comment on the exhibition as there were so few media images and one installation photo that I really don’t have much to go on. I had to scrounge around just to get enough to make up this post
Of course each of the photographers I admire in their own right but together … that would be incredible to see. One can only imagine the energy bouncing between the images of three masters of photography.
Suffice to say I have ordered the catalogue even though it’s $110 in Australia on Amazon.
Dr Marcus Bunyan
Many thankx to Princeton University Art Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Soon, the grand sweep of the exhibition becomes clear as it maps a shared strategy among this trio in the formation of a network of institutions, criticism, publishing, museum engagement, and, perhaps most crucially, an educational infrastructure that would embed photography as an academic and cultural participant. As a premise, it is both startling and self-evident and vividly demonstrates the coordination of parts among the Museum of Modern Art, Aperture, the George Eastman Museum, Rhode Island School of Design (RISD), and the IIT Institute of Design in Chicago. Indeed, Photography as a Way of Life is as much about the careers of each photographer and their advancement as they chaperoned the medium. The exhibition does not seem a matter of cunning and opportunism, as it might be perceived, but of passion and commitment. …
To its credit, the exhibition includes a second chapter in the chronicle. By 1970, a new generation of photographers who had studied at RISD, Rochester Institute of Technology and the newly formed Visual Studies Workshop in Rochester, in the spirit of the times, departed from the received wisdom of the photograph as a formalist device. From the tutelage of Callahan and Siskind, especially, came an assertion of the photograph not as an object of wistful contemplation but one of cultural rhetoric. It was not a delicate mimetic device but a public construction, a surface and a process. Graduates of this school of thought and practice became a pedagogical diaspora that propagated photographic thinking as we know it today.”
Photography as a Way of Life examines the careers of Minor White, Aaron Siskind, and Harry Callahan – influential photographers, teachers, and thinkers in the United States in the mid-twentieth century – and traces their impact on the field of photography. Training and inspiring makers through courses, workshops, exhibitions, magazines, and photobooks, these artists built a devoted audience for their work while shaping the aspirations of their era.
Amid exploding markets for Kodak’s snapshots and Magnum’s decisive moments, White, Siskind, and Callahan shared inclinations toward abstraction and toward deeply personal photographs. Seeking to carve out a new role and status for art photography, just as a new crop of photography programs were emerging within higher education, they established themselves as icons among the first generation of college-level photography teachers.
Drawing on the rich photography holdings of the Princeton University Art Museum and its Minor White Archive, this exhibition brings together iconic and previously unpublished colour and black-and-white prints, rarely seen slides, and an array of published and archival materials that illuminate a vision of making a living and shaping a life through photography.
Text from the Princeton University Art Museum website
Installation view of the exhibition Photography as a Way of Life: Minor White, Aaron Siskind, and Harry Callahan at the Princeton University Art Museum, Princeton, NJ, 2026 Photo: Joseph Hu
“In bringing their works together in dialogue, [Brendan] Fay illustrates how White, Siskind, Callahan – each in his own way and as a spiritual collective – not only elevated photography into a way of making a comfortable living, but as a manifesto for how to be in the world. As fellow travelers, they would shape their medium into a discipline defined by an intentional and introspective way of seeing, that is, one that has a worldview, a morality. …
Minor White, Aaron Siskind, and Harry Callahan shared a propensity for abstraction, which set their vision apart from the post–World War II years when documentary photography, Kodak’s snapshots, and Magnum’s “decisive moments” dominated the market. They were steadfast in their artistic right to ambiguity and improvisation. They rejected reproducibility, resisted interpretation. They carried on the Romantic tradition of superimposing one’s emotional landscape onto natural terrain. They saw the ethereal in urban settings. They associated themselves with the Beat poets and Abstract Expressionists. White, in particular, carved out a space for so-called creative photography as the founding editor of this magazine and championed the works of Callahan and Siskind in its pages. (White co-founded Aperture in 1952 and was one of the magazine’s longtime editors. His archives are held by the Princeton University Art Museum.)”
The Princeton University Art Museum announces Photography as a Way of Life: Minor White, Aaron Siskind, and Harry Callahan, an exhibition exploring the intertwined careers of three of the most influential photographers and teachers in mid-twentieth-century America.On view in Princeton from April 19 through September 7, 2026, and then traveling, the exhibition draws on the rich photography holdings of the Princeton University Art Museum and its Minor White Archive to bring together iconic and previously unpublished colour and black-and-white prints, rarely seen slides, and an array of published and archival materials that illuminate a vision of making a living and shaping a life through photography.
“Photography as a Way of Life highlights a pivotal historical moment when photography emerged as a serious academic discipline and a viable artistic profession, and thus as a way of being and living,” said James Steward, Nancy A. Nasher-David J. Haemisegger, Class of 1976, Director of the Princeton University Art Museum. “White, Siskind, and Callahan did more than make extraordinary photographs: They built institutions, communities, and ideas that continue to shape how photography is taught and valued today.”
Tracing the decades after World War II, Photography as a Way of Life explores how Minor White, Aaron Siskind, and Harry Callahan redefined photography as both an artistic practice and a professional vocation. Coming to the medium from distinct backgrounds and visual traditions, these three artists converged around shared commitments to abstraction, deeply personal expression, and the belief that photography could sustain a life’s work.
The exhibition takes its title from a recurring phrase in Minor White’s diaries and letters, in which he described photography as a “way of life.” For White, the phrase encompassed artistic ambition, pedagogy, and personal growth – a vision he advanced as a founding editor of Aperture, the influential photography magazine launched in 1952. Siskind and Callahan were central figures in White’s vision for the field, with their work prominently featured in Aperture alongside broader discussions of photographic education and postwar art photography.
“Princeton University holds a central place in the academic study of photography, with a proud legacy of stewardship and landmark scholarly exhibitions,” said Brendan Fay, exhibition curator. “The Minor White Archive is one of the cornerstones of that legacy, and it’s an honour to present an exhibition that builds on that strength during the new Museum’s inaugural year.”
From the 1940s through the 1970s, amid booming markets for Kodak snapshots and photojournalism, photography began to take root within higher education. White, Siskind, and Callahan were among the first generation of college-level photography teachers, developing models of photographic education during the GI Bill era that quickly spread across colleges and universities in the United States. While achieving critical success through books, exhibitions, and museum acquisitions, these artists also helped catalyze the creation of academic programs, publishing ventures, and professional societies that defined the postwar photographic landscape.
Highlights of the exhibition include a reconstruction of White’s Slow Dance, a projected sequence of color slides performed for live audiences in the late 1960s and 1970s, as well as materials from magazines and journals ranging from Popular Photography and Apertureto poetry publications and The Black Photographers Annual. The exhibition also traces the expansive networks shaped by these photographers, featuring works by more than forty additional artists, from Alfred Stieglitz and Dorothea Lange to Anthony Barboza and Donna-Lee Phillips.
The exhibition is accompanied by a richly illustrated exhibition catalogue copublished by the Museum and Princeton University Press. While on view in Princeton, the exhibition will inspire a number of public programs, including a two-day symposium beginning April 30, a film series, and a talk by curator Brendan Fay on April 18. Attendees to the curatorial talk will have the opportunity to preview the exhibition alongside Museum members prior to the exhibition’s public opening the following day. Visit the exhibition website for a full list of related programming.
Photography as a Way of Life is curated by Brendan Fay, associate professor of art history in the School of Art & Design at Eastern Michigan University andis organized and presented by the Princeton University Art Museum. Following its debut at Princeton, the exhibition will travel through 2028, with presentations at the High Museum of Art in Atlanta; the Addison Gallery of American Art in Andover, Massachusetts; and the Nelson-Atkins Museum of Art in Kansas City, Missouri.
Exhibition credits
Photography as a Way of Life: Minor White, Aaron Siskind, and Harry Callahan is made possible by leadership support from Jim McKinney and the late Valerie McKinney, with generous support from Anne Robinson Woods and Sandy and Robin Stuart.
Additional support is provided by Black Dog Private Foundation; the Curtis W. McGraw Foundation; the Melanie and John Clarke Exhibition Fund; the Peter C. Bunnell Photography Fund; Princeton University’s Department of Art & Archaeology, Effron Center for the Study of America, and Humanities Council; Kathryn Richardson and family; and contributors to the Director’s Exhibition Fund.
The accompanying publication is made possible in part by the Andrew W. Mellon Foundation Fund; the Barr Ferree Foundation Fund for Publications, Department of Art & Archaeology, Princeton University; Furthermore: a program of the J. M. Kaplan Fund; and the Wyeth Foundation for American Art.
Press release from Princeton University Art Museum
Minor White, Aaron Siskind, and Harry Callahan carved out a new role for photographers and their art in the decades after World War Two. Photography as a Way of Life traces how these influential teachers and theorists reimagined the medium as a livelihood and a life’s work.
Together with growing markets for snapshots and photojournalism, the postwar years saw the emergence of photography as an established field of study in higher education. In this beautifully produced book, Brendan Fay takes readers from the late 1940s through the 1970s to explore how White, Siskind, and Callahan transformed the ways photography was taught, shown, and understood. Inclined toward abstraction and personally expressive images, they modeled a commitment to art in the face of commercial and professional pressures. In classrooms and private workshops and through exhibitions, photobooks, and magazines-including Aperture, with White as its founding editor-they offered training and inspiration while building a devoted audience for their pictures.
Blending stunning illustrations with rare archival material published here for the first time, Photography as a Way of Lifebrings together the work of three boldly inventive artists and educators who opened new possibilities for photography in postwar America and exemplified a vision of learning and living through photography.
Published in association with the Princeton University Art Museum
“While the photographs in this posting portray the cultures and communities associated with mining, the industries, towns and cities, the people and the landscapes what they don’t account for is the ongoing physical, psychological and emotional scars that the results of mining leave behind.” Dr Marcus Bunyan
Exhibition dates: 23rd May – 23rd August, 2026
C0-curators: Diane Waggoner, curator of photographs at the National Gallery of Art and Kristen Gaylord, Herzfeld Curator of Photography and Media Arts at Milwaukee Art Museum
Mining helps improve our lives in so many ways and yet the harm it causes the planet, the severe environmental degradation, indigenous dispossession and systemic violence associated with resource extraction is undeniable.
The phrase “the rape of the earth” “characterises the literal carving up of the landscape. Large-scale operations – such as open-cut mining – strip topsoil, destroy ecosystems, pollute water tables, and leave irreversible physical scars on the terrain. Indigenous groups, such as the Sámi feminists against mining in Sábme, use the phrase to describe how mining fractures the sacred, interdependent web of connection between land, humans, and nonhuman lifeworlds.” (Google AI)
The interdependent web of connection between land, humans and nonhuman lifeworlds running beneath the surface, hidden from view, that life force of the world and the cosmos that is so violently ruptured in the mining process.
While the photographs in this posting portray the cultures and communities associated with mining, the industries, towns and cities, the people and the landscapes what they don’t account for is the ongoing physical, psychological and emotional scars that the results of mining leave behind. Scars that riddle the earth’s surface as much as they do the minds of the people that love this planet as a holistic entity. You only have to look at Zig Jackson, Rising Buffalo’s photograph Indian Man at Kennecott Copper Mine, Tooele, Utah (2004, above) to understand what I mean.
When it’s all too late only then will we have realised what we have lost.
Dr Marcus Bunyan
. Many thankx to the National Gallery of Art, Washington for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Unknown photographer (American) Portrait of a California gold miner with pick and shovel c. 1855 Quarter-plate daguerreotype Plate (quarter): 4 1/4 x 3 1/4 in. (10.8 x 8.26cm) Case (tray): 4 11/16 x 3 5/8 x 3/8 in. (11.91 x 9.22 x 0.97cm) The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of the Hall Family Foundation
Environmental impacts of mining
The environmental impacts of mining are significant. Establishing mining sites requires an enormous amount of construction, which often causes deforestation and loss of wildlife habitats and biodiversity.
Surface mines, which require the use of explosives and heavy machinery to expose materials near the earth’s surface, cause massive canyon-sized holes in the land and lead to soil erosion and degradation around surrounding areas. Mountaintop removal mining, a method of coal mining, uses explosives to blast the entire top of a mountain.
Surface mines create a huge amount of waste materials. Mines release harmful substances into the air and water, and can cause serious health issues if inhaled or consumed. Mines also release acidic water, which can kill marine life and make freshwater unsuitable for drinking. Underground mining produces fewer waste materials than surface mines, but they are risky for mine workers.
The mining industry emits carbon via transportation and energy use, and produces fossil fuels – the largest source of carbon emissions in the world.
Even after mines are decommissioned, they continue to impact the environment. Acid mine drainage occurs after mines have been abandoned, and results in heavy metals entering water systems and harming the plants, animals and humans that consume it.
Social impacts of mining
Mining can create employment opportunities, boost economies and provide investment for local development projects. However, mining operations that don’t respect human rights or protect the environment can cause significant harm to surrounding communities.
American 19th Century Shipping Oil – Story Farm 1860s-1870s Stereoscopic albumen silver print Image/sheet: 7.94 × 14.92cm (3 1/8 × 5 7/8 in.) Mount: 8.73 × 17.46cm (3 7/16 × 6 7/8 in.) National Gallery of Art, Washington Gift of Mary and Dan Solomon Public domain
James F. Ryder (American, 1826-1904) Atlantic & Great Western Railway 1862 Albumen print Image/sheet: 18.8 x 23.7cm (7 3/8 x 9 5/16 in.) Mount: 25.3 x 32.4cm (9 15/16 x 12 3/4 in.) Mat: 14 x 18 in. National Gallery of Art, Washington Alfred H. Moses and Fern M. Schad Fund Public domain
Thomas H. Johnson (American, b. 1821 – d. ?) Gibson’s Breaker, Rushdale, Del. & Hudson Canal Co., c. 1863-1865 Albumen print Image/sheet: 30.7 x 41cm (12 1/16 x 16 1/8 in.) Mount: 44.3 x 53cm (17 7/16 x 20 7/8 in.) Mat: 20 x 26 in. National Gallery of Art, Washington Alfred H. Moses and Fern M. Schad Fund Public domain
Thomas H. Johnson (American, b. 1821 – d. ?) Birdsey Breaker, Archbald, Del. & Hudson Canal Co., 1863-1865 Albumen print Image/sheet: 30.6 x 40.8cm (12 1/16 x 16 1/16 in.) Mount: 45.4 x 55.6cm (17 7/8 x 21 7/8 in.) Mat: 20 x 26 in. National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund Public domain
Andrew Joseph Russell (American, 1829-1902) Valley of Bitter Creek from Coal Mine 1867-1869 Albumen silver print 22.86 x 29.53cm (9 x 11 5/8 in.) The Museum of Modern Art, New York Gift of Union Pacific Railroad Company
Timothy H. O’Sullivan (American born Ireland, 1840-1882) Savage Mine, Curtis Shaft, Virginia City, Nevada 1868 albumen silver print Image: 14.45 x 19.53cm (5 11/16 x 7 11/16 in.) Sheet: 19.53 x 26.83cm (7 11/16 x 10 9/16 in.) Mount: 31.75 x 37.78cm (12 1/2 x 14 7/8 in.) Amon Carter Museum of American Art, Fort Worth, Texas
Timothy O’Sullivan photographed men preparing to descend 900 feet into the mine.
Timothy H. O’Sullivan (American born Ireland, 1840-1882) Comstock Mine, Virginia City, Nevada 1868 Albumen print Image: 18.89 x 13.49cm (7 7/16 x 5 5/16 in.) Sheet: 18.26 x 26.99cm (7 3/16 x 10 5/8 in.) Mount: 31.59 x 37.31cm (12 7/16 x 14 11/16 in.) Amon Carter Museum of American Art, Fort Worth, Texas
O’Sullivan used a magnesium flash to illuminate a miner wielding an axe underground.
Thomas Houseworth (American, 1828-1916) Hydraulic Mining – Behind the Pipes, in the Kennebunk Claim, Birchville, Nevada County c. 1868-1869 Stereoscopic albumen prints Image: 7.9 x 20.6cm (3 1/8 x 8 1/8 in.) Sheet: 8.9 x 17.5cm (3 1/2 x 6 7/8 in.) Wikipedia Commons Public domain
B.F. Childs (American, 1841-1921) New York, Iron Mine [Michigan] c. 1871-1876 Stereoscopic albumen print Image: 7.9 x 15.9cm (3 1/8 x 6 1/4 in.) Sheet: 8.7 x 17.5cm (3 7/16 x 6 7/8 in.) Collection of Leonard A. Walle
Brainard F. Childs photographed a man outside an iron mine in Michigan. He’s dwarfed by its dark and cavernous entrance.
Brainard Fermont Childs (1841-1921) was an American 19th-century photographer best known for his studio portraits and stereoviews documenting the Great Lakes region, particularly Michigan’s Upper Peninsula.
Operating the Child’s Art Gallery in Marquette, Michigan, he captured extensive regional landscapes, scenes of early mining and shipping on Lake Superior, and local Ojibwe life. Today, many of his surviving albumen prints and glass-plate negatives are preserved in historical collections, including the British Museum.
Google AI
B.F. Childs (American, 1841-1921) Down the Franklin Tramroad c. 1867-1868 Stereoscopic albumen prints Image: 7.5 x 16.2cm (2 15/16 x 6 3/8 in.) Sheet: 8.3 x 17.2cm (3 1/4 x 6 3/4 in.) Collection of Leonard A. Walle
Dependent on precious metals from its inception, photography has always been intertwined with the natural resources that are fundamental to modern industrialised life. Beneath the Surface: Mining and American Photography is the first exhibition to exclusively examine how photographers from the mid-19th century to today have powerfully captured the effects of resource extraction on the land and communities of the United States. Featuring some 150 photographs that span 185 years, this exhibition focuses especially on the subterranean removal of the minerals and fossil fuels that power this country’s economy and industry. Together, these works demonstrate how photographers have drawn on changing technology and unique visual strategies to rise to the challenge of picturing these colossal industries.
Made for a variety of purposes, ranging from commercial boosterism and celebration of technical advancement to social documentation and community activism, the pictures in the exhibition shed light on how photography has revealed the costs of extraction and who benefits from its success. Divided into six broad, chronological sections that contextualise the complex history of photography and extraction, from daguerreotypes of the Gold Rush to large-scale, immersive photographs made in the last decade, Beneath the Surface highlights how artists have used photography to explore the relationship between extraction, society, and the environment.
This exhibition is curated by Diane Waggoner, curator of photographs, National Gallery of Art, and Kristen Gaylord, Herzfeld Curator of Photography and Media Arts, Milwaukee Art Museum.
The exhibition is organised by the National Gallery of Art, in collaboration with the Milwaukee Art Museum and the Amon Carter Museum of American Art.
Text from the National Gallery of Art website
Carleton E. Watkins (American, 1829-1916) Malakoff Diggins, North Bloomfield, Nevada County [California] 1871 Albumen print Image: 41.59 x 54.61cm (16 3/8 x 21 1/2 in.) Mount: 55.88 x 71.12cm (22 x 28 in.) Amon Carter Museum of American Art, Fort Worth, Texas
F. Jay Haynes (American, 1853-1921) Granite Silver Mine, Montana c. 1880 Albumen print Image: 42.7 x 54.5cm (16 13/16 x 21 7/16 in.) Sheet: 43 x 54.9cm (16 15/16 x 21 5/8 in.) Mat: 22 x 28 in. National Gallery of Art, Washington Gift of the UBS Art Collection Public domain
Originally a studio photographer from the North Dakota Territory, Haynes spent most of his career documenting in pictures the development of the western territories. Commissioned in 1876 to make views along the route of the Northern Pacific Railroad, he traveled through the West until 1905, working in a railroad car equipped as both gallery and darkroom. Besides photographing spectacular views of natural scenery, Haynes produced an extensive record of the modification of the landscape by raliroad and industry.
On an 1881 trip to the newly created Yellowstone Park, via the new line of his railroad company employer, Haynes decided to pursue a commercial concession as park photographer. In 1884 he opened a studio and photography gallery in Yellowstone, selling to tourists prints of the park’s natural wonders, such as the Lone Star Geyser Cone. For more than thirty years Haynes served as the official photographer of Yellowstone National Park.
Merry A. Foresta American Photographs: The First Century (Washington, D.C.: National Museum of American Art with the Smithsonian Institution Press, 1996) on the Smithsonian American Art Museum website Nd [Online] Cited 21/07/2026. Used under fair use conditions for the purposes of education and research
West & Waddell (American, Bradford, Pennsylvania, active 1880s) Flowing Well 1880s Stereoscopic albumen silver prints National Gallery of Art, Washington Gift of Mary and Dan Solomon Public domain
Photographs of oil derricks document the rush that followed the discovery of oil in Pennsylvania in 1859.
William H. Rau (American, 1855-1920) South Plainfield Coal Storage, capacity 100,000 tons c. 1890 Albumen print Image: 43.5 x 52.1cm (17 1/8 x 20 1/2 in.) Collection of Paul Sack
Lewis Wickes Hine (American, 1874-1940) “A lonely job.” Willie Bryden, a nipper, 13 yrs old, Pittston, Pa., 1911 Gelatin silver print Image: 11.43 x 13.49cm (4 1/2 x 5 5/16 in.) Milwaukee Art Museum Gift of Robert Mann
Frank J. Schlueter (American, 1874-1972) Goose Creek, Tex. oil field 1917 Gelatin silver print, panorama Sheet: 19.6 x 150.3cm (7 11/16 x 59 3/16 in.) Prints & Photographs Division, Library of Congress, Washington D.C. Public domain
Schlueter photographed the quickly growing Houston region in the first half of the twentieth century, retiring in 1964. Schlueter’s work was used by early oil producers in the region to document and promote their work
The National Gallery of Art presents Beneath the Surface: Mining and American Photography, the first exhibition to exclusively examine the relationship between resource extraction and American photography throughout its history. Spanning nearly 200 years, the exhibition examines how photographers have approached the challenge of capturing the significant but often hidden processes and impacts of the extraction of minerals, coal, and fossil fuels and its associated industries.
Featuring 150 photographs by more than 100 artists, including Richard Avedon, Walker Evans, Lewis Hine, LaToya Ruby Frazier, Dorothea Lange, David Maisel, Gordon Parks, Mitch Epstein, Carleton Watkins, Will Wilson, and more, Beneath the Surface reveals how generations of photographers have utilised evolving technologies and distinctive visual strategies to document the industries that power and shape modern life. Beneath the Surface will be on view at the National Gallery of Art from May 23 to August 23, 2026, before travelling to the Milwaukee Art Museum in Wisconsin and the Amon Carter Museum of American Art in Fort Worth, Texas.
“As a defining visual medium of our modern age, photography is an essential tool to capture and communicate our shared history,” said Kaywin Feldman, director of the National Gallery of Art. “Beneath the Surface brings together a dynamic range of works to shed light on the medium’s intersections with a shaping force in American history and industry.”
The featured works, many of which are drawn from the National Gallery’s significant photography collection, span early daguerreotypes from the time of the California Gold Rush in the mid-1800s to pictures of rapid industrialisation in the 20th century and contemporary photographs produced at an immense scale. This expansive selection traces the layered history of extraction and how artists have used photography as a lens through which to communicate the industry’s relationship with society and the natural world.
“Photography itself is dependent on precious metals for its very existence, from the light sensitivity of silver in early processes to the copper of contemporary digital-camera batteries. At the same time, it has been the principal visual medium employed to depict extractive industries, evolving alongside the expansion of mining on an industrial scale since the 19th century,” said Diane Waggoner, co-curator of the exhibition and curator of photographs at the National Gallery of Art. “Beneath the Surface unites photographs made for a variety of purposes, from explicitly promotional and commercial uses to documentation efforts and socially engaged activism, shedding light on both the rewards and costs of resource extraction.”
The exhibition orients visitors with an introductory gallery displaying contemporary work, foregrounding themes relevant to the current moment and providing a critical framework for understanding the six broad, chronological sections that follow. Viewers will encounter works not only by historical photographers recognised for their work in capturing mining, drilling, and industrial subjects, such as Carleton Watkins, Margaret Bourke-White, Marion Post Wolcott, and Bernd and Hilla Becher, but also by less expected practitioners Florence Kemmler, Alma Lavenson, and Mary Morris. The exhibition includes works by contemporary photographers Edward Burtynsky, Binh Danh, Terry Evans, Victoria Sambunaris, and Cara Romero, among others.
“For almost two centuries photographers have played a central role in public understanding of resource extraction, drawing on a succession of technologies and strategies to capture activities that enable modern life but resist portrayal,” said Kristen Gaylord, co-curator of the exhibition and Herzfeld Curator of Photography and Media Arts at Milwaukee Art Museum. “This exhibition demonstrates how, time and again, photographers have creatively pushed against the medium’s boundaries in a quest to impart the enormity of the country’s extractive activities and their effects.”
Beneath the Surface centres on the challenges artists face in capturing the colossal scale of extraction and its far-reaching impacts on communities and the environment. It also reveals the inventive strategies they have employed to depict this subject. The works on view reflect the full breadth of the medium, spanning landscapes, portraits of workers and panoramas of affected communities, photobooks, aerial imagery, analog and digital collage, camera-less photography, historical processes, narrative and performance work, and pictures that otherwise harness photography to communicate the scope of these industries.
Press release from the National Gallery of Art
Florence Kemmler (American, 1900-1972) Oil Drums c. 1929 Chlorobromide print Image: 26.67 x 34.61cm (10 1/2 x 13 5/8 in.) Mat: 18 x 22 in. National Gallery of Art, Washington Alfred H. Moses and Fern M. Schad Fund
The husband-and-wife team of Roland E. Schneider (1884-1934), and Florence B. Kemmler (1900-1972), were internationally exhibited salon photographers whose beautifully rendered works straddle both Pictorialist and modernist sensibilities. The San Diego couple worked together using the same 3 1/4 x 4 1/4 Graflex cameras and identical printing and mounting techniques. Nearly all their photographs were contact printed on warm, brownish black-toned chlorobromide papers.
Alma Lavenson (American, 1897-1989) Tanks, Standard Oil Company 1931 Gelatin silver print Sheet (trimmed to image): 24 x 18.4cm (9 7/16 x 7 1/4 in.) Mat: 20 x 16 in. National Gallery of Art, Washington The Marvin Breckinridge Patterson Fund for Photography
In 1930 she was introduced to Adams, Cunningham and Weston by art collector Albert Bender. Bender also wrote Lavenson a letter of introduction to give to Edward Weston. Two years later she was invited to participate in the famous Group f/64 show at the M.H. de Young Memorial Museum, although there is some uncertainty about whether she should actually be called a “member” of Group f/64, given her association with Pictorialism. The announcement for the show at the de Young Museum listed seven photographers in Group f/64 and said “From time to time various other photographers will be asked to display their work with Group f/64. Those invited for the first showing are: Preston Holder, Consuelo Kanaga, Alma Lavenson, Brett Weston.” However, in 1934 the group posted a notice in Camera Craft magazine that said “The F:64 group includes in its membership such well known names as Edward Weston, Ansel Adams, Willard Van Dyke, John Paul Edwards, Imogene [sic] Cunningham, Consuela [sic] Kanaga and several others.” Lavenson was not mentioned by name in that notice, but her name is always listed as being associated with the group because of her place in the first exhibition. She was included in an exhibition of photography “by members and associates of Group f.64” held at Gallery 210, Lucas Hall, University of Missouri, St. Louis, Apr. 3-30, 1978.
Walker Evans (American, 1903-1975) Bethlehem, Pennsylvania 1936 Gelatin silver print mounted on paperboard Sheet (trimmed to image): 19 x 23.8cm (7 1/2 x 9 3/8 in.) Support: 45.7 x 37.6cm (18 x 14 13/16 in.) Mat: 16 x 20 in. National Gallery of Art, Washington Gift of Mary and David Robinson
In 1936, Walker Evans captured several iconic photographs in Bethlehem, Pennsylvania, during his landmark documentary work for the Resettlement Administration and Farm Security Administration. His lens famously depicted the stark juxtapositions of the city’s industrial boom, highlighting steel mills looming over residential neighbourhoods and graveyards, as well as scenes of local auto graveyards.
Arthur Rothstein (American, 1915-1985) Copper Pit, Ruth, Nevada 1940 Gelatin silver print Image: 24.13 x 18.73cm (9 1/2 x 7 3/8 in.) Sheet: 25.4 x 20.32cm (10 x 8 in.) Mat: 50.8 x 40.64cm (20 x 16 in.) Black Dog Collection
Born in New York City in 1915, Arthur Rothstein showed an early interest in photography. While studying at Columbia University, he met economics instructor Roy Stryker, who would later establish the photographic section of the Resettlement Administration (later the Farm Security Administration) in Washington, DC. Appreciating Rothstein’s technical proficiency and enthusiasm for photography, Stryker hired him in 1935 as the first staff photographer for the FSA. Praised for the directness and immediacy of his imagery, Rothstein produced notable photographic series on farming communities in the Midwestern Dust Bowl. After leaving the FSA in 1940, Rothstein took a position as photographer for Look magazine; he remained there until 1971, ultimately serving as the magazine’s director of photography.
Text from the International Center of Photography website
Russell Lee (American, 1903-1986) Butte, Montana. Anaconda Copper Mining Company. Train of fifty-ton cars of copper ore leaving mines at Butte for smelter at Anaconda Montana 1942 Gelatin silver print Mount: 29.21 x 24.29cm (11 1/2 x 9 9/16 in.) Prints & Photographs Division, Library of Congress, Washington D.C. Public domain
Gordon Parks (American, 1912-2006) Crude oil, fuel oil, gas oil, range oil and gasoline pipelines leading from the waterfront to the Everett Refinery. Everett, Massachusetts, May 1944 c. 1944 Gelatin silver print Sheet: 35.9 x 27.8cm (14 1/8 x 10 15/16 in.) Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations Courtesy of Exxon Mobil Corporation
Milton Rogovin (American, 1909-2011) Doris McKinney with Her Two Sons, Republic Steel 1987 Gelatin silver print Image: 18.1 x 17.7cm (7 1/8 x 6 15/16 in.) Sheet: 25.2 x 20.3cm (9 15/16 x 8 in.) Mat: 14 x 16 in. National Gallery of Art, Washington Gift of Pierre Cremieux and Denise Jarvinen
Emmet Gowin (American, b. 1941) Mining Exploration near Carson City, Nevada 1988 Gelatin silver print Image: 24.5 x 25cm (9 5/8 x 9 13/16 in.) Sheet: 27.7 x 35.5cm (10 7/8 x 14 in.) Mat: 16 x 18 in. National Gallery of Art, Washington, Gift of Jane P. Watkins
Photographing American Mining and Energy
Elizabeth Fortune
For nearly two centuries, American photography and the mining of valuable natural resources have been deeply intertwined.
Introduced in 1839, photography premiered less than a decade before successive metal mining booms transformed the landscape and demographics of the American West. Emerging extractive industries hired photographers to promote their operations and attract investors and workers.
Since photography’s inception, artists have used a range of techniques and formats to depict resource extraction like coal mining and oil drilling, which often occurs in remote locations, sometimes underground. Their aims and attitudes range from enthusiastic boosterism to impassioned critique. Together, these photographers’ works unearth and make visible the history of industrial mining and its continued impact on our everyday lives and the American landscape.
Daguerreotypes
After the 1848 discovery of gold at Sutter’s Mill in California, hundreds of thousands of aspiring miners flocked to the West Coast. Posed with tools of his trade, this miner was one of many who sat for a daguerreotype to memorialise their quest for precious metals.
The mining of silver, copper, and mercury was essential for the creation of daguerreotypes: the process produces a unique image on a highly polished silver-coated copper plate.
Stereographs
Photographers took advantage of the stereograph to make immersive scenes of resource extraction. A popular photographic format from the mid-1850s to the early 1900s, the stereograph features two pictures of the same subject taken about 2 1/2 inches apart, roughly the distance between our eyes. When seen through a stereoscope viewer, the two pictures appear to combine into a three-dimensional image (the equivalent of early 3D glasses).
Photographers were dispatched across the country and American territories to document places of interest. Sites of resource extraction were a particular draw. The discovery and mining of oil, gold, silver, and other materials excited many with the promise of prosperity and beckoned fortune seekers to these burgeoning industries.
Commissions and Surveys
Mining companies, as well as related businesses like railroads, commissioned early photographers to document industrial infrastructure as a way to mark technological advancements and to attract investors.
The Delaware and Hudson Railroad and Canal Company hired Thomas H. Johnson to photograph the expansion of their coal mining operations in northeastern Pennsylvania These “breakers” broke coal into fragments and sorted them by size.
Government-sponsored surveys presented other opportunities for nineteenth-century photographers to travel across the country and document mining sites. While on a geological survey in 1868, Timothy O’Sullivan photographed silver mining at the Comstock Lode in Nevada. There, he produced some of the first subterranean photographs.
Panoramas
The enormous scale demanded by resource extraction calls for a grand mode of representation. The panorama, derived from the Greek words for “complete” and “view,” is an ideal format. Its size and breadth can accommodate the vastness of industrial enterprises.
Frank Schlueter’s 1917 panoramic photograph, taken at Goose Creek, Texas, captures men and horses working alongside huge oil derricks, some so tall they extend beyond the picture frame. In 1901, oil was discovered at Spindletop along the Gulf Coast of Texas, which ushered in the modern petroleum industry and the Texas oil boom. Seeking business as a photographer, Schlueter opened a nearby studio and began accepting commissions for pictures of oil fields.
A century later, Indigenous photographer Lewis deSoto (Cahuilla) used the panoramic format to show power generation in California. Here, a picturesque coastline is dotted with palm trees and people enjoying the sunny Southern California day. In the distance rises the Encina Power Station, which permanently closed in 2018. The panorama’s wide vista reveals the looming presence of industry in even the most scenic of places.
The title refers to Carlsbad, the current name of the city where the beach is located, and Payómkawichum, the name Native Americans of the area call themselves. deSoto invokes the Indigenous name to link industrial power generation with the ancestral power imbued in the land.
Modernist Forms
Modernist photographers, with their interest in abstract shapes and daring camera angles, found a fitting subject in the sharp geometric forms of industrial facilities and machinery.
In the late 1920s, Margaret Bourke-White spent several months photographing inside the Otis Steel Company in Cleveland, Ohio. She called the evenings spent at the factory “a photographic paradise.” Bourke-White’s picture of glowing molten metal celebrates what she deemed the “beauty waiting to be discovered” at the plant.
In 1944, Gordon Parks joined a group of photographers hired by Standard Oil New Jersey to promote the company’s role in supporting the war effort. In Parks’s dynamic composition, orderly rows of cylindrical pipes converge at the horizon line, carrying oil to the Everett Finery in Massachusetts. Plumes of white steam hover over the refinery, suggesting a constant churn of manpower and machinery.
Aerial Views
Adopting a bird’s-eye view has allowed photographers to record the extent of resource extraction and the way it has marked our landscape. Photographers can also bypass access restrictions to industrial sites by flying overhead with a plane or drone. From the sky, a paradox emerges: although we can see more from a distance, the elevation skews scale and at times heightens the aesthetic appeal of earthbound places.
Taken from a helicopter, Emmet Gowin’s picture of a mining exploration near Carson City, Nevada, reveals an elaborate pattern of topographical scars. Gowin acknowledged the distorting effect of viewing industrial sites from the sky, remarking, “From the air it seemed like everything I was seeing was miraculous.”
Photographer Will Wilson (Diné) used a drone to capture this aerial view of pearl and copper hued remediation ponds that hold residual waste from uranium mining. Located in northwest New Mexico on the lands of the Navajo Nation, Church Rock Mill is the site of the largest radioactive spill in American history. The radioactive waste poses risks to nearby communities and ecosystems. By surveilling the remediation ponds from above, Wilson calls attention to these hazardous sites.
Portraits
Pictures of laborers in extractive industries spotlight those who power our nation. Sometimes operating in high-risk environments, these workers feed important supply chains. Portrait photographers foreground the humanity of their subjects and individualise the massive workforce supporting our industrial economy.
From 1979 to 1985, Richard Avedon traveled across 17 American states to photograph working-class Americans for his portrait project In the American West. Coal miners and oil field workers were among his most frequent subjects. Avedon is known for his portraits of celebrities and politicians, but here he elevates each worker to a vaunted status.
Tom Stroud, an oil field worker from Velma, Oklahoma, stands before Avedon’s signature white backdrop and looks directly at the camera. His skin, clothing, and helmet are splotched with mud and oil (Avedon preferred to photograph subjects at the end of their shifts). The portrait’s large size – about five feet tall by four feet wide – gives monumental status to Stroud and his labor.
Large-Scale Color Photographs
At first glance, the tidy yards, pristine garden shed, and welcoming patio furniture form an idyllic suburban scene. But in the distance, massive smokestacks and a cooling tower overtake the hazy gray sky.
Mitch Epstein’s mammoth picture records the looming presence of the Amos Coal Power Plant in Raymond City, West Virginia. The exceptional size (62 x 80 inches) of Epstein’s composition places us within a serene neighbourhood dominated by the coal industry. Its monumental scale confronts us with the immensity of extractive operations and the impact these industries have on the lands and people of the United States.
This presentation draws from the National Gallery of Art Library collections. It looks at how artists use photobooks to reveal the impact of the energy industry on the American landscape and people.
In conjunction with Beneath the Surface: Mining and American Photography, the National Gallery of Art Library presents an installation of 25 books and 2 zines examining how photographers use photobooks to document the impact of energy extraction, production, and circulation on the American landscape and its communities.
The books and zines on view illustrate complex narratives about how America is powered today, revealing the visual strategies and design decisions contemporary photographers use to contextualise and share their work. In the library reading room adjacent to the exhibition area, additional photobooks are available for visitors to browse.
Books offer a different experience than seeing images on a wall or your social media feed. Complex stories are told when photos join text, other printed elements, and even the book binding. Come explore a wide-ranging selection of photobooks by contemporary photographers – then handle more examples in our reading room.
Curated by Yuri Long, special collections librarian at the National Gallery, this installation is on view from May 25 through August 21, 2026, in the East Building Library Atrium from 11.00 am to 4.30 pm, Monday through Friday, except federal holidays.
Andrew Borowiec (American, b. 1956) Blast Furnace, Cleveland 2016 Inkjet print Image: 67.95 x 101.6cm (26 3/4 x 40 in.) Sheet: 80.01 x 111.76cm (31 1/2 x 44 in.) Mat: 32 3/4 x 46 in. National Gallery of Art, Washington, Charina Endowment Fund
Will Wilson (Diné) (b. 1969) Shiprock Disposal Site, Shiprock, Navajo Nation, 36. 769690596277414 N / -108. 68547605691704 W 2020 Inkjet print Image: 60.96 x 121.92cm (24 x 48 in.) Sheet: 94.62 x 109.22cm (37 1/4 x 43 in.) Back mat: 35 15/16 x 43 1/2 in. National Gallery of Art, Washington Charina Endowment Fund in memory of Robert B. Menschel Courtesy of the artist and www.dineconnect.org
National Gallery of Art National Mall between 3rd and 7th Streets Constitution Avenue NW, Washington
Curators: Barbara Tannenbaum, Curator of Photography and Chair of Prints, Drawings, and Photographs at the Cleveland Museum of Art
Unknown photographer Black Horseman in Front of a Doorway c. 1855 Salt print from wet collodion negative Image: 15.5 x 13.5cm (6 1/8 x 5 5/16 in.) Mounted: 47 x 30.6cm (18 1/2 x 12 1/16 in.) Matted: 50.8 x 40.6cm (20 x 16 in.) The Cleveland Museum of Art John L. Severance Fund
The uniform of the rider identifies him as a major in the Chasseurs d’Afrique (African Light Infantry), a cavalry group within France’s colonial army in Africa. By 1855, African people were living in France, so he may have been born and raised there or have been African-born and in France for training.
Magnificent gems of 19th-century French photography.
The studied simplicity of Nadar’s Man on a Horse (c. 1860s, below), man and animal captured against a painted studio backdrop.
The formal beauty of Édouard Baldus’ architectural salted paper and albumen prints of Notre-Dame, Paris (1852-1853, below), Arc de Triomphe de l’Etoile, Paris (c. 1860s, below), Louvre, Façade rue de Rivoli, Paris (1855, below) and Pavilion Richelieu, Louvre, Paris (1856-1857, below) which emphasise the volume of the structures, their scale and grandeur.
Compare these to the spatial openness and intimacy of Charles Marville’s Rue de la Ferronnerie (c. 1865, below) only 10 years later which leads, inexorably, to the alleyways and architectural details of Eugène Atget capturing a disappearing Paris, an Old Paris, towards the end of the 19th century.
Dotted amongst these are an atmospheric landscape of the French interior near Lyon by that most bucolic of photographers Félix Thiollier; a pastoral village scene of impressionistic intimacy by Adolphe Braun, Untitled (Farm Animals) (1850s, below); and a superb photograph of a stone bridge set in mountainous landscape near the Spanish border taken by Gustave Le Gray, The Bridge of Palalda (near Amelieles-Bains) (1851-1852, below)
No conceptual histrionics, no untoward flourishes, just photographs of the utmost integrity of people and places in a time of change, photographs that hold the viewer’s gaze through the holistic balance and beauty of the images.
Dr Marcus Bunyan
. Many thankx to The Cleveland Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Nadar (French, 1820-1910) Man on a Horse c. 1860s Albumen print from wet collodion negative Image: 17 x 22.3cm (6 11/16 x 8 3/4 in.) Matted: 35.6 x 45.7cm (14 x 18 in.) The Cleveland Museum of Art Gift of Robert Hershkowitz and Charles Isaacs
Nadar (French, 1820-1910) Portrait of Ernestine Nadar, the artist’s wife, wearing fur stole c. 1880-1883 Uncut sheet of three matte gelatin silver carte-de-visites Overall: 10.8 x 21.9cm (4 1/4 x 8 5/8 in.) The Cleveland Museum of Art Gift of Michael Mattis and Judith Hochberg
This striking and unusual uncut sheet of carte-de-visite exposures was taken by one of France’s most successful early portraitist photographers, Nadar. His wife Ernestine frequently modeled for him, including when he tried out new equipment or processes such as these gelatin silver prints. These portraits seem to be an intimate, direct exchange between sitter and camera, wife and husband.
Born Gaspard-Félix Tournachon in Paris, Nadar is probably the best known French photographer. His portraits of celebrities and public figures help define our impression of France in the second half of the 19th century; his panache in conducting his business helped popularize photography. Educated at the Collège Bourber, Paris (1833-36), Nadar moved to Lyon, where he studied medicine (1837-38) before continuing his studies at the Hôtel Dieu and the Bicêtre in Paris. He wrote satires and essays and drew caricatures (his pseudonym derived from his barbed wit aimed against the establishment) for a number of Paris publications, eventually founding several of his own, and was a highly visible figure in the city’s cultural and artistic life. Learning photographic technique from Adophe Bertsch and Camille d’Arnaud, Nadar founded a studio in 1854. Twenty years later his son Paul, also a photographer, became director of the business and by 1886 headed the firm. He also worked for a time with his brother, Adrien, who sometimes called himself Nadar jeune, a practice which later prompted Nadar to file a lawsuit. Nadar’s exploits with aerial balloon photography were of both photographic and historic importance. Below ground, he used artificial light to make surveys of the catacombs and sewers of Paris, novel and highly popular curiosities. With his son Paul as photographer, he is credited with the first photo-interview, conducted with the scientist and color theorist Michel-Eugène Chevreul on his 100th birthday in 1886. Because of the importance of his work and the notoriety of his sitters, among them Franz Liszt, George Sand, Sarah Bernhardt, and Honoré Balzac, Nadar will long occupy a key place in the development of photography. T.W.F.
About the exhibition
Édouard Manet and Berthe Morisot lived during a tumultuous yet fertile period in France. Events included war and the loss of territory; modernisation and the rise of industry; and a shift from rural to urban living. As both artists were living in Paris, it became the largest city in continental Europe and the arts capital of the world. Manet and Morisot’s lifetime also coincided with the birth and rise of a new art form – photography – which recorded many of these social, political, and cultural changes.
Masters of the new medium such as Charles Marville and Édouard-Denis Baldus were commissioned by the Emperor Napoleon III, the Louvre museum, and the railroads to document both historic monuments and the construction of new architectural and engineering marvels throughout the country. This era also saw the rise of celebrity portraiture and of the general public as patron. Actresses such as Sarah Bernhardt and popular authors Victor Hugo, Charles Baudelaire, Alexandre Dumas, and others sat for photographers such as Nadar, André-Adolphe-Eugene Disderi, Gustave Le Gray, and Étienne Carjat. The resulting portraits were printed – and sold – in large quantities to meet a soaring public demand for portraits of the luminaries of the time. When the rising urban middle class sought to have their own likenesses recorded, they flocked to the same studios.
In this exhibition, drawn from the museum’s rich holdings of 19th-century French photography, we can feel that we, like the photographers, are eyewitnesses to the transformation of France in the 1800s. This show was organised to complement Manet & Morisot, on view in the Kelvin and Eleanor Smith Foundation Gallery from March 29 through July 5, 2026.
Text from The Cleveland Museum of Art website
André Adolphe-Eugène Disdéri (French, 1819-1889) Monsieur Merlen 1861 Albumen print from wet collodion negative, uncut carte-de-visite proof print Image: 19.9 x 23.1cm (7 13/16 x 9 1/8 in.) Matted: 35.6 x 45.7cm (14 x 18 in.) The Cleveland Museum of Art Gift of Paula and Robert Hershkowitz in memory of Sam Wagstaff Public domain
The carte-de-visite process was so inexpensive, Monsieur Merlen felt he could clown around, riding a child’s toy horse in the first two exposures.
The carte-de-visite, a small photograph mounted on card stock, was patented by André Adolphe-Eugène Disdéri in 1854. This efficient, inexpensive process employed a camera with four lenses and a sliding plate holder that produced eight sequential exposures on a single glass negative. The resulting paper print was cut into individual images. This uncut sheet, which includes several humorous views, was probably produced for the sitter’s approval. The low cost of the carte-de-visite led to the trend of collecting celebrity portraits. By 1862, Disdéri’s studio was producing over 2,000 prints a day, making him reputedly the world’s richest photographer.
André Adolphe-Eugène Disdéri
André-Adolphe-Eugène Disdéri French, 1819-1889
Disdéri is best known as a portraitist and populariser of the carte-de-visite. He spent 10 years as a painter and working in the theatre, and another five in the clothing business, before becoming seriously interested in photography around age 30. He first operated studios in Brest and Nîmes, then moved to Paris and opened a studio in 1854, and a second in 1863. In 1854 Disdéri patented the carte-de-visite, a method of producing a number of small images on a single negative that achieved great popularity. He later opened additional studios in London, Madrid, and Toulon. Disdéri was one of the best known portrait photographers of his day, with many important commissions and sitters. Like Mathew Brady, he was an innovator and entrepreneur as well as an artist. The carte-de-visite, which he did not invent, but rather adapted, helped photography to become increasingly versatile as a medium and available to people of all means. In 1879 Disdéri sold his business and moved to Nice. Despite his success, he died 10 years later in Paris in poverty, obscurity, and poor health. T.W.F.
André Adolphe-Eugène Disdéri (French, 1819-1889) Village Scene (Southern France) c. 1853 Salted paper print from waxed-paper negative Image: 15.2 x 12.2cm (6 x 4 13/16 in.) Matted: 45.7 x 35.6cm (18 x 14 in.) The Cleveland Museum of Art John L. Severance Fund
André Adolphe-Eugène Disdéri is best known for his development in Paris in 1854 of the carte-de-visite format for portraits. The year before, he was living in Southern France where he made this rural view. Disderi used waxed-paper negatives for only a short time. The oval cropping and picturesque scene – posed but seemingly spontaneous – suggest that this is meant to be an artistic, rather than a documentary, photograph.
Édouard Baldus (French, 1813-1889) Arc de Triomphe de l’Etoile, Paris c. 1860s Albumen print from collodion negative Image: 21.5 x 28.2cm (8 7/16 x 11 1/8 in.) Paper: 21.5 x 28.2cm (8 7/16 x 11 1/8 in.) Mounted: 32.6 x 43.5 cm (12 13/16 x 17 1/8 in.) The Cleveland Museum of Art Severance and Greta Millikin Purchase Fund Public domain
For three decades starting in 1854, Paris was a construction site as Baron Haussmann replaced the crooked streets and crumbling buildings of medieval Paris with a modern city. The cobblestones in the foreground were for paving the newly expanded set of broad avenues that radiated from the Arc, part of Baron Haussmann’s urban renewal plans. Exposure times for film in the 1860s were usually too long to capture people in the street, but a man – perhaps the paver – paused long enough to leave his “ghost” to the left of the cobblestones.
Édouard Baldus (French, 1813-1889) Notre-Dame, Paris 1852-1853 Salted paper print from wet collodion negative Image: 29.5 x 44.7cm (11 5/8 x 17 5/8 in.) Matted: 50.8 x 61cm (20 x 24 in.) The Cleveland Museum of Art Edwin R. and Harriet Pelton Perkins Memorial Fund
Édouard Baldus photographed the side of the famed cathedral to capture the volume of the structure. Visible from this angle are two workshops for the church’s restoration, some of the construction materials, and scaffolding on three of its flying buttresses (architectural structures that form an arch with the wall they support).
Édouard Baldus
Édouard Baldus French, b. Prussia, 1813 – 1889
The large and regal prints made by Édouard-Denis Baldus are widely agreed to be among the finest photographic images ever produced. After serving as an artillery officer in the Prussian army, Baldus left his native country for France during the 1830s to become a painter. He exhibited his paintings of religious subjects, portraits, and genre scenes in the Paris Salons from 1841 – 51 and was naturalized as a French citizen in 1849, the same year his interests turned to photography. Combining his training in painting with an inquisitive, inventive technical expertise, Baldus produced a body of work of exceptional quality and interest. His subjects included architecture, landscape, and engineering feats. In 1851 the Commission des monuments historiques selected him for the Missions héliographique – a government project that sponsored the photographing of endangered classical and medieval architecture in France. For this important series Baldus produced views of Burgundy, Provence, and the Dauphiné, and the following year he completed a commission for the Ministry of the Interior. In 1855 he began his photography of railroads, some of his most distinctive work. A copy of his album recording the line between Paris and Boulogne was presented to Queen Victoria. He also documented the flooding of the Rhone, as well as construction of the new Louvre and other Paris views. A founding member of the Société héliographique and a member of the Société française de photographie (1857), Baldus exhibited his photographs widely in London, Amsterdam, Edinburgh, Brussels, and Paris and won numerous medals of award. A master printer, he produced combination prints in the early 1850s, frequently retouching his images with pencil and ink. His best work appears most often in specially assembled albums – such as Les principaux Monuments de la France reproduits en héliogravure par E. Baldus, published in 1875 from plates drawn from earlier negatives. Today, his work continues to be much sought after and to set a standard by which other photographers are judged. T.W.F.
Édouard Baldus (French, 1813-1889) Louvre, Façade rue de Rivoli, Paris 1855 Albumen print Image: 28 x 21.8cm (11 x 8 9/16 in.) Paper: 39.9 x 29.9cm (15 11/16 x 11 3/4 in.) The Cleveland Museum of Art Gift of William and Margaret Lipscomb
Édouard Baldus (French, 1813-1889) Pavilion Richelieu, Louvre, Paris 1856-1857 Salted paper print, albumenised, from wet collodion negative Image: 44.5 x 34.3cm (17 1/2 x 13 1/2 in.) Matted: 61 x 50.8cm (24 x 20 in.) The Cleveland Museum of Art Andrew R. and Martha Holden Jennings Fund
In 1854, Édouard Baldus and two other artists were commissioned to record construction of the New Louvre. New wings joined the Louvre Palace, started in the late 1100s, to the Tuileries Palace, begun in 1564. The Pavilion Richelieu, completed shortly before this photograph was taken, originally housed governmental offices and only became part of the Louvre Museum in 1993.
Opening this weekend at the Cleveland Museum of Art, France in the Time of Manet and Morisot offers visitors a vivid view of the people, places, and defining moments that shaped 19th-century France. With approximately 50 photographs from CMA’s rich holdings, visitors will get a firsthand glimpse of the rapid industrial growth and political upheaval in this tumultuous, yet fertile, period of time.
This CMA-organised companion exhibition was designed to complement Manet & Morisot, the first ever major exhibition dedicated to the artistic exchange between Édouard Manet often referred to as the father of modern painting, and Berthe Morisot, the only woman among the founding members of the Impressionist movement. While Manet & Morisot travels nationally, this companion exhibition is uniquely presented at CMA, offering visitors an experience available only in Cleveland. Visitors to the CMA will have the opportunity to experience both exhibitions now through July 5, 2026.
“It’s truly a pleasure to share our rich holdings of 19th-century French photography alongside Manet & Morisot,” said Barbara Tannenbaum, curator of photography and chair of prints, drawings, and photographs. “In the mid-1800s, when the two painters were living in Paris, it became the largest city in continental Europe and the arts capital of the world. However, France also endured war and the loss of territory; experienced modernisation and the rise of industry; and saw a shift from rural to urban living. These events coincided with the birth of a new art form – photography – which was used to record these social, political, and cultural changes.”
In the 19th century, masters of the newfound photography medium, such as Charles Marville and Édouard Baldus, were commissioned by Emperor Napoleon III, the Louvre museum, and the railroads to document both historic monuments and the construction of new architectural and engineering marvels throughout the country.
This era also saw the rise of celebrity portraiture and of the public as patron. Actresses such as Sarah Bernhardt and popular authors Charles Baudelaire, Alexandre Dumas, and others sat for photographers such as Nadar, André Adolphe-Eugene Disderi, and Étienne Carjat. The resulting portraits were printed – and sold – in large quantities to meet a soaring public demand for portraits of the luminaries of the time. When the rising urban middle class sought to have their own likenesses recorded, they flocked to the same studios.
France in the Time of Manet and Morisot, a free exhibition, will be on view in the Mark Schwartz and Bettina Katz Photography Galleries from May 10, 2026, through August 23, 2026. Manet & Morisot, a ticketed exhibition, is on view in the Kelvin and Eleanor Smith Foundation Gallery through July 5, 2026.
“Together, these exhibitions offer a compelling portrait of a society in transition – one that visitors can now experience firsthand at the Cleveland Museum of Art,” said Tannenbaum.
Press release for The Cleveland Museum of Art
Charles Marville (French, 1813-1879) Opéra (Rostral Column) c. 1875 Albumen print from wet collodion negative Image: 37.7 x 26.7cm (14 13/16 x 10 1/2 in.) Mounted: 35.4 x 26.7cm (13 15/16 x 10 1/2 in.) Matted: 71.1 x 55.9cm (28 x 22 in.) The Cleveland Museum of Art Purchase from the Karl B. Goldfield Trust
In the 1800s, gas lamps replaced the oil lights. When Napoleon III commissioned a new opera house in Paris in 1860, it was surrounded by a “Ring of Light,” including this column with three gas streetlights. The opera house became the setting for Gaston LeRoux’s 1910 novel The Phantom of the Opera, which inspired the 1976 musical and 2004 film.
Charles Marville
Charles Marville French, 1813-1879
At the invitation of the city of Paris, photographer Charles Marville was among the first to document the ancient quarters of his birthplace. His views, taken in the late 1850s, were intended to record the many buildings and neighborhoods ultimately destroyed by Baron Georges-Eugène Haussmann’s urban planning project that would create the boulevards and open spaces of modern Paris. While Marville’s survey of the city, extensive and thorough in scope, prefigured other important efforts of its kind, it is distinguished by its emotional accessibility. His work beautifully reveals a Paris that has long disappeared. Originally trained as a painter and illustrator, Marville worked with both calotype and glass plate negatives. He photographed in France, Italy, Germany, and Algeria, becoming most well known for his architectural imagery but also producing acclaimed landscapes and studies of trees. Many of Marville’s early views, often considered his best, were included in the albums of Louis-Désiré Blanquart-Évrard before the printer’s establishment in Lille closed in 1855. Named official photographer of Paris in 1862, Marville also served as photographer to the Imperial Museum of the Louvre and to King Vittorio Emmanuelle of Italy. T.W.F.
Charles Marville (French, 1813-1879) Sky Study, Paris 1856-1857 Albumen print from wet collodion negative Image: 15.3 x 21.4cm (6 x 8 7/16 in.) Matted: 40.6 x 50.8cm (16 x 20 in.) The Cleveland Museum of Art John L. Severance Fund
Thirty years before the construction of the Eiffel Tower, Charles Marville made a series of views of the skies over Paris, some from various rooftops and others from his apartment window. This view frames the city so that the dome of the chapel of Les Invalides – a retirement home and hospital for military veterans – dominates the skyline. In the 1850s, the light-sensitive coatings for photographic plates were incapable of properly exposing both earth and the sky in a single shot. Marville here set his camera to capture the dramatic sky and clouds, which meant that the city below, for the most part, became a dark mass of undifferentiated buildings. The scale, drama, and majesty of this natural spectacle overwhelm human achievements.
Charles Marville (French, 1813-1879) Rue de la Ferronnerie c. 1865 Albumen print from wet collodion negative Image: 28 x 27cm (11 x 10 5/8 in.) Matted: 61 x 50.8cm (24 x 20 in.) The Cleveland Museum of Art Leonard C. Hanna Jr. Fund
Charles Marville preferred photographing on overcast, rainy days when diffused light and glistening cobblestones yielded an image with the maximum tonal range and detail. In 1865, the ground floor spaces on the Rue de la Ferronnerie or “street of ironwork” (named in 1229) were occupied by businesses including a café, a hotel, and a men’s clothing store. Apartments on the upper floors housed some of the many people who moved from the country into the city during the Second Empire.
Attributed to Charles Marville (French, 1813-1879) La Belle Jardinère: le magasin de la rue de la Cité pendant sa demolition, Paris 1864-1866 Albumen print from collodion negative Image: 22.9 x 34.6cm (9 x 13 5/8 in.) The Cleveland Museum of Art Gift of Michael Mattis and Judith Hochberg
Founded in 1824, La Belle Jardinière (The Beautiful Gardener) department store pioneered the sale of ready-to-wear clothing for those of modest means.
The department store was located on the Ile de la Cité in the Seine in the middle of Paris. In 1864, as part of the renovation of the city, the government ordered that the store be replaced with a new building for the country’s oldest hospital. While there are numerous photographs of new structures and broad streets that resulted from Baron Haussmann’s urban renewal plan, views of the demolition of the old structures are rare.
Étienne Carjat (French, 1828–1906) Sarah Bernhardt in “Zaire” by Voltaire 1874 Albumen print from wet collodion negative Image: 27.3 x 21.3cm (10 3/4 x 8 3/8 in.) Matted: 50.8 x 40.6cm (20 x 16 in.) The Cleveland Museum of Art John L. Severance Fund
Photographer Étienne Carjat established his reputation through celebrity portraiture. Famed French actress Sarah Bernhardt is seen here as the star of Zaire, a play by the French author Voltaire first performed in 1732. The actress, who studied sculpture, exhibited work in the Paris Salon for the first time in 1874. She just missed being in the same show as Morisot, who exhibited regularly at the Salon from 1864 to 1873, but in 1874 decided instead to show in the first Impressionist exhibition. Édouard Manet produced many portraits of actresses and performers.
Étienne Carjat
Étienne Carjat French, 1828-1906
Born in Fareins, Étienne Carjat and his friend and contemporary Nadar are considered the masters of 19th-century French portrait photography. Like Nadar, whose immense reputation tended to overshadow his own, Carjat was a caricaturist and journalist, and much involved in politics and the arts. In style, however, he was more straightforward and less overtly dramatic than Nadar, frequently portraying his subjects in simple settings and showing close attention to expression, pose, detail, and line. After study with Pierre Petit in 1858, Carjat first took up photography to produce his series Le Panthéon Parisien in the early 1860s. He had several studios in Paris, from which he conducted a portrait business and contributed to the important series Galeries des célébrités contemporaines. Among his sitters were Émile Zola, Antonio Rossini, Charles Baudelaire, and Gustave Courbet. Carjat was a founder of the satirical journal Diogène (1856), as well as an author, actor, poet, and playwright. He became less active in photography after 1867 and reportedly ceased altogether after 1875. In 1878 he and Nadar are believed to have been the only mourners at the burial of their fellow caricaturist, the acerbic Honoré Daumier. T.W.F.
Guglielmo Marconi (French, 1842 – after 1885) Male Nude c. 1870-1875 Albumen print from wet collodion negative Image: 27.2 x 18.8cm (10 11/16 x 7 3/8 in.) Matted: 55.9 x 45.7cm (22 x 18 in.) The Cleveland Museum of Art John L. Severance Fund
Guglielmo Marconi specialised in nude studies for use by painters and sculptors. Using children, women, and men as models, he photographed a variety of poses traditionally employed by models in academic studios. Artists purchased them because working from a photograph was much cheaper than hiring a live model.
Unknown photographer and maker Untitled (Case with portraits of a man and woman and hair ornaments) c. 1870s Photographs: photographs on enamel, framed in copper alloy metal frames; hair lockets: hair with pen and black and ink on cream-coloured backing; case: leather with metal push-clasp and velvet-lined interior Image: 3.5 x 3cm (1 3/8 x 1 3/16 in.) Case: 9 x 5 x 1cm (3 9/16 x 1 15/16 x 3/8 in.) The Cleveland Museum of Art John Cook Memorial Fund
The photographs of this man and woman, presumably husband and wife, are juxtaposed with clippings of their hair arranged to form their initials, A and M. In the late 1800s, photographic portraits and hair clippings combined in jewellery or frames served as mementos or memorials for loved ones. For permanence, the portraits here were vitrified on enamel, a process now used primarily for funerary monuments.
Camille Dolard (French, 1810-1884) Self-Portrait in Painting Studio c. 1843 Daguerreotype (full-plate) Platemark: 20.5 x 15cm (8 1/16 x 5 7/8 in.) Matted: 55.9 x 45.7cm (22 x 18 in.) The Cleveland Museum of Art Leonard C. Hanna Jr. Fund
Dolard, a portrait painter, may have offered photographs to prospective clients of lesser means. In this image, possibly made as an advertisement for his studio, he identifies himself as a painter, surrounded by the tools of the trade. The coat and the hookah suggest an interest in orientalism, a fashion that occupied many mid-19th-century artists. A remarkable technical achievement, this whole-plate image required Dolard to remain motionless for well over a minute, at least 30 times longer than the exposure for the smaller plates in the case below.
Camille Silvy (French, 1834-1910) The d’Orléans Family during a Fête Champêtre at Orléans House 1864 Enamelist: Lafon de Camarsac (French, 1821-1905) Enamelled photograph in original metal frame Plate: 11.5 x 15.5cm (4 1/2 x 6 1/8 in.) Framed: 27 x 29cm (10 5/8 x 11 7/16 in.) The Cleveland Museum of Art Jo Hershey Selden Fund
The image celebrates the d’Orléans family, who abdicated the French throne during the Revolution of 1848 and settled in England. The setting for this group portrait is d’Orléans House in Twickenham, where the d’Orléans hosted numerous grand social events such as the garden party that occasioned this sitting. Many of these events raised money to support monarchist and other activities in France.
Camille Silvy (French, 1834-1910) The d’Orléans Family during a Fête Champêtre at Orléans House (detail) 1864 Enamelist: Lafon de Camarsac (French, 1821-1905) Enamelled photograph in original metal frame Plate: 11.5 x 15.5cm (4 1/2 x 6 1/8 in.) Framed: 27 x 29cm (10 5/8 x 11 7/16 in.) The Cleveland Museum of Art Jo Hershey Selden Fund
Félix Thiollier (French, 1842-1914) Vue prise du Couvent des Dominicains, Chalais (Isère), France c. 1865 Albumen print from collodion negative Image: 13.1 x 20cm (5 3/16 x 7 7/8 in.) Paper: 13.1 x 20cm (5 3/16 x 7 7/8 in.) Mounted: 31.7 x 49.1cm (12 1/2 x 19 5/16 in.) The Cleveland Museum of Art Gift of Michael Mattis and Judith Hochberg
Félix Thiollier brought to landscape photography the emotional power and mystery of the Barbizon and naturalist painters whom he collected and befriended. This dramatic view provides a deep vista more commonly found in photographs of the Western United States at the time. Underlying it, however, are a geometric structure of overlapping triangles, curved top border, and atmospheric clouds and mist that relate directly to precedents in painting.
Auguste-Rosalie Bisson (French, 1826–1900) and Louis-Auguste Bisson (French, 1814–1876) Mount Maudit, Savoy 1860 Albumen print from wet collodion negative Image: 23.2 x 39.2cm (9 1/8 x 15 7/16 in.) Matted: 50.8 x 61cm (20 x 24 in.) The Cleveland Museum of Art James Parmelee Fund
The Bisson brothers’ photograph of Mount Maudit – which translates as “cursed mountain” – makes the 14,649-foot peak seem inaccessible. In fact, it was not summited until 1878. Photographing at high altitudes necessitated climbing while carrying heavy equipment, including large glass plates and a portable darkroom, and required extraordinary technical prowess and speed in working with the chemicals at low temperatures.
Bisson Frères – consisting of brothers Louis-Auguste and Auguste-Rosalie Bisson, also known as the Bissons âiné and jeune (older and younger) – was one of the most celebrated and widely known French photographic studios and publishing houses of the 19th century. Begun by their father, a heraldic painter, the Bissons’ first studio opened in Paris in 1841, shortly after the invention of the daguerreotype. Louis-Auguste, a student of architecture and chemistry, learned photography directly from Louis-Jacques-Mandé Daguerre and went on to advance the medium through a number of inventions and techniques, contributions for which the brothers received considerable praise. He retired from the business in 1865. Auguste-Rosalie, perhaps the better known of the two, was responsible for some of their more spectacular photographic successes, including the first closeup views of the peaks of Mt. Blanc (1861). Among the Bissons’ many accomplishments and honors were a set of 900 daguerreotypes of the members of the French National Assembly, which were later published in lithographic copies; their appointment as official photographers to Napoléon III and Pope Pius IX; their role as founding members of the Société française de photographie; and their numerous and much-admired series of landscape, architectural, and portrait photographs. After his brother’s retirement, Auguste-Rosalie continued to work in photography, including a voyage to Egypt in 1869 and views of the Siege of Paris in 1871. As late as 1900, the year of his death, he patented a heliochrome process for the printing of photographs in color with ink. T.W.F.
Auguste Giraudon’s Artist (French) Man with Walking Stick Late 1870’s Albumen print from wet collodion negative Image: 17.1 x 11.2cm (6 3/4 x 4 7/16 in.) Paper: 17.1 x 11.2cm (6 3/4 x 4 7/16 in.) Matted: 45.7 x 35.6cm (18 x 14 in.) The Cleveland Museum of Art Purchase from the J. H. Wade Fund
During the 1870s, Giraudon commissioned one or more artists – probably a French painter who wished to remain anonymous – to create photographs of peasants. Now called Giraudon’s Artist, this photographer was one of the few in the 1800s specialising in rural figure studies created for use by artists. The images were likely taken near Barbizon, a destination popular with artists who wanted to work from nature. The artistry of these images derives from their skilful use of light, ability to render a subject in the landscape, and a perceptive depiction of human dignity.
Auguste Giraudon’s Artist (French) Female Peasant Carrying a Basket and Hay c. 1870 Albumen print from wet collodion negative Image: 17.2 x 11.1cm (6 3/4 x 4 3/8 in.) Mounted: 20.7 x 15.8cm (8 1/8 x 6 1/4 in.) Matted: 45.7 x 35.6cm (18 x 14 in.) The Cleveland Museum of Art John L. Severance Fund
Jules DuClos (French, 1824-1879) Pont-de-Buis, on the Doufine, France c. 1865 Albumen print from wet collodion negative Image: 33.8 x 30.1cm (13 5/16 x 11 7/8 in.) Matted: 61 x 50.8cm (24 x 20 in.) The Cleveland Museum of Art John L. Severance Fund
The extension of railroad service from Paris across Brittany in northern France occurred in stages between 1840 and 1865. Extending railway service required the construction of railway bridges such as this masonry viaduct which crosses the Doufine River near Pont-de-Buis. Jules DuClos shows it under construction, with timbers supporting the arches and a man standing in the river below.
Adolphe Braun (French, 1812-1877) Untitled (Farm Animals) 1850s Albumen print from wet collodion negative Image: 28 x 39.4cm (11 x 15 1/2 in.) Framed: 53.7 x 63.8cm (21 1/8 x 25 1/8 in.) Matted: 50.8 x 61cm (20 x 24 in.) The Cleveland Museum of Art Norman O. Stone and Ella A. Stone Memorial Fund
While the animals and farmers are in sharp focus in Adolphe Braun’s photograph, the buildings are blurred, suggesting that perhaps Braun intended to market these photographs to visual artists as models rather than intending them to be hung on people’s walls as a substitute for a painting.
Adolphe Braun
Adolphe Braun French, 1812-1877
Adolphe Braun, a French textile designer born in Besançon and trained in Paris, opened his own studio in Dornach, Alsace, before becoming involved in photography in the early 1850s. He produced several early floral textile designs that were published as lithographs. In 1853 Braun began work on a large album of some 300 photographic still-life studies of flowers, intended as aids for artists in the field of decorative arts. The work met with such success at the 1855 Exposition Universelle in Paris that he left the field of design for photography. Braun’s carefully executed still lifes are considered to be among the finest ever done. From the mid-1850s on, Braun’s firm, Adolphe Braun et Cie., later headed by his son Gaston (1845-1928), became one of the world’s largest studios and publishers of topographical views and of reproductions of works of art. In the latter effort, their importance was in part due to Gaston’s success with the orthochromatic process, in which photographic reproductions retained a tonal range very close to that of the original work of art. Braun et Cie. were the official photographers to Napoléon III and Pope Pius IX. Their reproductions of works in the Louvre, the Sistine Chapel, and many other subjects in architecture, sculpture, painting, and drawing, sometimes using the more permanent carbon or Woodburytype processes, were offered in all sizes and formats, and became the standard in their field. The number of negatives taken by the Brauns or their operators was variously estimated in 1870 to be between 4,000 and 8,000. The Brauns were members of the Société française de photographie. Both were awarded the French Legion of Honor-Adolphe in 1860, and Gaston in 1892. T.W.F.
Adolphe Braun (French, 1812-1877) Young Alsacienne Woman c. 1871 Carbon print on a ruled mount Image: 40 x 30.5cm (15 3/4 x 12 in.) The Cleveland Museum of Art Gift of Michael Mattis and Judith Hochberg
This woman wears a regional folk costume from the French region of Alsace, recalling traditions that were disappearing under the impact of industrialisation and modernisation.
At the end of the Franco-Prussian War, Prussia seized much of the regions of Alsace and Lorraine. That inspired Adolphe Braun to produce a series of images of women meant to personify those lost territories. The images proved so popular that they were reproduced on souvenir items including postcards and ceramic plates.
Gustave Le Gray (French, 1820-1884) The Bridge of Palalda (near Amelieles-Bains) 1851-1852 Salted paper print from waxed-paper negative Image: 23.8 x 32.7cm (9 3/8 x 12 7/8 in.) Matted: 50.8 x 61cm (20 x 24 in.) The Cleveland Museum of Art John L. Severance Fund
In 1851, Gustave Le Gray and his friend, photographer Auguste Mestral, travelled throughout southwestern France for the Commission of Historic French Monuments to document sites of historical importance, especially those in urgent need of, or undergoing, restoration. This image was taken from the left bank of the Tech River, situated below the old town of Palalda, four miles from the Spanish border. Le Gray stressed the rugged landscape over a close-up rendering of the ancient bridge, which was not on his list of assigned sites.
Gustave Le Gray
Gustave Le Gray French, 1820-1884
A master both technically and aesthetically, Gustave Le Gray (born in Villiers-le-Bel) was one of the most important figures in 19th-century French photography, bringing to the medium artistic integrity and visual imagination. Le Gray, trained as a painter, was exhibiting his work in the Paris Salons in the late 1840s and early 1850s when he became interested in photography. Along with Henri Le Secq and Charles Nègre, he was a student of Paul Delaroche, a painter of considerable reputation and ability who was one of the first to grasp the importance of photography. In 1851 Le Gray announced his invention of a waxed paper negative, a significant improvement over earlier paper methods that was later adopted by Louis de Clercq, Dr. August Jakob Lorent, and others. That same year the Commission des Monuments historiques named him as one of five photographers of the Mission héliographique, for which he produced well-known studies of army manoeuvres at Chalons. Le Gray also worked with François Arago, the scientist and champion of Louis-Jacques-Mandé Daguerre, and later proposed a new method of toning prints, among other innovations. Le Gray was perhaps most admired for the effects he achieved with water and sky. To capture the subtle qualities of cloud patterns in some of his seascapes, he employed two negatives to produce the final image. His commissioned studies of historic monuments are classic examples of early architectural photography. In the early 1850s he worked in the Barbizon tradition at Fontainebleau and, in 1860, documented the uprising against François II in Palermo. He was a founding member of the Société héliographique and the Société française de photographie. Despite his influence and artistic success, Le Gray left Paris in 1865 to become a professor of design at the École Polytechnique in Cairo. He died in Egypt. T.W.F.
Charles Soulier (French, 1840-1875) Notre Dame de Paris early 1860s Albumen print from glass negative Image: 38 x 30.6cm (14 15/16 x 12 1/16 in.) Matted: 71.1 x 61cm (28 x 24 in.) The Cleveland Museum of Art John L. Severance Fund
When the popularity of Victor Hugo’s novel The Hunchback of Notre Dame drew attention to the church, the state hired architect and preservationist Eugène Viollet-le-Duc to restore it. His renovation, which lasted from 1844 to 1864, modified the cathedral: he added the spire, gargoyles, and griffins. Charles Soulier shows us the church’s front and some of the surrounding neighbourhood, bustling with carriages and new construction.
Charles Soulier
Charles Soulier French, 1840-1875
Charles Soulier operated in partnerships, first with A. Clouzard (1854-59) and later with Claude-Marie Ferrier and his son A. Ferrier (1860-64). Soulier was among the first to take naturalistic, snapshot-like views of Paris. His city street scenes were represented in an extensive set of glass stereographs, a medium preferred by Soulier for the delicacy of its reproductive range. Panoramas of the city were considered his specialty. In 1859 Soulier photographed Napoléon III on his campaign in Austria; he was later named photographer to the emperor. He became a member of the Société française de photographie in 1867 and in 1871 documented activities of the Paris Commune. His work includes topographical, urban, and landscape views, among them images of Mt. Blanc and other European scenery, as well as photographic reproductions of artwork. T.W.F.
Edmond Bacot (French, 1814-1875) Young Girl Seated on Straw, Leaning on a Basket 1862 Albumen print from wet collodion negative Paper: 22.7 x 18.2cm (8 15/16 x 7 3/16 in.) Matted: 50.8 x 40.6cm (20 x 16 in.) The Cleveland Museum of Art John L. Severance Fund
While Impressionist painters were depicting women outdoors in gardens and parks, scenes of rural labor were popular subjects for many other painters. Those painters sometimes turned to photographs as models for the figures in those paintings. Another print of this photograph and several other images of the same girl were owned by the novelist Victor Hugo, a champion of the working classes. Edmond Bacot took them while visiting Hugo.
Eugène Atget (French, 1857-1927) Rue de la Montagne-Sainte-Geneviève 1898 Albumen print, gold toned Image: 22 x 17.4cm (8 11/16 x 6 7/8 in.) Matted: 45.7 x 35.6cm (18 x 14 in.) The Cleveland Museum of Art John L. Severance Fund
This narrow street, the site of the founding of the University of Paris in 1112, ends in a church built in the 1600s. Atget sold his photographs not as art but as “documents for artists,” similar in purpose to the nude studies other photographers made for use by painters. That may be why he photographed early in the morning, when a normally bustling street like this one was empty.
Eugène Atget
Eugène Atget French, 1857-1927
Relatively unknown to the public during his lifetime, Eugène Atget is today an icon – one of the most celebrated and influential photographers of the 20th century. Born near Bordeaux, Atget first directed his efforts to painting and the stage before turning to photography shortly before 1890. He is best known for his documentary scenes of Paris and Versailles, but he photographed a number of other sites as well. Atget viewed his work as a historical and aesthetic record, regarding it as documentation for use by artists. Indeed, several artists are known to have painted from his images. Using relatively unsophisticated, even outdated equipment, Atget achieved a view of French architecture and culture that is both personal and factual. Along with the rediscovery of the images of Mathew Brady in the early 20th century, the recognition of Atget’s artistic accomplishments shortly before his death by Berenice Abbott, Man Ray, and others helped turn photographers away from the mannered style of Pictorialism toward the visual and technical clarity of modernism. Marked by a selective and highly individual method, his is among the most widely shown, published, and recognised work in photography today. T.W.F.
Eugène Atget (French, 1857-1927) Rue du Regard 1899 Albumen print, gold toned Image: 21.9 x 18.1cm (8 5/8 x 7 1/8 in.) Matted: 45.7 x 35.6cm (18 x 14 in.) The Cleveland Museum of Art Norman O. Stone and Ella A. Stone Memorial Fund
This entrance, which looks similar today, led into the courtyard for the “petit hôtel de Guiche,” built in the 1700s, which adjoined the larger “hôtel de Guiche.” Fragments of those buildings have been incorporated into the modern structures that now occupy the land behind the portal. The houses were named for the de Guiche family, aristocrats that occupied them in the mid-1700s. Their son was guillotined in 1794 following the French Revolution.
Cleveland Museum of Art 11150 East Boulevard Cleveland, Ohio 44106
Large format camera Front on, realist, sharply defined objective documentary photographs of architectural structures of the urban landscape In series
In reality:
Structures cut from the fabric of existence Isolated by the subjective eye of the photographer and the lens of the camera What to include or exclude
(In the contemporary photographs of the spaces in the posting, the shops are surrounded by trees and vegetation, they have transformed from kiosk to shuttered shop, from boutique to florist: the architecture remains but traces of previous incarnations are visible only in these photographs. Nothing is permanent except change).
In the photographs of kiosks, corner shops and industrial gates, it is the minutiae of existence (not as mere decoration) that gives these supposedly objective photographs their subjective power. For example, “the photo Trinkhalle, Köln-Nippes – with its ice cream and newspaper advertisements and vending machines for chewing gum and cigarettes” is more than amusing and engaging – it depicts vital, archaeological evidence of the transitory nature of human existence in the pyschogeography of the urbanscape.1
In Ronkholz’ photographs of the terrain (from the Latin terra, earth/land) of the city, her exploration of urban environments emphasises interpersonal connections to places – and testify “to social, cultural, and economic change and shows how people shape the world around them.” (Press release)
This is the fluid boundary that these photographs so beautifully and incisively depict: the interface between architecture and human, between order (form/surface) and chaos (placement of insolent signs), between utopian perfection and dystopian unruliness – the one coexistent with the other.
This confluence of pattern and randomness, objective and subjective, is what gives these photographs of the everyday a lasting significance.
Dr Marcus Bunyan
1/ Guy Debord (November 1956). “Theory of the Dérive”. Les Lèvres Nues (9). Translated by Ken Knabb.
Many thankx to Huis Marseille, Amsterdam for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Sankt-Franziskus-Straße 104-107 Düsseldorf
Installation views of the exhibition Designed World: Through the Eyes of Tata Ronkholz (1940-1997) at Huis Marseille, Amsterdam, February – June, 2026
Installation views of the exhibition Designed World: Through the Eyes of Tata Ronkholz (1940-1997) at Huis Marseille, Amsterdam, February – June, 2026
Installation view of the exhibition Designed World: Through the Eyes of Tata Ronkholz (1940-1997) at Huis Marseille, Amsterdam, February – June, 2026 showing at left, Tata Ronkholz’s Düsseldorf Harbor (1980)
Tata Ronkholz was one of the first students in Bernd and Hilla Becher’s famous photography class at the Kunstakademie Düsseldorf. Her fellow students included Candida Höfer, Axel Hütte, Thomas Ruff and Thomas Struth, all of whom became artists of world renown. Oddly enough Tata Ronkholz’ work is only now receiving the same international acclaim. The retrospective Designed World: Through the Eyes of Tata Ronkholz (1940-1997), on show at Huis Marseille from 14 February until 21 June 2026, is the first large-scale tribute to this many-sided artist.
Objective-documentary photography
Tata Ronkholz was a photographer, product designer, and interior architect. Her photographic series lie within the tradition of objective, documentary photography, a tradition which was decisively shaped by the artist couple Bernd and Hilla Becher. Like theirs, Ronkholz’ work is characterised by clear compositions, a serial approach, and a documentary focus on architectural structures and everyday architectures. Using a large-format camera she produced sharply defined and realistic photographs in which the subject matter, rather than the individual style of the artist, takes centre stage. Her work is predominantly in black and white, although colour images also appear, demonstrating her ambition to engage with the artistic colour photography that emerged in Germany during the 1970s and ’80s, following the example set by the New Color Photography introduced by the American photographers Stephen Shore and William Eggleston.
Kiosks and corner shops
Tata Ronkholz became known for her appealing series of kiosks (Trinkhallen) and small shops that capture typical moments of urban everyday culture. These were photographed between 1977 and 1985, particularly in neighbourhoods of Cologne and Düsseldorf, in the Ruhr area, as well as in Leverkusen and Krefeld. For example, the photo Trinkhalle, Köln-Nippes – with its ice cream and newspaper advertisements and vending machines for chewing gum and cigarettes – is as amusing and engaging as Boutique, Köln-Mülheim in which, according to the store sign, alongside clothing records were also for sale. The photographs illustrate the extent to which product offerings, decoration, and advertising in public spaces has been transformed. Tata Ronkholz’ choice of subject means that her work indirectly testifies to social, cultural, and economic change and shows how people shape the world around them.
Industrial gates
Another significant series is dedicated to industrial gates, photographed between 1977 and 1985. The sober black-and-white images of these gates, with their grids and frameworks, offer glimpses into the interiors of industrial areas. In the photographs the gates function as interfaces between private and public space, between interior and exterior, and between activity and calm. Their aesthetic, reminiscent of abstract artworks, imbues the everyday with a new significance.
Collaboration with Thomas Struth
In 1979 Ronkholz, together with her fellow student Thomas Struth, began work on an impressive documentary series on Düsseldorf’s Rheinhafen. The project originated from the planned redevelopment of this historic harbour area – a site that, in its original form, was considered an industrial area of significant urban historical and architectural importance. Together they set out to document the harbour in its entirety, capturing its historic buildings, technical installations, and operational structures. In carefully composed images they recorded façades, interiors, silos, warehouses, crane structures, and harbour basins, before these elements partially disappeared or were fundamentally altered during the restructuring.
Tata Ronkholz as product designer
Between 1961 and 1965 Ronkholz studied at the Werkkunstschule Krefeld (an academy of applied art) with a focus on furniture design, and subsequently worked as a freelance designer until 1977. The exhibition also explores this aspect of Ronkholz’ oeuvre, including depictions of geometrically shaped furniture and lighting fixtures as well as designs for office and cafeteria furniture. Ronkholz’ designs are characterised by clear forms and functional elegance. Finally, the retrospective also presents early photographs of architectural forms created in 1975/76 in Italy and France, revealing her strong affinity for aspects of the ‘designed world’ across different areas of life.
Ronkholz’ estate, acquired in 2011 by VAN HAM Art Estate in Cologne, forms the basis of the exhibition alongside the holdings of Stadtmuseum Düsseldorf. Significant contributions have also been made from the in-house collections of Die Photographische Sammlung/SK Stiftung Kultur – who also curated the exhibition – and through loans from private collections.
Book
The exhibition is accompanied by a catalogue, Tata Ronkholz: Gestaltete Welt. Eine Retropektive (2025, Schirmer/Mosel Verlag GmbH), with texts in German and English. It is available from the Huis Marseille museum shop (€49.90).
“Through his surreal, dream sequences captured in pop colour, punctum laden reality, Parr observed the absurdities of life on this planet…” Dr Marcus Bunyan
Exhibition dates: 30th January – 24th May, 2026
Curators: Quentin Bajac, in collaboration with Martin Parr and Clémentine de la Féronnière
“We are living in a time when, to borrow a phrase and book title of Sigmund Freud’s, civilization and its discontents are becoming painfully evident to us all. Our machine age technology with its private greed, ecologically disastrous policies, crass materialism, human alienation, incessant strife and conflict, and the portent of man’s destroying himself by his own recklessness, is taking its toll in terms of our confidence and optimism about life. …
John Anson Warner. “Introduction” to The Life & Art of the North American Indian. London: Hamlyn, 1975, p. 6.
A bewitching eye / the unfolding moment
A bewitching eye refers to eyes that are so powerfully, seductively attractive or charming that they appear to cast a spell, mesmerising or enchanting an onlooker. They possess an irresistible, magnetic allure that captivates the viewer, having an almost magical ability to draw someone in. This description could metaphorically be applied to the photographs of the legendary (and I don’t use that word lightly) contemporary British photographer Martin Parr (1952-2025).
Parr was an observer of life with a socially critical eye. Through his surreal, dream sequences captured in pop colour, punctum laden reality, Parr observed the absurdities of life on this planet – human, animal, inanimate – with curiosity and a sense of wonder even while questioning our path to destruction. While this exhibition is split into various sections – Leisure & waste lands; Last Chance To Buy; Small World; The Animal Kingdom; and Technological Addictions – in reality most of his images from each of the sections could fit into any other, for the whole world is interconnected in the excesses and grotesqueness of modern life, of civilization and its discontents.
Parr’s exploration of the pyschogeography of the urbanscape, the exploration of urban environments that emphasises interpersonal connections to places, is damming in its technicolor coat of glory. Mass tourism takes us to leisure spaces like the beach where technology is used to take selfies and mountains of waste pile up near the water’s edge. Mass human, mass cultivation (of palm oil or eucalyptus trees for example) is causing mass extinction of species across the planet. Mass consumption means that we are using the Earth’s resources indiscriminately to fuel (ha!) our desire for the latest, larger four-wheel drive we can get our hands on, the latest fashions that end up in landfill every 6 month cycle when they are not bought, or the brightest, pinkest, must luscious cup cakes you have ever seen in your life.
Parr’s colour saturated photos draw us into this consumptive world where the body is racked by disease, where the patient will soon be on life support. Through his mesmerising, enchanting, multilicious photographs he pokes a great big subversive stick at our follies, excesses, self-destructive desires. Unfortunately, while Parr’s photos seep into our subconscious, most images have little power to change public and personal opinion – all they can do is proffer alternate visions and interpretations of the world and hope that some glimmer of recognition of the environmental damage we are doing will permeate the mind of the viewer.
Of course, Parr’s famous photographs did not appear out of thin air. He was a dedicated photographer whose art practice required years of hard work, talent and skill to obtain his images. He emphasises that, “you have to look at the history of photography and learn what they have done and achieved and apply that, think about it and have it in the back of your head and then you can apply that to your own work.” By doing that, “you may have the rare opportunity actually to develop your own voice, and you can become a photographer with a particular voice.”
“What you are going to do, of course, is to find a good connection to the world out there. It is the quality of that connection that is really important. So, you find a subject you feel strongly about. Then work out how to articulate that and that hopefully will give you momentum for you to get good work.”
Nothing comes without hard work and perseverance.
In the video below where he is giving advice to young photographers he states that he might get only ten great photographs a year, sometimes only one, but he shoots heap of photographs and then discards the dross. What he also says that is really important is that he is attentive to the unfolding moment, he is aware and ready for what the energy of the world puts in front of his eye and his camera. If only the human race was so aware.
Parr was a human being that I would have really liked to have met. To have a conversation about the energy of the world, the passion and commitment of human beings to do good things, to see things differently, to make a difference.
We have his images for as long as the human race exists. But I miss him already.
Many thankx to Jeu de Paume for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“l’m creating entertainment, which has a serious message if you want to read into it, but I’m not trying to convince anyone – l’m just showing them what they think they may know already.”
Martin Parr, 2021
“We are heading towards catastrophe but we are all going there together. Who would dare ban cars or air travel?”
“When I take a photograph, I try to say something. Beyond the garish colours, there is a political message…”
Martin Parr
I now realise that almost all the images I have taken and produced are indirectly linked to climate change.”
Martin Parr 2009
“Global Warning gives us Parr in all his gluttonous, giddy glory, an attentive, unabashed and unpretentious observer of everyday absurdities. But through clever curatorial nudges, this show also gives us other unexpected sides to Parr, a creeping sense of a doom we are hurtling towards at breakneck speed.”
Martin Parr’s Advice to Young Photographers | Louisiana Channel
“You are probably going to fail, so unless you are obsessed, almost like a disease, you are not going to make it.” Legendary Martin Parr, regarded as the most crucial figure in contemporary British photography, offers advice to young photographers.
“What you are going to do, of course, is to find a good connection to the world out there. It is the quality of that connection that is really important. So, you find a subject you feel strongly about. Then work out how to articulate that and that hopefully will give you momentum for you to get good work.”
Another thing which is very important for Martin Parr to emphasise is that “you have to look at the history of photography and learn what they have done and achieved and apply that, think about it and have it in the back of your head and then you can apply that to your own work.” By doing that, “you may have the rare opportunity actually to develop your own voice, and you can become a photographer with a particular voice.”
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2022
This exhibition revisits the work of the late British photographer Martin Parr, bringing together a selection of series produced since the 1970s that find new resonance in light of the growing disarray of the contemporary world. For over fifty years, Parr travelled the globe not as an activist but as a relentless and amused observer, offering a lucid and unsparing portrait of global imbalances and the excesses of contemporary life: the grotesque face and damaging effects of mass tourism, the rise of car culture, our dependence on technology, unbridled consumerism, and our ambivalent relationship with other living beings.
Through his characteristically offbeat vision, Parr also indirectly engaged with the human behaviours driving contemporary climate change: the unrestrained use of transport, reliance on fossil fuels, global overconsumption, and environ mental degradation. Over time, and as social attitudes have shifted, what once appeared merely entertaining has revealed itself to be increasingly serious. ln retrospect, Parr’s corrosive irony places him within a long tradition of British satire: his sharp wit and deadpan humour deliver a critical, and at times merciless, view of the world we inhabit.
Text from the Jeu de Paume website
The Martin Parr: Global Warning exhibition at the Jeu de Paume (on display through May 2026) is organised into five thematic sections. These sections explore the excesses of modern life through about 180 photographs.
Leisure & waste lands: Focuses on recreational spaces like crowded beaches where pleasure often leads to environmental degradation.
Last Chance To Buy: Examines unbridled consumerism in supermarkets, malls, and luxury shops using Parr’s signature saturated colours.
Small World: Documents the rituals and “ravages” of mass tourism across five continents.
The Animal Kingdom: Explores our ambivalent relationship with animals – as pets, entertainment, or consumer products.
Technological Addictions: Highlights our growing dependence on machines, from slot machines to compulsive selfie-taking
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing Martin Parr’s black and white photographs of Ireland 1980-83 Photos: Salim Santa Lucia
Ireland 1980-1983
While living in Ireland, Martin Parr became interested in the abandoned morris Minors – the emblematic car of the post-war British middle classes – found throughout the Irish countryside. Through his lens, the vehicles become a new motif of contemporary ruin: modern vanities symbolising the inevitable decline of progress, a subtle criticism of pollution linked to the automotive industry, an homage to the beauty of Irish landscapes, an almost optimistic meditation on the resilience of nature, and a celebration of human ingenuity. In this sense, the series offers an implicit history of both pollution and adaptation.
Wall text from the exhibition
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left the wall text “Leisure & Waste Lands” and at centre, Martin Parr’s Mar del Plata, Argentina (2014, below)
Leisure & Waste Lands
Beginning in the 1980s, Martin Parr relentlessly documented how contemporary landscapes are periodically or permanently reshaped by the expansion of mass leisure. Many of these works capture the coexistence and constant intermingling of natural and man-made elements.
Parr’s photography explores the interests of ordinary people, with whom he identified. Although he never learned to swim – unlike his wife Susie, who is an excellent swimmer – he spent a great deal of time on beaches, which feature prominently in his work. His first major colour series, ‘The Last Resort’, focuses on the popular seaside resort, New Brighton, near Liverpool. Parr would go on to pursue this theme across all five continents, producing some of his most incisive social critiques, from ‘Benidorm’ – capturing life at a sprawling resort on Spain’s Costa Blanca – to ‘Playas’ – a survey of Latin America’s most frequented beaches.
‘You can read a lot about a country by looking at its beaches: across cultures, the beach is that rare public space in which all absurdities and quirky national behaviour can be found,’ he wrote in 2013. For Parr, the beach setting became a field of experimentation, rarely appearing in his work as exotic or pristine, but instead as spaces rife with the contradictions of the leisure industry. At once convivial and chaotic, beaches are places of relaxation, paradoxically crowded with bodies, colours and – on might even say – noise. They are sites where we reproduce our ordinary urban habits, and where consumerism is inextricably bound up with trash and waste in every imaginable form: a highly photogenic subject that Parr faithfully captured from the very beginning of his career.
‘I first came to Mar del Plata, the largest Argentine seaside resort, way back in 2007 when I was shooting images for my ‘Playas’ project, a survey of Latin American beaches. I was amazed then at the scale of the resort. It has two thousand hotels, sixteen kilometres of beaches, and welcomes over seven million visitors a year. In terms of scale, Mar del Plata dwarfs other well-known resorts across the globe, including Copacabana, Blackpool and benidorm, yet it is virtually unknown beyond Argentina.’
From Martin parr’s blog, Mar del Pata, 2004 Wall text from the exhibition
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s New Brighton, United Kingdom (1983-85, below); and at second left, Benidorm, Spain (1997)
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s Tokyo, Japan (2000, below); at second left, Melbourne, Australia (2008); and at right, New Brighton, United Kingdom (1983-85, below)
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s photograph New Brighton, United Kingdom (1983-85, below); at at right, Mar del Plata, Argentina (2014)
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at right, Martin Parr’s photograph Untitled (Hot Dog Stand), United Kingdom (1983-85, below) from Last Resort
Installation view of the exhibition Martin Parr: Global Warming at Jeu de Paume, Paris, January – May, 2026 showing from left to right, Benidorm, Spain (1997); Magaluf, Majorca, Spain (2003); Benidorm, Spain (1997); and at right, Tenby, United Kingdom (2018)
Installation view of the exhibition Martin Parr: Global Warming at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s Benidorm, Spain (1997, below) and at right, Tenby, United Kingdom (2018)
This exhibition invites the public to revisit the work of Martin Parr. Through different bodies of work created from the late 1970s to the present day, Parr’s photographs capture the absurdities and malfunctions of our contemporary world. Over 50 years, in locations all round the globe, the photographer has built up a corpus of work that portrays the inequalities and excesses of our modern lifestyle. A number of themes recur throughout. These include: the ravages of tourism, the prevalence of car culture, our dependence on technology, consumer excess, and even our ambivalent relationship with the living world. Martin Parr brings his unique, off-beat perspective to several major causes of climate change and environmental damage: unchecked global travel, reliance on fossil fuels, and world-wide overconsumption. Seemingly light-hearted and humorous, Parr’s work is in fact deeply serious. The ironical nature of his work places Parr firmly within the traditions of British satire and offers an indirect yet profound critique of contemporary life.
Through some 180 images spanning fifty years of work – from his early black and white images to more recent output – this exhibition addresses the chaos of modern society. Five main sections, organised according to recurring themes, motifs and obsessions, convey the range and depth of Parr’s work. These sections explore the way in which our leisure pursuits impact the environment. Despite being a non-swimmer, Parr is repeatedly drawn to the beach as a site where the natural and artificial worlds coexist and pleasure leads to waste. In the section ‘Everything Must Go!’ our obsessive consumerism is explored. Parr draws up a crude inventory of sought-after objects and modes of consumption. Supermarkets, shopping malls, fairs and exhibitions provide the setting for a frantic materialistic race that is common to all classes of society. Sometimes even human beings become a form of merchandise.
In the ‘Small World’ section, named after one of his most celebrated series, Parr explores the joys, contradictions and dead ends of the tourism industry. In some of the world’s most iconic destinations, he focuses on the habits, behaviours, expectations and disappointments of the global tourist, against the backdrop of North/South, West/East imbalances. In ‘The Animal Kingdom’ he looks at the ambiguous relationship between humans and animals, from fascination and indulgence to neglect and exploitation. The final section – ‘Technological Addictions’ addresses our relationship with machines of all kinds: phones, cars, planes and computers as through them we navigate space, time and reality on a daily basis.
I create entertainment that contains a serious message if you are willing to look for it, but I’m not trying to convince anyone, I’m simply showing people what they think they know’ declared Martin Parr in 2021. Tireless photographer, frequent flyer, beach-lover, Martin Parr never tries to be a moral authority. He has often acknowledged that he himself is fully part of the world he documents and is clear-sighted about the environmental impact of his own lifestyle, particularly his significant carbon footprint: ‘We are heading towards catastrophe but we are all going there together. Who would dare ban cars or air travel?’
Aware that images alone are not enough to change the world, he advocates a form of discreet activism, a subtle visual guerilla warfare. If Parr uses humour it is always in the service of a commentary, often critical and satirical, that seeks to de-stabilise the idealised visions conveyed in the media by the cultural and tourism industries. Many of his images play with cliches, highlighting their inherent absurdity in order to subvert and deconstruct them. Tourist postcards, wildlife photography, foodie habits, selfies, all these and more provide the material that enables him to question, critique and occasionally mock the lifestyles and imagination of large sections of the world population. This exhibition is indeed a global warning.
Press release from Jeu de Paume
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s Moscow (1992) ; and at right, the wall text to “Last chance to buy”
Last chance to buy
Beginning in the 1980s, Martin Parr began documenting a subject that relatively few photographers were exploring at the time: the myriad dimensions of consumer culture in Britain under Margaret Thatcher, and in particular the tastes, aspirations and attitudes of the middle class. Parr would sustain this interest throughout his career, later extending his investigation across Europe and the United Sates as well as to countries in Asia and the Middle East shaped by Westernised or Americanised lifestyles.
Today, Parr’s work offers a blunt and often humorous inventory of our consumer goods and ways of life – from food and art to luxury items and useless trinkets – framing consumption as a kind of new religion. In several series, parr deliberately subverted the visual vocabulary of advertising photography. In ‘Common Sense’, one of his most incisive critiques of consumer culture, close-ups and saturated colours produce a grotesque caricature of a world dominated by kitsch. Through his lens, supermarkets, hypermarkets, shopping malls, fairs, and trade shows become stages on which all social classes take part in a frenzied and absurd rush to accumulate goods of every kind. In this world, which seems ultimately to offer little pleasure, human beings themselves are at times turned into commodities.
Wall text from the exhibition
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at centre, photographs from Martin Parr’s series Common Sense (1999)
Installation views of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing photographs from Martin Parr’s series Common Sense (1999, below)
In his playfully titled Common sense series, British photographer Martin Parr confronts and amuses us in a similar way. Each image in the series is an isolated detail revealing one ghastly aspect of excessive consumerism and consumption after another. The images jostle for our attention like billboards on the side of a freeway, employing many of the tactics of advertising, using large-scale, saturated colour and shock value to attract our gaze.
In his photographs of food, Martin Parr pointedly examines the gross indulgence that is encouraged by manufacturers and their advertisers. Shown here as just another commodity, generic and mass-produced food becomes obscene in its abundance…. When seen in such lurid detail, the overblown details on the person’s hands, such as the ring with blue stone, a Band-Aid, and the imperfect application of the gaudy nail polish, become repulsive images of the ordinary. …
The Common sense series is a major body of work within Parr’s ongoing exploration of globalisation, mass tourism, class culture and consumerism. In common with much of his work, this series presents images critical of the contemporary culture with a distinctive sense of irony and British humour. There is something uncomfortable in all these photographs. We laugh at them while being slightly embarrassed by their familiarity and are acutely aware of the gulf between a dream of glamour and the sad synthetic reality.
Susan van Wyk, Curator, Photography, National Gallery of Victoria
Susan van Wyk. “Martin Parr’s Common Sense,” in Art Journal 46, 29 Jan 14 on the National Gallery of Victoria website [Online] Cited 16/04/2026. Used under fair use conditions for the purposes of education and research
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s Cozumel, Mexico (2002, below); and at right, the wall text for “Small World”
Small World
Martin Parr maintained that he belonged fully to the world he documented and critiqued. He readily acknowledged the environmental impact of his own lifestyle – not least his substantial carbon footprint – and near positioned himself above his subjects. Although fully aware that images alone could never change the world, he nevertheless engaged in a form of subtle, visual guerrilla warfare that questioned dominant representations, particularly those promoted by the tourism industry.
Beginning in the 1990s, tourism emerged as one of his favourite subjects. He would explore it the world over, in all its pleasures, contradictions, and even dead ends, documenting the rituals and behaviours of the global tourist in the world’s most visited destinations. The sameness of gestures, attitudes and clothing encountered in every corner of the planet provides a humorous, slightly wistful counterpoint to the diversity of the sites and monuments photographed. Parr takes particular pleasure in overturning the codes of postcard perfect aesthetics, especially in his images of iconic landmarks, which he presents in degraded forms caught between over crowding, scenes of anxiety, and crude replicas. Through his lens, the quest for authenticity is a thing of the past.
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing Parr’s photograph Cannes, France (2018, below)
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s photograph Sorrento, Italy (2014, below); and at right, The Matterhorn, Alps, Switzerland (1990)
‘Between the hours of 10am and 2pm the site is at its busiest with up to 4,000 visitors arriving each day. Knowing how inaccessible the place is, it is staggering where and how they emerge. It is also not a cheap visit as each foreign tourist has to pay 122 soies (roughly $40) to enter the site. I am convinced that this entrance payment, together with the cost of the journey and the trekking are probably keeping the Peruvian economy afloat, as 70% of all visitors are foreigners.’
From Martin Parr’s blog, Machu Picchu, 2008 Wall text from the exhibition
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at bottom left, Martin Parr’s photograph Notre Dame, Paris, France (2012, below); and at right, Kleine Scheidegg, Switzerland (1994, below)
Installation view of the exhibition Martin Parr: Global Warming at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s West Midlands Safari Park, United Kingdom (1990); and at right, Longleat Safari Park, United Kingdom (1994)
Unlike zoos, safari parks are designed to let animals roam freely, almost as if they were “in the wild”, while human visitors are meant to experience a sense of closeness to the animals natural state. In his images of safari parks, Martin Parr mocks this idea by deliberately including exactly what such photographs usually try to exclude: cars. The resulting images resemble absurd collages of two disjointed realities, in which – in typical Par-like fashion – he plays with the incongruous encounter between the natural world and a human-made, artificial dimension
Wall text from the exhibition
Installation view of the exhibition Martin Parr: Global Warming at Jeu de Paume, Paris, January – May, 2026 showing at second left, Martin Parr’s photograph Snow Polo World Cup, St Moritz, Switzerland (2011, below) from the series Luxury; and at second right, Venice Beach, California, USA (1998, below)
“I am not saying that tourism is bad – far from it as it brings a livelihood for many people. Organisations like Tourism Concern in the UK make a very important contribution to a better understanding of the yin and yang of tourism. This charity highlights the problems caused by tourism – from water shortages in newly developed sites to the pure rape of our ever decreasing natural habitats – and tries to ensure that local people benefit from the fruits of tourism. We need to adopt a better understanding of the issues surrounding this huge business. These photographs, I hope, will offer a good starting point. For remember we, in the wealthy West, are the ones that seek out the pleasures of tourism, so we’re all in this together.”
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing the wall text “Technological Addictions” with at bottom left, Martin Parr’s Chowpatty Beach, Mumbai, India (2018, below); at second right, Great Dorset Steam Fair, Dorset, England (2022, below) and at right, New York, USA (1999, below)
Technological Addictions
Even in his exploration of technology, Parr remains a humanist in both his practice and overarching project: what interests him is our relationship to the technology rather than the object or machine itself. As a keen observer of behaviour and constantly on the lookout for unexplored for unexplored topics, Parr examined how the human body interacts differently with each new technological object. He also probes technology’s growing role in daily lives and imagination, and the dependency it engenders. At the same time, he implicitly explores the way technology profoundly alters our perception of reality and our relationship to space and time.
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s Great Dorset Steam Fair, Dorset, England (2022, below); and at top right, England, United Kingdom (1994) and at bottom right, England, United Kingdom (1994)
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing Martin Parr’s Great Dorset Steam Fair, Dorset, England (2022, below)
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s New York, USA (1999, below); and at right top, Salford, United Kingdom (1986) and right bottom, Dublin, Ireland (1986)
‘I was hanging around a petrol station like a pervert. Photographers at the time would have said that this was the craziest place to take a picture. Because it’s a very unglamorous subject matter. Boring. There’s no drama here. But there’s something really interesting about boring. Something that seems very ordinary at the time becomes interesting when you look back at it later, almost 40 years later: the pump has changed, the clothes have changed, the car has changed. It tells us something about consumerism, and how we depend on fuel, oil and petrol.
From Martin Parr’s interview, ‘”There’s something very interesting about boring” Martin Parr on his life in pictures.’ The Guardian, 24 August 2025 Wall text from the exhibition
‘Although many museums have now banned the selfie stick, outside in the street, especially in front of that iconic monument or landmark the stick comes into its own. Getting the photo of you and your loved one(s) with the landmark in the background is de rigueur. The tourism industry, which is the biggest in the world, now dictates that the first requirement of any trip is to prove you were there with the necessary photo. It connects you to the world that we know and understand, and it is a vital part of any successful holiday experience. We used to have to ask a passing tourist to take the photo, but thanks to the selfie stick those days are over and we are now self sufficient.’
From Martin Parr’s blog, The Selfie Stick, 2015 Wall text from the exhibition
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at left, Martin Parr’s photographs Advertisement for Sony PlayStation, England, United Kingdom (2003); and at right, Ooty, India (2018, above)
Installation view of the exhibition Martin Parr: Global Warning at Jeu de Paume, Paris, January – May, 2026 showing at right, Martin Parr’s photograph from The Republican National Convention, Cleveland, Ohio, USA (2016, below)
Curator: Dr. Carrie Cushman, Director of the Bates College Museum of Art and former Linda Wyatt Gruber ’66 Curatorial Fellow in Photography at the Davis Museum
Ilse Bing (German, 1899-1998) Music Stands 1933 Gelatin silver print Sheet: 7 in. x 11 15/16 in. (17.8 cm x 30.3cm) Mount: 11 in. x 14 in. (27.9 cm x 35.6cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
A bonus mid-week posting on this compact exhibition on the work of German photographer Isle Bing (1899-1998)
It’s wonderful to see the expressive musicality and movement in Bing’s black and white photographs, most of the images new to me. I would have loved to have seen more photographs from this “New Woman” but this is all I have from the exhibition. The museum is very lucky to have had a recent gift of vintage photographs donated by Bing’s mentee and friend Suzanne Ciani (class of ’68).
But if you want to be taken seriously as a collecting institute please make sure that you title the artist and subject correctly on your collections website pages. It’s not The Honorable Daisy Fellowers it is The Honorable Daisy Fellowes (corrected below) and it’s not Florence Henry it is Florence Henri!
Little things make all the difference.
Dr Marcus Bunyan
Many thankx to the Davis Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Ilse Bing (German, 1899-1998) Acrobat with Black Ball 1936 Gelatin silver print Sheet: 8 3/4 in. x 11 1/8 in. (22.2cm x 28.3cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
Ilse Bing (German, 1899-1998) Circus Horse in NYC 1936 Gelatin silver print Sheet: 13 1/2 in. x 19 3/8 in. (34.3 cm x 49.2cm) Mount: 19 5/8 in. x 25 1/2 in. (49.8 cm x 64.8cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
Featuring a recent gift of vintage photographs by the groundbreaking photographer Ilse Bing (1899-1998), this exhibition explores the development of the photographic medium in the mid-twentieth century. The era in which Bing came to prominence saw the birth of the journalistic photo-essay, the launch of the 35-mm Leica camera, and experiments with abstract photograms and solarization. Artists led critical debates over how photography should remain true to itself as a medium of and for the modern world. From Frankfurt to Paris to New York City, Bing was at the centre of it all, carving out a place for herself as “Queen of the Leica” in a male-dominated world of image making. The Worlds of Ilse Bing is organised geographically according to the three cities where Bing lived, placing her work in conversation with the artists who made up her creative worlds and providing insight into her influences, process, and undeniable impact on others as they pushed the boundaries of modern art.
Text from the Wellesley College website
Ilse Bing (German, 1899-1998) Jane Neidensaul, Hands on Harp 1943 Gelatin silver print Sheet: 10 1/4 in. x 13 7/8 in. (26 cm x 35.2cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
Jane B. Weidensaul (1935-2003) was a prominent American harpist, educator, musicologist, and editor known for her contributions to harp literature and pedagogy. A Juilliard graduate and assistant to Marcel Grandjany, she taught at Juilliard and the Manhattan School of Music, served as editor of the American Harp Journal (1978-1996), and authored numerous scholarly works.
Ilse Bing (German, 1899-1998) La Main de Szymon Goldberg 1949 Gelatin silver print Image: 13 1/4 in. x 9 1/2 in. (33.7 cm x 24.1cm) Mount: 21 3/16 in. x 17 5/16 in. (53.8 cm x 44cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
Szymon Goldberg (American born Poland, 1909-1993)
Szymon Goldberg (1 June 1909 – 19 July 1993) was a Polish-born Jewish classical violinist and conductor, latterly an American.
Born in Włocławek, Congress Poland, Goldberg played the violin as a child growing up in Warsaw. His first teacher was Henryk Czaplinski, a student of the great Czech violinist Otakar Ševčík; his second was Mieczysław Michałowicz, a student of Leopold Auer. In 1917, at age eight, Goldberg moved to Berlin to study the violin with the legendary pedagogue Carl Flesch. He was also a student of Josef Wolfsthal.
After a recital in Warsaw in 1921, and a debut with the Berlin Philharmonic in 1924 in which he played three concertos, he was engaged as concert-master of the Dresden Philharmonic from 1925 to 1929. In 1929 he was offered the position of concertmaster of the Berlin Philharmonic by its principal conductor, Wilhelm Furtwängler. He accepted the position, serving from 1930 to 1934. During these years, he also performed in a string trio with Paul Hindemith on viola and Emanuel Feuermann on cello, and also led a string quartet of Berlin Philharmonic members.
The rise of the Third Reich forced Goldberg to leave the orchestra in 1934, despite Furtwängler’s attempts to safeguard the Jewish members of the orchestra. Thereafter, he toured Europe with the pianist Lili Kraus. He made his American debut in New York in 1938 at Carnegie Hall. While in the former Netherlands East Indies he formed the Goldberg Quartet, together with Robert Pikler on viola, Louis Mojzer on cello and Eugenie Emerson, piano. Pikler and Mojzer were Hungarians and Emerson was American. This Piano Quartet toured the major cities in Java, before the Japanese invasion and occupation. Goldberg’s first wife was a skilled artist and sculptor. She was interned by the Japanese in the Tjihapit Women’s Camp in Bandung, together with Mojzer’s family, while Goldberg and Kraus were on a tour of Asia.
He toured Australia for three months in 1946. Eventually he went to the United States and became a naturalised American citizen in 1953. From 1951 to 1965 he taught at the Aspen Music School. Concurrently he was active as a conductor. In 1955 he founded the Netherlands Chamber Orchestra in Amsterdam, which he led until 1979. He also took the ensemble on many tours. From the years 1977 to 1979 he was the conductor of the Manchester Camerata.
He taught at Yale University from 1978 to 1982, the Juilliard School in New York City from 1978 to 1989, the Curtis Institute of Music in Philadelphia from 1980 to 1981, and the Manhattan School of Music in New York starting in 1981. From 1990 until his death, he conducted the New Japan Philharmonic in Tokyo. …
He made a number of recordings, most notably a celebrated series of Mozart and Beethoven sonatas with Lili Kraus before World War II, the three Brahms Sonatas with Artur Balsam (Brunswick AXTL 1082), and Mozart and Schubert pieces with Radu Lupu (with whom he performed as a duo in concert) in the 1970s. The Berlin Philharmonic, in a 2014 tribute to their former concertmaster, wrote that in the music of Bach and Mozart, Goldberg “brought a poise and a beauty of tone that seemed like perfection. Indeed he was the finest Mozart violinist of his time, with the feline grace essential for the violin sonatas, the concertos and the Sinfonia concertante.”
Ilse Bing (German, 1899-1998) Konrad Wolff, Hands 1949 Gelatin silver print Sheet: 13 3/8 in. x 10 1/2 in. (34 cm x 26.7cm) Mount: 14 in. x 11 in. (35.6 cm x 27.9cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
Her photograph Konrad Wolff, Hands illustrates her formalist technique, as the camera closes in on two hands playing a piano – the black and white of the piano keys contrast with the grey tones of the hands to create a dynamic composition of linear, oblique shapes. She often manipulated her prints, flipping them upside-down or turning them sideways to view their compositional narratives in new ways.
Text from the Davis Museum website
Konrad Wolff (March 11, 1907 – October 23, 1989) was a German-born American pianist, composer, musicologist, and educator renowned for his interpretive performances of classical piano repertoire, his scholarly writings on musical pedagogy, and his role in preserving the legacy of his teacher Artur Schnabel.
Installation view of the exhibition The Worlds of Ilse Bing at the Davis Museum at Wellesley College, Wellesley MA, February – May, 2026 (wall text below)
Reflecting on her early career in the 1920s and 1930s, the groundbreaking photographer Ilse Bing (1899-1998) once proclaimed, “It was a fascinating time, because everything was new. We had nothing to hold onto.” The era in which Bing came to prominence saw the birth of the journalistic photo-essay, the launch of the 35mm Leica camera, and experiments in the darkroom. Through these developments, artists led critical debates over how photography could remain true to itself as a medium of and for the modern world. From Frankfurt to Paris to New York City, Bing was at the centre of it all, carving out a place for herself as “Queen of the Leica” in a male-dominated world of image making.
The Worlds of Ilse Bing places Bing’s work in conversation with the artists who made up her creative worlds, as tougher they forged a new visual language that married the experiences of urban life and advances in industrial production with the spirit of the avant-garde. The exhibition is organised geographically according to the three cities where Bing lived, providing insight into her influences, process, and impact. Featuring a recent gift of vintage photographs donated by Bing’s mentee and friend Suzanne Ciani ’68, the exhibition highlights Bing’s enormous breadth of work, from documentary to portraiture to fashion photography, just as it traces her answers to the question of what photography could be in the twentieth century.
Wall text from the exhibition
Ilse Bing (German, 1899-1998) Sun in Clouds Over Swiss Mountains 1929/1984 Sheet: 6 1/4 in. x 9 1/2 in. (15.9 cm x 24.1cm) Mount: 11 in. x 14 in. (27.9 cm x 35.6cm) Gelatin silver print Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
Ilse Bing (German, 1899-1998) Merry Go Round, Paris 1932 Gelatin silver print Sheet: 11 in. x 8 3/4 in. (27.9 cm x 22.2cm) Mount: 16 1/2 in. x 13 3/4 in. (41.9 cm x 34.9cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
Ilse Bing (German, 1899-1998) Dancers Balanchine Tchelitchew 1933 Gelatin silver print Sheet: 11 3/16 in. x 8 1/2 in. (28.4 cm x 21.6cm) Mount: 14 in. x 11 in. (35.6 cm x 27.9cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
George Balanchine (Georgian-American, 1904-1983) and Pavel Tchelitchew (Russian, 1898-1957) were both artists who collaborated significantly in the realm of ballet during the 1930s and 1940s. Tchelitchew, a surrealist painter and designer, created innovative, often translucent sets and costumes for several of Balanchine’s ballets, helping to define the visual aesthetic of that period.
Ilse Bing (German, 1899-1998) The Honorable Daisy Fellowes 1933 Gelatin silver print Sheet: 8 13/16 in. x 11 1/8 in. (22.4 cm x 28.3cm) Mount: 13 3/16 in. x 16 7/16 in. (33.5 cm x 41.8cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
The Hon. Daisy Fellowes (née Marguerite Séverine Philippine Decazes de Glücksberg) (29 April 1890 in Paris – 13 December 1962 in Paris) was a celebrated 20th-century society figure, acclaimed beauty, minor novelist and poet, Paris Editor of American Harper’s Bazaar, fashion icon, and an heiress to the Singer sewing machine fortune.
Ilse Bing (German, 1899-1998) Spider Web in Stables 1951 Gelatin silver print Sheet: 13 9/16 in. x 10 1/2 in. (34.4 cm x 26.7cm) Mount: 14 in. x 10 3/4 in. (35.6 cm x 27.3cm) Davis Museum at Wellesley College, Wellesley, MA Gift of Suzanne Ciani (Class of 1968)
Davis Museum at Wellesley College 106 Central Street Wellesley, MA 02481 781-283-1000
Exhibition dates: 28th November, 2025 – 3rd May, 2026
Curator: Maggie Finch, Curator of Photography at the NGV
Mina Moore (New Zealand, 1882-1957) Nellie Stewart c. 1913-1916 Gelatin silver photograph 18.6 x 12.7cm (image) National Gallery of Victoria, Melbourne Gift of the Latrobe Collection, State Library of Victoria, 1992
Sisters May and Mina Moore operated their photography studio from 1913 in the newly completed Auditorium Building at 167 Collins Street, Melbourne. This building also housed a concert hall, where recitals, operas and music performances were presented. The location was particularly advantageous for the photographers as it provided a steady stream of performers and productions in need of promotional portraits.
Wall text from the exhibition
Nellie Stewart, born Eleanor Stewart Towzey (1858-1931) was an Australian actress and singer, known as “Our Nell” and “Sweet Nell”. Born into a theatrical family, Stewart began acting as a child. As a young woman, she built a career playing in operetta and Gilbert and Sullivan operas.
It’s great to have a record of this extensive photography exhibition at the National Gallery of Victoria, Melbourne
In this first part of the exhibition, Part 1 of a huge two-part posting on Art Blart (posting proceeds as in a walk through of the exhibition), highlights for me included:
~ Two photographs by the under appreciated Bahaus artist and self taught photographer Gertrud Arndt (German, 1903-2000) whose portraits of friends, still-lifes, and performative self-portrait images are rarely seen
~ Six small, intense, jewel-like photographs by Bauhaus student Yamawaki Michiko (Japan, 1910-2000, worked in Germany 1930-1932) of “new women” and street corners in Ginza, Japan which were a revelation for their beauty, pictorial composition, tonality, spatiality and physical presence of the image
~ The groundbreaking portfolio Métal by Germaine Krull (European, 1897-1985) which was magnificently laid out so that you could “appreciate its unique design as an object” and the “vitality of the photography”, allowing the viewer to begin to understand the complex relationships between images one to another and the flow of the whole folio. A joy to behold!
Entrance to the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Mina and May Moore’s Murial Starr (c. 1913-1916, below); at second left, May Moore’s Janina Korolewicz-Wayda (c. 1910-1920); at at third right, Mina Moore’s Nellie Stewart (c. 1913-1916, above) Photos: Marcus Bunyan
Women Photographers 1900-1975: A Legacy of Light celebrates the wide-ranging photographic practices of more than eighty women artists working between 1900 and 1975. Featuring prints, postcards, photobooks and magazines, the exhibition explores the role of photographers as image-makers, and the ways in which women artists create an image of themselves, of others, of the times – from images of the women’s suffrage movement at the turn of the twentieth century, through to the women’s liberation movement and beyond. From Melbourne to Tokyo, Paris to Buenos Aires, the exhibition showcases the works of trailblazing artists such as Berenice Abbott, Lola Álvarez Bravo, Claude Cahun and Marcel Moore, Imogen Cunningham, Mikki Ferrill, Sue Ford, Christine Godden, Ponch Hawkes, Annemarie Heinrich, Ruth Hollick, Florence Henri, Kati Horna, Germaine Krull, Tina Modotti, Lucia Moholy, Toyoko Tokiwa, Yamazawa Eiko and many more.
The exhibition reflects a recent collecting focus on celebrating the contributions of women artists of the early twentieth century in the NGV Photography Collection. Featuring portraiture, photojournalism, landscape photography, photomontage, experimental avant-garde imagery and more, Women Photographers 1900-1975: A Legacy of Light presents the diverse work of women photographers against the backdrop of significant social, political and cultural events.
Text from the National Gallery of Victoria
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing May and Mina Moore’s Murial Starr (c. 1913-1916, below) Photo: Marcus Bunyan
May and Mina Moore (New Zealand, 1881-1931 and 1882-1957) Murial Starr c. 1913-1916 Gelatin silver photograph 19.6 x 12.5cm (image) National Gallery of Victoria, Melbourne Gift of the Latrobe Collection, State Library of Victoria, 1992
Sisters May and Mina Moore established their Wellington studio-portraiture business in around 1907. May, originally trained as a painter, learned to operate the camera while Mina, a schoolteacher, gained skills in printing. Expanding their business to Australia, May established a Sydney studio in 1911 while, two years later, Mina set up a Melbourne studio, which was later taken over by photographer Ruth Hollick. The pair became known for their studio portraits of actors, artists and musicians. Using only natural light, they created dramatic images marked by a striking chiaroscuro effect (a technique involving strong contrasts of light and shade) on the faces of their subjects.
Wall text from the exhibition
Muriel Starr (1888-1950) was a Canadian stage actress. She was particularly popular in Australia in the 1910s and 1920s. She appeared in one film, Within the Law (1916), an adaptation of her stage success. She was also known for the plays East of Suez, Birds of Paradise and Madame X.
Installation views of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing May and Mina Moore’s No title (Woman) (c. 1914) Photos: Marcus Bunyan
Installation views of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 Photos: Marcus Bunyan
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing Isabel Seymour (England, 1882-1963) The Seymour Album (c. 1907-1911). Recent acquisition Photos: Marcus Bunyan
The suffragette Isabel Seymour was employed by the Women’s Social and Political Union (WSPU) in London in 1906. Fluent in English and German, she facilitated international speaking tours for the organisation. Assembled by Seymour for the WSPU, this personal scrapbook includes photographs, postcards, advertisements and newspaper articles detailing suffragette activities. The album provides a historical snapshot of the activities and people involved in the suffragette movement, through one of its key organisations.
Vitrine text from the exhibition
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing from left to right, Woman’s Social and Political Union (distributor) Toye & Co. (manufacturer) Medal for Valour, awarded to Selina Martin, with original box (1909); Selina Martin (England, 1882-1972) No title (Photographic album containing images and handwritten text relating to Selina Martin) (c. 1910); Lizzie Casual Smith (England, 1870-1956) Miss Christabel Pankhurst (c. 1900s) Photo: Marcus Bunyan
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Woman’s Social and Political Union (distributor) Toye & Co. (manufacturer) Medal for Valour, awarded to Selina Martin, with original box (1909) and at right, Selina Martin (England, 1882-1972) No title (Photographic album containing images and handwritten text relating to Selina Martin) (c. 1910) Photo: Marcus Bunyan
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Woman’s Social and Political Union (distributor) Toye & Co. (manufacturer) Medal for Valour, awarded to Selina Martin, with original box (1909) and at right, Selina Martin (England, 1882-1972) No title (Photographic album containing images and handwritten text relating to Selina Martin) (c. 1910) Photos: Marcus Bunyan
New acquisition
The suffragette Selina Martin joined the Women’s Social and Political Union (WSPU) in 1908. She was imprisoned on several occasions due to her activism and was awarded a Hunger Strike Medal for valour by the WSPU. This album is Martin’s personal compilation of photographs, postcards and writings, many of which relate to the suffragette cause. It includes writing from notable acquaintances such as political activist and suffragette Mary Leigh, and human rights activist and feminist Ethel Snowden.
Vitrine text from the exhibition
Selina Martin (English, 1882-1972) was a member of the suffragette movement in the early 20th century. She was arrested several times. Her Hunger Strike Medal given ‘for Valour’ by the Women’s Social and Political Union (WSPU) was sold at auction in Nottingham in 2019.
Installation views of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Gertrude Kasebier The gargoyle (c. 1900, below); at third right, Ruth Hollick No title (Young woman in hunting costume, model Lucy Crosbie Morrison) (c. 1920, below); at second right, Ruth Hollick Thought (1921, below); and at right, Madame d’Ora Untitled (1931, below) Photos: Marcus Bunyan
Image-Makers: Women in Photography
By the start of the twentieth century, photography was becoming increasingly accessible to the public in many cities around the world. Previously, the medium was practised by an affluent minority of amateur artists and commercial studios. However, the production of lower-cost cameras gradually opened up photography to the broader public, particularly the expanding middle class. At the same time, women began to participate in photography as both creators and consumers. For many women, photography offered a means of income, a way to document daily life, and a powerful tool for communication and activism.
In England, suffragettes actively used photography to create and share images that were integral to their campaign for women’s right to vote. The suffragettes constructed their images in photographic studios and in the streets, merging style and fashionable dress with politics and self-assuredness. These photographs became crucial in shaping the public image of the suffrage movement.
In Australia, May and Mina Moore ran a successful photographic business. Known for their dramatically lit portraits of stage performers, they responded to the appetite for stylised portraiture as popularised by the suffragettes. At a time of shifting gender roles, May Moore also advocated publicly for women to work in photography.
Installation views of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing Gertrude Kasebier The gargoyle (c. 1900, below) Photos: Marcus Bunyan
Gertrude Kasebier (American, 1852-1934) The gargoyle c. 1900 Platinum photograph 20.6 x 13.5 cm (image and sheet) National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of the Herald & Weekly Times Limited, Fellow, 1979
In the early twentieth century, leading Pictorialist photographer Gertrude Käsebier played a key role in establishing photography as a form of fine art. As a member of the Photo-Secession group alongside Alfred Stieglitz, Käsebier was dedicated to Pictorialism, a style that emphasised artistic expression over documentary accuracy. This photograph, taken in Paris, highlights the painterly, emotional qualities inherent in Pictorialism. Käsebier has created an evocative image using composition and light to transform the scene. After leaving the Photo-Secession group in 1912, Käsebier became a founder and active member of the Pictorial Photographers of America.
Wall text from the exhibition
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Ruth Hollick No title (Young woman in hunting costume, model Lucy Crosbie Morrison) (c. 1920, below); at second left, Ruth Hollick Thought (1921, below); and at right, Madame d’Ora Untitled (1931, below) Photos: Marcus Bunyan
Ruth Hollick (Australian, 1883-1977) No title (Young woman in hunting costume, model Lucy Crosbie Morrison) c. 1920 Gelatin silver photograph 20.0 x 14.6cm (image) National Gallery of Victoria, Melbourne Presented through The Art Foundation of Victoria by Mrs Lucy Crosbie Morrison, Member, 1993 Public domain
Ruth Hollick attended the National Gallery of Victoria Art School from 1902 to 1906 and began to photograph commercially around 1908. In 1918, along with her life and professional partner, fellow photographer Dorothy Izard, she took over the studio of May and Mina Moore at 167 Collins Street, Melbourne. Eventually Hollick expanded her studio into the newly completed Chartres House building next door at 165 Collins Street. From 1920 her photographs were regularly included in magazines as well as Australian and British Pictorialist exhibitions and salons. Hollick closed her city studio in the early 1930s but continued working from her home in the Melbourne suburb of Moonee Ponds into the 1960s.
Wall text from the exhibition
Ruth Hollick (Australian, 1883-1977) Thought 1921 Gelatin silver photograph 37.4 x 25.3cm (image) National Gallery of Victoria, Melbourne Presented through The Art Foundation of Victoria by Mrs Lucy Crosbie Morrison, Member, 1993 Public domain
This sensitive portrait depicts the artist’s niece Lucy Crosbie Morrison. The pose of the subject, combined with the title, reveals the photographer’s careful direction and artistic ambition. The subject’s outfit, adorned with appliqué gum leaves and a gumnut belt, references native Australian plants. The work aligns with the style of Pictorialism, a popular international photographic trend at the time. Thought was recognised at the 1921 Colonial Exhibition in London, highlighting both its local significance and broader artistic appeal.
Wall text from the exhibition
Dora Kallmus (Madame d’Ora) (Austrian, 1881–1963) Untitled (installation view) 1931 Gelatin silver photograph 22.4 x 16.4cm (image and sheet) National Gallery of Victoria, Melbourne Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2023 Photo: Marcus Bunyan
Dora Kallmus, known professionally as Madame d’Ora, photographed high-profile figures associated with art, fashion and politics, including Josephine Baker and Coco Chanel. In 1907 Madame d’Ora opened her first studio in Vienna, Atelier d’Ora, one of the first photography studios in Vienna to be operated by a woman. She later moved to Paris, where her career flourished well into the 1930s – Atelier d’Ora was renowned for its glamorous, softly focused portraits – until she was forced to close her studio due to Nazi occupation.
Wall text from the exhibition
Dora Kallmus (1881-1963), better known as Madame d’Ora, was an unusual woman for her time with a spectacular career as one of the leading photographic portraitists of the early twentieth century. This exhibition, the largest museum retrospective on the Austrian photographer to date in the United States, presents the different periods of her life, from her early upbringing as the daughter of Jewish intellectuals in Vienna, to her days as a premier society photographer, through her survival during the Holocaust. Forging a path in a field that was dominated by men, d’Ora enjoyed an illustrious 50-year career, from 1907 until 1957. The show includes more than 100 examples of her work, which is distinguished for its extreme elegance, and utter depth and darkness.
Born into a privileged background and coming of age amidst the creative and intellectual atmosphere of fin-de-siècle Vienna, Kallmus was extremely well cultured. At age 23 while on a trip to the Côte d’Azur, she purchased her first camera, a Kodak box camera. She was the first woman photographer in Vienna to open her own studio and in May 1906, she was listed in the commercial register as a photographer for the first time. Self-styled simply as d’Ora, she initially took portraits of friends and members from her social circle. In the autumn of 1909, an exhibition of her work received a lively response from the press. Critics both praised the artistic style of her portraits and emphasized the prominent individuals who streamed in to view the show.
Over the course of her lifetime, d’Ora turned her lens on many artists, including Josephine Baker, Colette, Gustav Klimt, Tamara de Lempicka, and Pablo Picasso, among others. Alongside these commissions, she also photographed members of the Habsburg family and Viennese aristocracy, the Rothschild family, and other prominent cultural figures and politicians. D’Ora had close ties to avant-garde artistic circles and captured members of the Expressionist dance movement with her lens, including Anita Berber and Sebastian Droste. Fashion and glamor subjects were another important mainstay of her business. She regularly photographed Wiener Werkstätte fashion models and the designer Emilie Flöge of the Schwestern Flöge salon wearing artistic reform dresses. When d’Ora moved to Paris in 1925, she shifted her focus to fashion, covering the couture scene and leading lights of the period until 1940. She befriended key figures, such as the French milliner Madame Agnès and the Spanish designer Cristóbal Balenciaga, as well as the top fashion magazine editors of the day. She also helped create and sustain glamorous images for a variety of celebrities, including Cecil Beaton, Maurice Chevalier, and Colette.
When the Nazis seized control of Paris in 1940, she was forced to close her studio and flee. She spent the war years in a semi-underground existence living in Ardèche in the southeast of France. Her sister Anna Kallmus, along with other family and friends, died in the Chełmno concentration camp. After World War II, d’Ora returned to Paris, profoundly affected by personal losses. While she lacked an elegant studio in Paris, d’Ora’s lasting connections to wealthy clients remained and many of them returned to her. While she accepted portrait commissions, mostly for financial stability, she also pushed into new, sometimes darker directions. Around 1948, she embarked on an astonishing series of photographs in displaced persons or refugee camps, which was commissioned by the United Nations. From around 1949 to 1958, d’Ora worked on a project, which she called “my big final work.” She visited numerous slaughterhouses in Paris, and amid the pools of blood and deathly screams, she stood in an elegant suit and a hat photographing the butchered animals hundreds of times.
Anonymous. “Madame d’Ora,” on the Neue Galerie website Nd [Online] Cited 30/03/2026. Used under fair use conditions for the purposes of education and research
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Madame D’Ora The Dolly Sisters (c. 1928, below); at second right, Trude Fleischmann The actress Sibylle Binder, Vienna (c. 1926, below); and at right, Trude Fleischmann View of Michaelerplatz, Vienna (1929, below) Photo: Marcus Bunyan
Dora Kallmus (Madame d’Ora) (Austrian, 1881–1963) The Dolly sisters (installation views) c. 1928 Gelatin silver photograph 18.0 x 21.1cm National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022 Photos: Marcus Bunyan
Around 1928 Madame d’Ora photographed the Dolly Sisters, who were celebrated for their glamorous performances in the 1920s. Jenny and Rosie Dolly, Hungarian-American identical twins, were vaudeville and cabaret dancers adored in Britain, the United States and across Europe for their beauty and erotically charged performances. In d’Ora’s photograph they embody the ideal of the modern woman, with bobbed hair and short skirts, dressed in glittering couture costumes and adorned with pearls.
Wall text from the exhibition
Trude Fleischmann (American born Austria, 1895-1990) The actress Sibylle Binder, Vienna c. 1926 Gelatin silver photograph 21.9 x 16.2cm (image) 22.9 x 17.1cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022 Photo: Marcus Bunyan
Trude Fleischmann (American born Austria, 1895-1990) The actress Sibylle Binder, Vienna c. 1926 Gelatin silver photograph 21.9 x 16.2cm (image) 22.9 x 17.1cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022 Public domain
Trude Fleischmann studied photography in Paris and, after graduating from the Viennese visual arts college die Graphische, apprenticed in the studio of photographer Madame d’Ora. In 1920 Fleischmann opened her own studio, specialising in female nudes, celebrity and socialite portraits, and glamorous photographs of actors. In 1938 she fled Austria, eventually settling in New York, where she re-established her studio and continued to focus on portraits of high-profile figures. This portrait depicts the Viennese actress Sibylle Binder, who performed throughout Germany and Austria in the 1920s. Binder is photographed in glamorous dress and with the classic short, androgynous hairstyle of the New Woman.
Wall text from the exhibition
Sybille Binder (Austrian, 1895-1962)
Sybille Binder (5 January 1895 – 30 June 1962) was an Austrian actress of Jewish descent whose career of over 40 years was based variously in her home country, Germany and Britain, where she found success in films during the 1940s.
Career
Binder began her stage career in Berlin in 1915, then in 1918 moved to Munich, where she enjoyed success in classical drama. Between 1916 and 1918 she also appeared in a handful of silent films. In 1922, she returned to Berlin and received acclaim for her performance in Frank Wedekind’s Earth Spirit. Over the next few years she performed regularly in Germany and Austria then, in the mid-1930s as war approached and conditions in Germany became difficult, she made the decision to move to England.
Between 1942 and 1950 Binder featured in 13 British films, including several of superior quality. Her first screen appearance in Britain came auspiciously in the highly acclaimed supernatural drama Thunder Rock, playing opposite dramatic heavyweights including Michael Redgrave, James Mason and Frederick Valk. Other notable films in which Binder appeared were war drama Candlelight in Algeria (1944), hugely popular period melodrama Blanche Fury, espionage thriller Against the Wind and amnesia-themed romance Portrait from Life (all 1948).
Binder returned to Germany in 1950, settling in Düsseldorf, where she successfully picked up her stage career but did not attempt to break into the German film industry. She died on 30 June 1962, aged 67.
Trude Fleischmann (American born Austria, 1895-1990) View of Michaelerplatz, Vienna (Blick zum Michaelerplatz Wien) 1929 Gelatin silver photograph 18.4 x 16.6cm (image) 19.0 x 17.3cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photo: Marcus Bunyan
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing in the bottom image at third left, Kitty Hoffmann Posing dance group (Tanzgruppe Trude Goodwin) (1930, below); at third right, Lotte Jacobi Head of a dancer (1929, below); at second right, Gertrud Arndt Mask self-portrait No. 11 (1930, below); and at right, Gertrud Arndt Wera Waldek (1930, below) Photos: Marcus Bunyan
New Women, New Visions
Photography studios flourished in the early twentieth century. In Vienna, Austria, numerous prominent women photographers ran successful businesses, including Madame d’Ora and later Trude Fleischmann and Kitty Hoffmann. While Madame d’Ora’s glamorous portraits retained the soft focus characteristic of turn-of-the-century photography, the women in Fleischmann’s and Hoffmann’s images of the 1920s and 1930s matched the mood of the modern city. With their chic dress and bobbed haircuts, they represented the famed ‘New Woman’, or Neue Frau, an archetype that came to symbolise female empowerment and the shift away from traditional gender roles.
Opening in 1919 in Weimar, Germany, the Bauhaus art school experienced an influx of women students due to changes in the country’s constitution that guaranteed women the right to vote and study. Photography, while not officially taught at the Bauhaus for some years, flourished: it was seen to be an essential means of expression appropriate for the modern age. Lucia Moholy and her husband, Bauhaus professor László Moholy-Nagy, promoted the idea of ‘New Vision’ at the school. The camera was seen as the ultimate mirror of the everyday, while the camera-less images they produced allowed for great experimentation and abstraction.
Kitty Hoffmann (Austrian, 1900-1968) Posing dance group (Tanzgruppe Trude Goodwin) (installation view) 1930 Gelatin silver photograph 15.9 x 19.8cm (image) 16.8 x 20.7cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photo: Marcus Bunyan
Kitty Hoffmann (Austrian, 1900-1968) Posing dance group (Tanzgruppe Trude Goodwin) 1930 Gelatin silver photograph 15.9 x 19.8cm (image) 16.8 x 20.7cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024
Kitty Hoffmann worked and studied at Vienna’s die Graphische visual arts college from 1922 to 1924. Three years later, upon completing her studies, she opened a photographic studio in the city, specialising in fashion and society portraiture. Hoffmann’s photographs were regularly published in popular lifestyle and theatre magazines of the time, including Die Dame von Heute (The Lady of Today)and Die Bühne (The Stage). This photograph depicts dancers from the Trude Goodwin dance group. The dancers form a graphic shape that echoes the oval stage-set behind them, encapsulating the Ausdruckstanz, or ‘expressive dance’ movement, which reached peak popularity in Vienna during the 1920s.
Wall text from the exhibition
Lotte Jacobi (German-American, 1896-1990) Head of a dancer 1929, printed c. 1970 Gelatin silver photograph 26.4 x 33.2cm (image) 27.7 x 35.3cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2021 Public domain
Lotte Jacobi’s father and grandfather were also photographers, and her great-grandfather studied with Louis Daguerre, inventor of the daguerreotype. This modernist portrait features Russian dancer Niuta Norskaya. The dancer’s pale, oval-shaped face is encompassed by her wide-brimmed black hat, resulting in a striking study of modern beauty.
Wall text from the exhibition
Gertrud Arndt (German, 1903-2000) Mask self-portrait no. 11 (Maskenselbstbildnis Nr. 11) (installation views) 1930 Gelatin silver photograph 22.9 x 14.7cm (image and sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photos: Marcus Bunyan
Gertrud Arndt (born Gertrud Hantschk in Upper Silicia) set out to become an architect, beginning a three-year apprenticeship in 1919 at the architecture firm of Karl Meinhardt in Erfurt, where her family lived at the time. While there, she began teaching herself photography by taking pictures of buildings in town. She also attended courses in typography, drawing, and art history at the Kunstgewerbeschule (School of design). Encouraged by Meinhardt, a friend of Walter Gropius, Arndt was awarded a scholarship to continue her studies at the Bauhaus in Weimar. Enrolled from 1923 to 1927, Arndt took the Vorkurs (foundation course) from László Moholy-Nagy, who was a chief proponent of the value of experimentation with photography. After her Vorkurs, Georg Muche, leader of the weaving workshop, persuaded her to join his course, which then became the formal focus of her studies. Upon graduation, in March 1927, she married fellow Bauhaus graduate and architect Alfred Arndt. The couple moved to Probstzella in Eastern Germany, where Arndt photographed buildings for her husband’s architecture firm.
In 1929, Hannes Meyer invited Alfred Arndt to teach at the Bauhaus, where Arndt focused her energy on photography, entering her period of greatest activity, featuring portraits of friends, still-lifes, and a series of performative self-portraits, as well as At the Masters’ Houses, which shows the influence of her studies with Moholy-Nagy as well as her keen eye for architecture. After the Bauhaus closed, in 1932, the couple left Dessau and moved back to Probstzella. Three years after the end of World War II the family moved to Darmstadt; Arndt almost completely stopped making photographs.
Mitra Abbaspour, Associate Curator, Department of Photography “Gertrud Arndt,” on the MoMA website 2014 [Online] Cited 31/03/2026. Used under fair use conditions for the purposes of education and research
Gertrud Arndt (German, 1903-2000) Wera Waldek 1930, printed 1984 From the Bauhaus portfolio I (1919-1933) 1984 Gelatin silver photograph (19.0 x 22.5cm) irreg. (image) 27.0 x 35.3cm (sheet) National Gallery of Victoria, Melbourne Gift of Galerie Kicken Berlin in memory of Rudolf Kicken (1947-2014), 2024 Photo: Marcus Bunyan
Originally wanting to study architecture, Gertrud Arndt enrolled at the Bauhaus school in 1923-1924, ultimately specialising in weaving. A self-taught photographer, she informally developed her skills while apprenticing at an architect’s office in Erfurt prior to her studies, later photographing buildings for her husband’s architecture firm. Printing this picture in its negative state, rather than turning it into a positive image, Arndt creates a striking dreamlike effect. The portrait depicts fellow Bauhaus architecture student Wera Waldek, who made designs for children’s play furniture and housing interiors. The image forms part of the Bauhaus Portfolio I 1919-1933, published by Rudolf Kicken Galerie in 1984.
Wall text from the exhibition
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing from left to right in the bottom image, Florence Henri Still life (Nature morte) (1931 printed 1975, below); Elsa Thiemann (German, 1910-1981) Design for wallpaper (1930-1931); 1930s photographs by Yamawaki Michiko (Japan, 1910-2000, worked in Germany 1930-1932) see below; and two 1920s photographs by Lucia Moholy of the Bauhaus, Dessau, see below Photos: Marcus Bunyan
Elsa Thiemann trained in painting, graphic design and photography at the Bauhaus school. While there, she responded to an advertisement from school director Hannes Meyer for wallpaper designs to be considered for the new Bauhaus collection, planned for production by the wallpaper manufacturer Gebrüder Rasch. Thiemann’s designs used photograms of flowers and hand-coloured swirling patterns, which were meticulously cut, organised and pasted into repetitious symmetrical layouts. While her designs were not manufactured, likely due to their contrast with the brighter patterns ultimately selected for production, they remain as standalone works indicative of the experimental design being practised at the Bauhaus.
After studying music and painting, Florence Henri was introduced to photography in 1927 while attending the Bauhaus school. There, she met László Moholy-Nagy and Lucia Moholy, whose influence (especially Moholy’s) led Henri to focus solely on photography. In 1929 she established a studio in Paris, where she became renowned for her avant-garde and experimental practice. In addition to portraits of women, her work often features still-life compositions that combine everyday objects like envelopes and sheets of paper with natural elements such as flowers and leaves. Henri also frequently used mirrors as a means of fragmenting the pictorial space.
Wall text from the exhibition. New acquisition
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing photographs by Yamawaki Michiko, top to bottom, left to right: Ginza (Street corner) (1932, below); Ginza (Women in matching kimonos and white parasols) (1932); Ginza (Woman walking with 1930s style dress, white, with white hat) (1932, below); Ginza (Two women crossing street, one with white hat) (1932, below); Ginza (Ginza Palace) (1932, below); Ginza (Pumps and sandals walking on sidewalk) (1932). New acquisitions Photo: Marcus Bunyan
Yamawaki Michiko and her husband spent two years studying at the Bauhaus art school in Dessau, Germany from 1930, returning to Japan in 1932. Taken in the summer of 1933, Yamawaki’s Tokyo street scenes show the influence of the Bauhaus vision, while highlighting the differing roles of women at a time of great social change. We see mothers carrying children, women in kimono holding parasols, and moga (modern girls) wearing knee-length dresses and Western-inspired clothes. Yamawaki used details from twenty-one of these photographs to create her bustling modernist photomontage Melted Tokyo, published in Asahi Camera magazine in 1933.
Wall text from the exhibition
Yamawaki Michiko (Japan, 1910-2000, worked in Germany 1930-1932) Ginza (Street corner) (installation view) 1932 Gelatin silver photograph 11.0 x 8.2 cm (image and sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photo: Marcus Bunyan
Yamawaki Michiko (Japan, 1910-2000, worked in Germany 1930-1932) Ginza (Woman walking with 1930s style dress, white, with white hat) (installation view) 1932 Gelatin silver photograph 11.2 x 8.3cm (image) 12.6 x 10.0cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photo: Marcus Bunyan
Yamawaki Michiko (Japan, 1910-2000, worked in Germany 1930-1932) Ginza (Two women crossing street, one with white hat) (installation view) 1932 Gelatin silver photograph 11.2 x 8.2cm (image) 12.6 x 10.0cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photo: Marcus Bunyan
Yamawaki Michiko (Japan, 1910-2000, worked in Germany 1930-1932) Ginza (Ginza Palace) (installation view) 1932 Gelatin silver photograph 11.2 x 8.3cm (image) 12.5 x 10.0cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photo: Marcus Bunyan
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at top, Lucia Moholy Bauhaus residences Dessau, kitchen – sideboard (1926, below); and at bottom, Lucia Moholy Berlin Architecture Exhibition (1928, below) Photo: Marcus Bunyan
Lucia Moholy (British born Czech, 1894-1989) Bauhaus residences Dessau, kitchen – sideboard (Bauhaussiedlung Dessau, küche – anrichte) 1926 Gelatin silver photograph 11.9 x 16.8cm (image) 13.0 x 17.9cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photo: Marcus Bunyan
Lucia Moholy is best known for documenting the architecture, people and creative outputs of the Bauhaus school. Her work was often incorrectly attributed to famous men of the school, such as its founder, Walter Gropius, and Moholy’s then husband, László Moholy-Nagy. In this photograph, Moholy captures Gropius’s kitchen in the Masters’ House. The building and the design schools nearby, built between 1925 and 1926, are exemplars of European modern architecture and design. Sharp lines and dynamic angles emphasise the modular design, displaying the modernist principles of photography that Moholy applied to her images of architectural spaces.
“I suggest that Walter Gropius was most likely not interested in the ‘design’ of kitchens. These function rooms he would have not visited often nor did he cook. Gropius had a maid while in the Bauhaus as well as in later life. The kitchen at the Bauhaus was functional according to the times and the needs as seen by the employers of the maids who worked in them. Whereas the Frankfurt Kitchens were a result of attention to design as well as function and efficiency. …
Lucia had not enjoyed small town Dessau and intense campus life at the Bauhaus. She worked in Berlin but at in 1933 Moholy had to flee in fear of arrest for her communist association, leaving all her possessions behind including her negatives.
After time on Prague and Paris, Lucia Moholy settled In England in 1934 where she worked as a portrait photographer and teacher. …
After seeing her images as uncredited illustrations in the catalogue of a 1938 exhibition on the Bauhaus at the Museum of Modern Art, New York and many later publications, Lucia Moholy became aware that her negatives had survived. She found they had come into the possession of Walter Gropius who took them to his new teaching post America in 1937. He could easily have found Lucia post war. For years Lucia Moholy asked Gropius to give the plates back but he would not until her lawyers were able to force the return about half the original number in 1957. She complained that Gropius enjoyed the use and income from the photographs while she lived in want.”
Gael Newton AM. “Lucia Moholy: The Kitchen,” on the Photo-web website, March 2026 [Online] Cited 02/04/2026. Used under fair use conditions for the purposes of education and research
The question remains: what happened to the remaining negatives not returned by Walter Gropius to Lucia Moholy in the 1957 settlement? According to Moholy’s own card catalogue, which she used to keep track of her works, 330 negatives remained missing from her collection by the time of her death in 1989. Lost, damaged or stolen … the reputation of Gropius is forever sullied by his unseemly, grasping, patriarchal actions. MB
Lucia Moholy (British born Czech, 1894-1989) Berlin Architecture Exhibition (Exposition d’Architecture à Berlin en 1928) 1928 Gelatin silver photograph 16.3 x 22.4cm (image) 16.9 x 22.9 cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photo: Marcus Bunyan
In 1928 Lucia Moholy and László Moholy-Nagy left Dessau for a new life in Berlin. This image documents an innovative housing exhibition showcasing modern living. The display, designed by architect Walter Gropius, founder of the Bauhaus school, featured new housing concepts in Zehlendorf, a Berlin neighbourhood. The graphic lettering on the building translates to ‘Live in a green environment, ideal case: Zehlendorf’. Moholy-Nagy designed the interiors, and Moholy’s images, with their signature focus on starkly contrasting vertical and horizontal lines, highlight their modernist design principles.
Wall text from the exhibition
Like many women of her time, Lucia Moholy often found herself in the shadow cast by her more conspicuous male peers – one of whom happened to be her husband, the photographer László Moholy-Nagy. After marrying in 1921, the couple moved to Weimar, Germany, so that he could begin a professorship at the Bauhaus, the influential German school of architecture, design, and applied arts. While László taught, Lucia undertook photography training, serving as an apprentice in Otto Eckner’s Bauhaus photography studio. By 1926 she had mastered a wide range of techniques, installed a darkroom in their home, and begun collaborating with her husband on experimental forms of cameraless photography.
As part of her photographic practice, Lucia began documenting the people and architectural spaces of the Bauhaus. Many of her images focus on the women who either supported or participated in the school’s activities. Edith Tschichold (1926), for instance, depicts the wife of German typographer and frequent Bauhaus collaborator Jan Tschichold. Meanwhile, Florence Henri (1927) portrays the notable Surrealist artist at the outset of her career, when she came to the Bauhaus in 1927 as a visiting photography student. Both portraits are tightly cropped around the women’s faces, revealing expressions of wistfulness or self-assurance that pull viewers into a shared emotional space.
One of Lucia’s more iconic portraits is an untitled photograph of her husband, who, sporting a machinist’s coveralls over his shirt and tie, humorously attempts to block the camera lens with his hand. The candid shot hints at the playful nature of the couple’s working relationship; once circulated, it also helped to shape László’s persona as an artist-constructor. Despite happy appearances, their relationship began to deteriorate as László declined to credit Lucia for many of their collaborations, including the celebrated 1925 book Malerei, Photografie, Film (Painting, Photography, Film).
This was not the only – or even the most significant – erasure of Lucia’s career. Forced to flee Germany in 1933 due to the rise of the Nazi Party, she made the difficult decision to leave behind her collection of 560 glass-plate negatives, which she described as “my only tangible asset.”
Following World War II, in the midst of a revival of interest in the Bauhaus, she tried desperately to locate them with no success. It wasn’t until 1954 that Walter Gropius, founder and former head of the Bauhaus, acknowledged that the negatives were in his possession, that he had been reproducing them, and that he had no intention of returning them to her. Lucia Moholy’s precise visual records of the school’s architecture – such as Bauhaus Workshop Building from Below. Oblique View (1926) – had been circulated without attribution for years in order to promote Bauhaus aesthetics. In fact, 49 of her prints appeared uncredited in the catalogue accompanying MoMA’s exhibition Bauhaus, 1919–1928, which was mounted in 1938 with Gropius’s input.
As part of her legal efforts to reclaim the negatives, Lucia wrote, “Everybody, except myself, have used, and admit to having used my photographs […] and often also without mentioning my name. Everyone – except myself – have derived advantages from using my photographs, either directly, or indirectly, in a number of ways, be it in cash or prestige, or both.”
Her claim was ultimately successful, leading to the return of 230 extant negatives in 1957. However, the acknowledgement of her influence – both as a collaborator in László Moholy-Nagy’s photographic experiments, and as an agent in the construction of Bauhaus visual identity – remains an ongoing project.
Dana Ostrander, Curatorial Assistant, Department of Photography “Lucia Moholy,” on the MoMA website 2020 [Online] Cited 31/03/2026
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing from left to right, Olive Cotton Girl with mirror (1938, below); Teacup ballet (1935 printed 1992, below); Shasta daisies (1937 printed 1992, below); at second right, Dora Maar Fashion study (c. 1936, below); and at right, Untitled (Study of Beauty (1936, below) Photo: Marcus Bunyan
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing from left to right, Olive Cotton’s Girl with mirror (1938, below); Teacup ballet (1935 printed 1992, below); Shasta daisies (1937 printed 1992, below) Photo: Marcus Bunyan
Olive Cotton (Australian, 1911-2003) Girl with mirror (installation view) 1938 Gelatin silver photograph 31.8 x 29.9cm (image) National Gallery of Victoria, Melbourne Purchased from Admission Funds, 1992 Photo: Marcus Bunyan
Olive Cotton created this image while assisting her colleague and then partner Max Dupain on location at beaches around Sydney. According to Cotton, when Dupain was shooting fashion photographs, she had the freedom to create her own images while the model was ‘waiting her turn to be photographed by Max’. Dupain’s camera tripod cast ‘long slanting lines of shadow’ against the sand. While its creation was incidental, this photograph demonstrates Cotton’s eye for composition and her mastery of light and shade, emphasising the graphic elements of the scene.
Olive Cotton (Australian, 1911-2003) Teacup ballet (installation view) 1935, printed 1992 Gelatin silver photograph 36.0 x 29.2cm (image) National Gallery of Victoria, Melbourne Purchased from Admission Funds, 1992 Photo: Marcus Bunyan
Upon purchasing a set of inexpensive cups and saucers to replace the mugs in photographer Max Dupain’s Sydney studio, where she was a studio assistant, Olive Cotton recognised the potential for a dynamic composition. Later describing the handles of the cups as ‘arms akimbo’, Cotton, in her efforts ‘to express a dance theme’, used a spotlight to accentuate shadows, resulting in a ‘ballet-like composition’. Through her deft use of lighting and arrangement of objects, the teacups appear transformed, as if they are ballerinas performing onstage. The image was immediately successful both in Australia and abroad, being included in the London Salon of Photography from September 1935.
Olive Cotton (Australia 1911-2003) Shasta daisies 1937, printed 1992 Gelatin silver photograph 38.2 x 28.1cm (image) National Gallery of Victoria, Melbourne Purchased from Admission Funds, 1992 Photo: Marcus Bunyan
‘The camera can do more than merely record an unchanging picture of a subject … The lighting, the relation of the various objects to the shape of picture and many other factors can be changed by the individual, and this is where discernment and personality come into the picture as it were.’
Dora Maar (French, 1907-1997) Fashion study (installation view) c. 1936 Gelatin silver photograph Proposed acquisition
Dora Maar (French 1907-1997) Untitled (Study of beauty) (installation view) 1936 Gelatin silver photograph 33.0 x 24.1cm Bowness Family Fund for Photography, 2021
Dora Maar, a French photographer, poet and painter, established her commercial studio in Paris in 1932, quickly gaining recognition as a portrait and fashion photographer. While known as one of Pablo Picasso’s muses and the inspiration for his Weeping woman paintings, Maar was an influential artist in her own right, painting well into her eighties. As a photographer, Maar developed an elegant and experimental style, drawing on her knowledge of avant-garde photography and the ideas underpinning Surrealism. In this work, an advertising commission for the haircare brand Dolfar, Maar explores the ideal of beauty, creating an image in which the subject appears like a classical statue come to life.
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 Photo: Marcus Bunyan
Featuring some of the most iconic images from the twentieth century by the likes of Diane Arbus, Dora Maar, Lee Miller, Dorothea Lange, Olive Cotton and many more, Women Photographers 1900-1975: A Legacy of Light celebrates the images, lives and stories of more than 70 influential artists working between 1900 to 1975. Opening 28 November 2025 at NGV International, the exhibition features more than 300 rare and innovative photographs, prints, postcards, photobooks and magazines from the NGV Collection – with 170+ recently acquired and 130+ on display for the very first time.
Featuring portraiture, photojournalism, landscape photography, fashion photography, experimental avant-garde imagery and more, Women Photographers 1900-1975: A Legacy of Light explores the work of the artists against the backdrop of significant social, political and cultural events – from Melbourne to Tokyo, Paris to Buenos Aires. From historic images of the suffrage movement at the turn of the twentieth century, through to the women’s liberation movement and beyond, the exhibition reveals how these artists have used key photographic styles to capture, reflect and challenge the world around them. This exhibition highlights the rich networks of exchange of information, ideas and support between many of these women across the world.
The exhibition showcases the work of prominent and leading figures of photography, as well as drawing attention to lesser-known artists. Featured artists include Berenice Abbott, Lola Álvarez Bravo, Claude Cahun and Marcel Moore, Imogen Cunningham, Mikki Ferrill, Sue Ford, Christine Godden, Ponch Hawkes, Annemarie Heinrich, Ruth Hollick, Florence Henri, Kati Horna, Germaine Krull, Tina Modotti, Lucia Moholy, Tokiwa Toyoko, Francesca Woodman, Yamazawa Eiko, among many others.
The exhibition reflects a recent strategic collecting focus on celebrating the contributions of women artists of the early twentieth century in the NGV Photography collection. Many of the new works on display – including by artists previously unrepresented in the NGV Collection – have been acquired with the generous support of the Bowness Family Foundation, who have been involved with the NGV for almost 25 years and who also generously contributed to the publication. There have also been significant works joining the NGV Collection with the generous support of Krystyna Campbell-Pretty AM and Family, as well as Professor Wang Gungwu, and Joy Anderson.
Highlight works include an outstanding selection of photographs by Dora Maar, including fashion photographs, social documentary images and portraiture. Dora Maar was a sophisticated artist and image-maker and deeply connected within the avant-garde community. In 1935-36, she created these studio images of Pablo Picasso, with whom she was romantically involved. In these portraits, on display in the exhibition, Maar turns the gaze of her camera onto Picasso, offering the viewer a candid insight into their private domestic lives.
A further highlight is Dorothea Lange’s instantly recognisable work, Migrant Mother, Nipomo, California, 1936, commissioned as part of a campaign by the US government Farm Security Administration to bring recognition to the impacts of the Great Depression on working class families. Lange created several photographs of the woman, Florence Owens Thompson, and her children. This image, focussed on Thompson’s seemingly anxious face, became a poignant symbol of the times.
In the 1930s German-born Ilse Bing became known as the ‘Queen of Leica’ for her use of the small, hand-held camera which allowed her the flexibility to shoot from dizzying angles, create contrasts of light, shade and shadows, and dynamic perspectives. The exhibition will feature Bing’s iconic modernist image, Self-portrait 1931, showing the artist’s reflection, of herself and her camera, accompanied by her side profile in another angled mirror demonstrating the significance of the camera in her image-making.
Inner-city Melbourne of the 1970s is brought to life in the photographs of Ponch Hawkes, offering audiences a first-hand glimpse into the changing social dynamics and sense of activism of the period. Photographs on display include her documentation of life in communal houses, of urban graffiti calling for childcare and social housing, of celebrations for Gay Pride Week, and documentation of the Women’s Theatre Group, performing outdoors beneath a Women’s Liberation banner.
Also on display is Olive Cotton’s iconic Teacup ballet, 1935, a wonderful study of light, shadows and forms. Cotton had purchased an inexpensive set of cups and saucers to replace the mugs in the Sydney studio of photographer Max Dupain, where she was studio assistant. Realising their potential for a dynamic arrangement, she photographed the teacups with elongated shadows, creating a striking composition of shadow play that Cotton described as “ballet-like”.
American artist Lee Miller moved to Paris in 1929, where she became Man Ray’s photographic student, then colleague, model and lover – all the while creating her own extraordinary photographs. On display in the exhibition is Miller’s portrait of Man Ray, taken in 1931 in Miller’s Paris apartment depicting her subject framed tightly, his gaze diverted.
Lucy Schwob and Suzanne Malherbe, better known by their adopted alliterative pseudonyms Claude Cahun and Marcel Moore, were an artist duo who radically questioned the constraints of gender in their artwork and lives. The pair are represented in this exhibition with the artist’s book Aveux non Avenus, 1930. In this highly experimental book, featuring ‘essay-poems’ and collaborative photomontages, which feature self-portraits of Cahun with a shaved head and androgynous appearance and dress, Cahun and Moore raise powerful questions about identity, sexuality and self-expression.
Las Lavanderas (The Washerwomen) c. 1940, also on display, is one of several photographs created by Mexican artist Lolo Álvarez Bravo of women washing their clothes at a waterfront. The sun casts long shadows from a nearby structure, transforming the scene of everyday labour into one of dynamic angles and forms. Bravo is known for her passionate documentation of the peoples and cultures of Mexico, through such dynamic and vivid compositions.
Parliamentary Secretary for Creative Industries, Katie Hall, said: “This exhibition will celebrate the work of women photographers who documented the world around them from vastly different places and perspectives. The NGV continues to present exhibitions that show us life through different lenses and introduce us to creative trailblazers from around the world.”
Tony Ellwood AM, Director, NGV, said: “Like all collecting institutions globally, the NGV has been actively looking at historically underrepresented areas of our collection, including gender. Though this is a long and ongoing process, this exhibition offers an opportunity to celebrate and share the more than 300 works by women photographers, many of which we’ve collected since 2020. We hope this exhibition gives audiences the chance to discover the work of lesser-known photographers or deepen their appreciation of familiar ones.”
Professor Simon Tormey, Dean, Faculty of Arts and Education, Deakin, said: “This important exhibition foregrounds the often-overlooked contributions of women to the evolution of photography across the twentieth century. At Deakin, where we teach and research across Creative Arts and Photography, we are proud to support initiatives that celebrate artistic innovation and also challenge historical silences. This collaboration with the NGV exemplifies our commitment to the transformative power of the arts.”
The exhibition will be accompanied by a beautifully illustrated publication exploring the images, lives and stories of women photographers from the pivotal period of 1900-1975. The publication will feature new essays from NGV Curators and international contributors including leading American art historian, critic and curator Abigail Solomon-Godeau; Emeritus Professor at the ANU School of Art & Design Helen Ennis; World Press Photo lead curator Amanda Maddox; photographer and writer Carla Williams, and Tokyo Photographic Art Museum curator Yamada Yuri. Women Photographers 1900–1975 will be co-published with Hatje Cantz in Berlin.
This exhibition coincides with the fifty-year anniversary of the first International Women’s Year in 1975, as declared by the United Nations.
Press release from the National Gallery of Victoria
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Ilse Bing Salut de Schiaparelli (1934, below) Photo: Marcus Bunyan
Ilse Bing (German, 1899-1998) Salut de Schiaparelli (installation view) 1934 Gelatin silver photograph 49.5 x 39.7cm (image and sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022 Photo: Marcus Bunyan
Ilse Bing (German, 1899-1998) Salut de Schiaparelli 1934 Gelatin silver photograph 49.5 x 39.7cm (image and sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022
Upon moving from Frankfurt to Paris in 1930, Ilse Bing established a studio known for producing innovative portraits and fashion photography. This photograph was commissioned by fashion designer Elsa Schiaparelli for a new perfume called Salut. Bing placed a scattered bouquet of lilies in the composition to represent the perfume’s scent. The image’s dreamlike quality is enhanced by Bing’s experimental use of the solarisation technique, which reverses the tones in a photograph.
Wall text from the exhibition
At Play: The Studio, Light and Shadows
In the 1920s, amid the aftermath of the First World War, many European avant-garde artists experimented with photography to actively ‘see’ the world anew. So-called New Photography emerged during this period, with images characterised by the play of light and shadow, extreme vantage points and the use of sharp focus. These techniques aimed to disorient the viewer – familiar scenes were made to feel unfamiliar.
Artists embracing these styles predominantly worked in studios, creating experimental images that explored the principles of New Photography. Some images were made purely as artistic exercises, while others demonstrate the use of experimental techniques for commercial purposes. In the 1920s and 1930s, there was a great demand for modern photography in advertising, newspapers, catalogues and picture magazines. With the wide dissemination of these media, the influence of New Photography travelled far beyond Europe, and can be seen in works by Olive Cotton in Sydney, Lola Álvarez Bravo in Mexico City and Annemarie Heinrich in Buenos Aires.
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at second left, Ilse Bing Salut de Schiaparelli (1934, above); at second right, Annemarie Heinrich (Argentinian born Germany, 1912-2005) Eva’s apple (La manzana de Eva) 1953; and at right, ringl+pit (German, active 1930-1933, Ellen Auerbach and Grete Stern) Komol (1931 printed 1984, below) Photo: Marcus Bunyan
ringl+pit, Berlin Grete Stern (Argentine born Germany, 1904-1999) Ellen Auerbach (American born Germany, 1906-2004) Komol 1931, printed 1984 Gelatin silver photograph 34.4 x 23.3cm (image) 35.2 x 24.0cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022 Photo: Marcus Bunyan
Named after the childhood nicknames of Grete Stern (Ringl) and Ellen Auerbach (Pit), photography studio ringl+pit was sought after for its highly innovative and experimental work. The studio’s work broke free from feminine ideals and expectations. Komol, an unconventional advertisement for hair dye, is a tongue-in-cheek reference to the shallow nature of commercialised femininity. ringl+pit’s playful productions speak to the safety of the artists’ shared space, described by art historian Elizabeth Otto as ‘a haven of humour and honesty for the photographers in contrast to the outside world that does not understand them’.
Wall text from the exhibition
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left in the bottom image, Grace Lock The fly (c. 1960s); Ruth Bernhard Two Leaves (1952); and at right, Imogen Cunningham Agave design I (1920s, printed 1979) Photos: Marcus Bunyan
Imogen Cunningham (American, 1883-1976) Agave Design I 1920s, printed 1979 Gelatin silver photograph 32.6 x 25.6cm (image and sheet) 49.6 x 39.8cm (support) National Gallery of Victoria, Melbourne Purchased, 1979
Image from the Art Blart archive
Following the birth of her three sons, Imogen Cunningham had to close her portrait studio in Seattle. However, she found a way to continue taking pictures at home. According to Cunningham, she would spend the afternoons while her children napped photographing her plants, ‘because I couldn’t get out anywhere, and I had a garden’. In this close-up image of an agave, Cunningham focuses on the plant’s sharp lines and the play of light. The image is recognised as one of the most iconic abstracted avant-garde images of the early twentieth century. Soon after its creation, the image was included in the 1929 contemporary exhibition Film und Foto in Stuttgart, Germany.
Wall text from the exhibition
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing two photographs by Lola Álvarez Bravo (Mexican, 1903-1993) with at second right, Tribute to Salvador Toscano (1949 printed 1960s, below) New acquisition; and at right, The washerwomen (Las Lavanderas) (c. 1950, below) New acquisition Photo: Marcus Bunyan
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Lola Álvarez Bravo Tribute to Salvador Toscano (1949, printed 1960s) New acquisition; and at right, Lola Álvarez Bravo The washerwomen (Las Lavanderas) (c. 1950, below) New acquisition Photo: Marcus Bunyan
New acquisitions
Lola Álvarez Bravo (Mexican, 1903-1993) The washerwomen (Las Lavanderas) c. 1950 Gelatin silver photograph on cardboard 18.9 × 22.3cm (image and sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Photo: Marcus Bunyan
New acquisition
Throughout her career, Lola Álvarez Bravo took several photographs of women washing their clothes at the waterfront. In this image, a large shadow from a nearby structure is cast over a group of women, children and dogs. The shadow appears to symbolise Mexico’s industrial growth and post-revolution transformation. Álvarez Bravo implemented modernist photography techniques such as high contrasts and extreme viewpoints to transform scenes of everyday labour into graphic compositions of dynamic angles and forms.
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing in the bottom image at left, Barbara Morgan (United States, 1900-1992) Hearst over the people (c. 1938-1939, below) New acquisition; at second left, Barbara Morgan City shell (1938, printed 1972); at second right, Margaret Bourke-White Campbell’s Soup No. 6 (1935, below) New acquisition; and at right, Margaret Bourke-White Beach accident, Coney Island (1952, below) Photos: Marcus Bunyan
Barbara Morgan (American, 1900-1992) Hearst over the people (installation view) c. 1938-1939 Gelatin silver photograph 26.3 x 32.4cm (image) 26.8 x 33.0cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2023 Photo: Marcus Bunyan
New acquisition
After moving to New York in 1930 with her photojournalist husband, Barbara Morgan turned to photography after a decade devoted to painting and printmaking. While her children were sleeping, she would experiment with avant-garde photographic techniques. In this photomontage, the artist set out to ‘visually distort the consummate distorter’: media mogul William Randolph Hearst, notorious for his sensationalist news empire. Hearst’s grinning face is stretched into a sinister omniscient octopus, its tentacles writhing into crowds of workers on the street. First published in the influential left-wing magazine New Masses, this is a compelling depiction of psychological infiltration. It also, perhaps, proposes Hearst as an effigy of authority for agitators to protest.
Wall text from the exhibition
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Berenice Abbott New York at Night (1932); at second left, Berenice Abbott Old Post Office, Broadway and Park Row, Manhattan, May 25 (1938, below); and at right, Berenice Abbott Park Avenue and Thirty-Ninth Street, Manhattan, October 8 (1936) Photos: Marcus Bunyan
Cities, Industries, Technologies
The early decades of the twentieth century came to be known as the Machine Age due to rapidly increasing automation, technological change and mass production. As cities industrialised, photographers responded by capturing buildings, workers and crowds.
Germaine Krull’s photographs from the 1920s and 1930s exemplify her dynamic, modern vision. Reflecting on the inspiration she gained from photographing cranes and bridges in Europe, which eventually led to the production of her famed 1928 photobook Métal, she said: “These steel giants revealed something to me that made me love photography again. From this moment onward, I began to SEE things as the eye sees them, and it is at this moment that photography was born for me.”
Machine Age artists were also experimenting with photomontage, a method that offered radical new perspectives and challenged conventional ways of seeing. Photomontage emerged in direct response to industrial development, as cities expanded and everyday life transformed. Barbara Morgan’s images reflect on the tension between the natural and the constructed. In contrast, Varvara Stepanova and Aleksandr Rodchenko embraced the tools of mass production, combining design, image-making and progressive printing techniques to create graphic publications that promoted the Soviet Union’s industrial power to a wide audience.
Berenice Abbott (American, 1898-1991) Old Post Office, Broadway and Park Row, Manhattan, May 25 (installation view0 1938 Gelatin silver photograph 23.9 x 19.3cm (image) 25.3 x 20.3cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2021 Photo: Marcus Bunyan
New acquisition
Berenice Abbott (American, 1898-1991) Old Post Office, Broadway and Park Row, Manhattan, May 25 1938 Gelatin silver photograph 23.9 x 19.3cm (image) 25.3 x 20.3cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2021
New acquisition
Berenice Abbott (American, 1898-1991) Park Avenue and Thirty-ninth Street, Manhattan, October 8 1936 Gelatin silver photograph 19.3 x 24.3cm (image) (irreg) 20.2 x 25.2cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2021
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Margaret Bourke-White Campbell’s Soup No. 6 (1935, below); Margaret Bourke-White Beach accident, Coney Island (1952, below); and at right, Berenice Abbott New York at night (1932 printed c. 1975, below) Photo: Marcus Bunyan
Margaret Bourke-White (American, 1904-1971) Campbell’s Soup #6 1935 Gelatin silver print 17.3 × 24.1cm (image and sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2024 Public Domain
New acquisition
Margaret Bourke-White became widely known for her documentation of workers and scenes of modern industry. Her photography was used on the cover of the first issue of Fortune magazine in 1930, and on the first photographically illustrated cover of Life in 1936. Bourke-White often documented aspects of the Machine Age, contrasting machines and human labourers. Taken in a factory owned by Campbell’s, a major American canned-food company established in 1869, this photograph captures part of the canning process. Bourke-White’s framing, which does not show the worker’s face, amplifies the dominance of the machine. The image first featured as a commission for a local food magazine alongside the caption ‘tangled and tricky, spaghetti defeats the mechanic’.
Wall text from the exhibition
Margaret Bourke-White (American, 1904-1971) Beach accident, Coney Island 1952 Gelatin silver photograph 35.2 x 27.9cm (image and sheet) National Gallery of Victoria, Melbourne Purchased, 1973 Public domain
Berenice Abbott (American, 1898-1991) New York at night 1932, printed c. 1975 Gelatin silver photograph 34.1 x 26.1cm (image and sheet) 49.8 x 40.0cm (support) National Gallery of Victoria, Melbourne Gift of an anonymous donor in memory of Rosa Zerfas (1896-1983), 1985 Photo: Marcus Bunyan
This photograph of the illuminated buildings of New York is the result of a fifteen-minute exposure taken from high up in the Empire State Building. The idea of documenting a changing metropolis recalls the project of pioneering French photographer Eugène Atget, who recorded Paris as it transitioned from the nineteenth into the twentieth century. Berenice Abbott had befriended Atget through fellow American émigré artist Man Ray, for whom she worked as a darkroom assistant after moving to Paris in 1921. Atget’s influence on Abbott was profound: on her return to New York in 1929 she focused on documenting the city’s civic spaces and architecture.
Wall text from the exhibition
Berenice Abbott (American, 1898-1991) New York at Night 1932 Gelatin silver print 12 7/8 x 10 9/16″ (32.7 x 26.9cm)
Photograph from the Art Blart archive
Berenice Abbott (American, 1898-1991) Changing New York 1939 Artist’s book: half-tone and letterpress text, blue cloth cover, photographic dust jacket 1st edition Purchased NGV Foundation 2022 Photo: Marcus Bunyan
New acquisition
In her funding proposal for the photobook Changing New York, Berenice Abbott described her desire to capture the ‘spirit’ of the city, driven by the realisation that ‘the tempo of the metropolis is not of eternity, or even time, but of the vanishing instant’. The images in the photobook are accompanied by texts written by Abbott’s partner, art critic Elizabeth McCausland. However, recent research has revealed that Abbott and McCausland’s original intentions for the book were significantly different to what was ultimately published, included alternate texts and a more innovative interplay between words and images.
Vitrine text from the exhibition
Margaret Bourke-White (American, 1904-1971) Fort Peck Dam, Montana Front cover, Life magazine, first issue, November 1936 Published by Time Inc. Magazine: offset lithographs and printed text Shaw research Library, Gift of Patrick Pound, 2025
Margaret Bourke-White (American, 1904-1971) Fort Peck Dam, Montana Front cover, Life magazine, first issue, November 1936, ‘Salesman’s edition’ Published by Time Inc. Magazine: offset lithographs and printed text Shaw research Library, Gift of Patrick Pound, 2025
Margaret Bourke-White (American, 1904-1971) Fort Peck Dam, Montana Reproduced on front cover, Life magazine, tenth anniversary issue, 25 November 1946 Published by Time Inc. Magazine: offset lithographs and printed text Shaw research Library, Gift of Patrick Pound, 2025 Photo: Marcus Bunyan
New acquisitions
When the American publication Life was purchased by Henry Luce in 1936, it was transformed into a photographic news magazine. Its aim was to let its readers ‘see’ the world. Photojournalist Margaret Bourke-White had preciously worked with Luce at Fortune magazine, and a year later he sent Bourke-White to the Soviet Union as the first official foreign photographer allowed to create images of Soviet industry. Later, she was the first accredited woman photographer assigned to photograph the effects of the Second World War.
In 1936 Life magazine gave Margaret Bourke-White the brief of seeking out something ‘grand’ and aspirational at the chain of dams being built at the Columbia River basin. The dams were being built to stimulate the economy as the United States grappled with the devastating effects of the Great Depression. The resulting photograph was selected for the first cover of the relaunched Life magazine. An image of modern industry, the composition emphasises the graphic forms and patterns created by the bases of the elevated spillway. The pillars seem to repeat endlessly, overshadowing two workers dwarfed by the enormous construction. Bourke-White’s image is considered an iconic representation of the Machine Age.
Vitrine text from the exhibition
Margaret Bourke-White (American, 1904-1971) Fort Peck Dam, Montana Front cover, Life magazine, first issue, November 1936 Published by Time Inc. Magazine: offset lithographs and printed text Shaw research Library, Gift of Patrick Pound, 2025
Margaret Bourke-White (American, 1904-1971) Fort Peck Dam, Montana Front cover, Life magazine, first issue, November 1936, ‘Salesman’s edition’ Published by Time Inc. Magazine: offset lithographs and printed text Shaw research Library, Gift of Patrick Pound, 2025 Photos: Marcus Bunyan
New acquisitions
Margaret Bourke-White (American, 1904-1971) Fort Peck Dam, Montana Front cover, Life magazine, first issue, November 1936 Published by Time Inc. Magazine: offset lithographs and printed text Shaw research Library, Gift of Patrick Pound, 2025
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing at left, Laure Albin Guillot (French, 1879-1962) Hammer in bloom 1940s New acquisition; at second left, Germaine Krull The Eiffel Tower (c. 1928, below); at third left, Germaine Krull At the Galeries Lafayette c. 1930 New acquisition; at centre, Bea Maddock Square (1972, below); at third right, Ilse Bing Champs de Mars (1931 printed 1994, below) New acquisition; at second right, Heather George The last wall of Melbourne’s Old Eastern Markets comes down for the Southern Cross (c. 1966 printed 1978, below); and at right, Olive Cotton Radio telescope, Parkes (1964) Photo: Marcus Bunyan
Germaine Krull (Dutch born Germany, 1897-1985) The Eiffel Tower (installation view) c. 1928 Gelatin silver photograph 17.0 x 24.3cm (image and sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022 Photo: Marcus Bunyan
New acquisition
Germaine Krull (Dutch born Germany, 1897-1985) The Eiffel Tower c. 1928 Gelatin silver photograph 17.0 x 24.3cm (image and sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022
New acquisition
Germaine Krull photographed industrial forms, political upheaval and modern life. Trained in Munich, she opened a portrait studio in 1919, relocating to Paris in 1926. Three years later, Krull’s photographs were included in the renowned 1929 exhibition Film und Foto in Stuttgart, Germany, the first international exhibition of modernist photography. During the 1920s the Eiffel Tower became a symbol of modernity for many artists, including Krull. In this image, she reimagines the visual language of the man-made structure, highlighting both the beauty and functionality of the famous landmark. Krull led a peripatetic life across four continents, focusing on photojournalism in South-East Asia after the Second World War and later living among Tibetan monks.
Wall text from the exhibition
Bea Maddock (Australian, 1934-2016) Square 1972 Photo-etching and etching 46.2 × 36.7cm (image) 49.0 × 39.4cm (plate) 76.0 × 56.8cm (sheet) National Gallery of Victoria, Melbourne Purchased, 1973 Photos: Marcus Bunyan
In the 1970s, Australian artist Bea Maddock embraced the photo-etching process, which incorporates pen and ink. She regularly used found images as the basis for these works. In Square, Maddock overlaid an image of people in a crowd, taken from ‘a book on movement of people in cities’, with a grid structure. As she said, “The actual grid comes from the windows in the National Gallery School, Victorian College of the Arts … the windows had little grills on them … and so they got drawn in because that’s how I saw the world – through those windows.”
Wall text from the exhibition
Ilse Bing (German, 1899-1998) Champs de Mars (installation view) 1931, printed 1994 Gelatin silver photograph 21.9 x 33.1cm (image) 27.6 x 35.3cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022 Photo: Marcus Bunyan
Ilse Bing (German, 1899-1998) Champs de Mars 1931, printed 1994 Gelatin silver photograph 21.9 x 33.1cm (image) 27.6 x 35.3cm (sheet) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2022
Taken atop the Eiffel Tower, this image sees Ilse Bing turn her lightweight 35 mm Leica camera downwards, photographing the people and bustling city below. The distance created by this dizzying viewpoint reduces the scene to a pattern of shapes and forms. Images such as these were characteristic of a ‘new way of seeing’ that was adopted by avant-garde photographers during the interwar period.
Wall text from the exhibition
Heather George (Australian, 1907-1983) The last wall of Melbourne’s Old Eastern Markets comes down for the Southern Cross c. 1966, printed 1978 From the Melbourne, old buildings and new projects series (c. 1966) Gelatin silver photograph 24.0 × 29.1cm (image) National Gallery of Victoria, Melbourne Purchased, 1980 Public domain
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing in the bottom image at left, Germaine Krull At the Galeries Lafayette c. 1930 New acquisition; at second left, Bea Maddock Square (1972, above); at third left, Ilse Bing Champs de Mars (1931 printed 1994, above) New acquisition; at second right, Heather George The last wall of Melbourne’s Old Eastern Markets comes down for the Southern Cross (c. 1966 printed 1978, above); and at right, Olive Cotton Radio telescope, Parkes (1964) Photos: Marcus Bunyan
Aleksandr Rodchenko (Russian, 1891-1956) and Varvara Stepanova (Russian, 1894-1958) USSR in construction, no.12 (Parachute issue) (installation views) 1935 Illustrated journal: colour rotogravure, 22 pages with fold-out inserts, lithographic cover 42.3 x 60.3 x 1.2cm (open) 42.3 x 30.3 x 0.4cm (closed) National Gallery of Victoria, Melbourne Purchased, NGV Supporters of Prints and Drawings, 2019 Photos: Marcus Bunyan
Varvara Stepanova and her husband, fellow artist and designer Aleksandr Rodchenko, were founder-members of the First Working Group of Constructivists. This is a French-language edition of USSR in Construction, a journal that aimed to reflect, through photography, the modernisation of the Soviet Union and to promote its industrial power. The journal employed cutting-edge artistic and printing developments, and this issue was designed by Stepanova and Rodchenko using original ideas around photomontage and page design. Dedicated to the ‘brave Soviet paratroopers’, the so-called ‘Parachute’ issue draws upon the circular form of the opened parachute.
Wall text from the exhibition
Installation view of the exhibition Women Photographers 1900-1975: A Legacy of Light at NGV International, Melbourne, November 2025 – May 2026 showing collotypes from Germaine Krull’s portfolio Métal 1928 Photos: Marcus Bunyan
One of the most significant modernist photobooks of the 1920s, Germaine Krull’s Métal portfolio comprises sixty-four images printed on individual sheets, a title page and a three-page preface by the French writer and journalist Florent Fels. Krull photographed iron structures such as cranes and transport bridges in Amsterdam, Rotterdam, Marseille and Saint-Malo, as well as the Eiffel Tower in Paris. Krull showcases the beauty and innovation of the structures, conveying the sense of awe that accompanied the rapid industrialisation of the time. The presentation of the photographs – loose, to be arranged however the viewer chooses – is also radical, allowing for endless interpretations.
Wall text from the exhibition
Germaine Krull (European, 1897-1985) Métal 1928 64 black and white collotype plates, letterpress on paper, black cloth-backed paper-covered board portfolio with ribbons 30.5 x 23.5 x 2.5cm (overall) National Gallery of Victoria, Melbourne Bowness Family Fund for Photography, 2023
Photographs from the Art Blart posting Germaine Krull Métal 1928, December 2018. Used under fair use conditions for the purposes of education and research
Germaine Krull’s 1928 publication Métal is often described as one of the most significant photobooks of the twentieth century. Interestingly, Métal is not a book in a conventional sense, of sequential pages bound together with a narrative to guide the structure. Rather, when looking through this new acquisition to the NGV Collection you can immediately appreciate its unique design as an object. This dynamic format which, along with the vitality of the photography, has continued to inspire graphic designers, book publishers and artists since its publication almost a century ago.
Métal consists of a folded board cover, with ribbons attached, that acts as a folder for the pages within. The cover, designed by artist Lou Tchimoukow, reproduces one of Krull’s photographs of a detail of machinery on Paris’s Eiffel Tower. This image is overlaid with bold, vertically arranged letters spelling out ‘KRULL’ in a staggered pattern that mimics the lines of the structure beneath. Within the folder are sixty-four unbound plates. Each plate reproduces a photograph by Germaine Krull of industrial forms (and on one occasion, two images to a page) printed as collotypes, as well as the words ‘Krull, Métal’ at the top left, the plate number at the top right, and the publisher’s information ‘A. Calavas, Paris’ at the base. There is also an insert of eight pages (two sheets folded) that includes texts by journalist Florent Fels, and words from Krull herself. …
For Métal, Krull brought together a selection of recent photographs which, as she wrote in the introductory text, were from sites that included the Eiffel Tower, as well as the cranes and transport bridges of Amsterdam, Rotterdam, Marseille and Saint-Malo. Apart from the Eiffel Tower, they are emblematic of new industries and engineering emerging in these European cities in the decade after the end of the First World War and could, at first glance, be read as a tribute to modernity as seen through this rapid industrial development.
The presentation of the photographs, however, disrupts the opportunity for any clear narrative, or interpretation. While they are numbered, Krull’s images are printed without any captions (a radical technique in a photobook for the period). The audience is encouraged to actively engage: they are able to construct their own sequences and visual associations. And the composition of the images is highly varied – some close up and cropped, showing the cogs, bolts and mechanics; some reveal dizzying angles and perspectives; some show clear lines, some are abstracted; the majority are taken outside, some are within a factory; some are printed on the vertical, some on the horizontal; some are the result of multiple exposures, as if to emphasise a sense of movement or energy.
Art historian Professor Kim Sichel writes that Krull constructs an ‘activist narrative’ in Métal: ‘Through narrative techniques that are part taxonomy, part lyrical poem, part vertiginous montage, part Industrial-Age adulation, and by making the whole volume uncomfortable and strange to read, she brings her machine parts to life as they oscillate uneasily throughout the album’.2
The photographs in Métal can be linked to contemporary art movements circulating within Europe, such as the visual language of the ‘New Vision’ styles of photography emerging out of the Bauhaus in Germany, or the clean lines of the ‘New Objectivity’ as demonstrated by photographers, such as Albert Renger-Patzsch. Krull’s photographic vision, however, remains dynamic and unique – it does not follow one clear aesthetic or technical path. Métal is an innovative publication: it is open-ended and allows for endless interpretations.
2/ Kim Sichel, “Montage: Germaine Krull’s Métal,” in Sichel, Kim, Making Strange: The Modernist Photobook in France, Yale University Press, Connecticut, 2020, pp. 33–4.
Maggie Finch. “Germaine Krull Métal portfolio 1928,” on the NGV website 22 Oct 25 [Online] Cited 24/12/2025. This article first appeared in the January–February 2024 edition of NGV Magazine. Used under fair use conditions for the purposes of education and research
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