Archive for the 'light' Category

14
Aug
20

Pamphlet: ‘Australian Aboriginal Art’ with texts by Charles Barrett and A.S. Kenyon, National Museum of Victoria, 1952

August 2020

 

Cover of the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon 1952

 

Unknown artist. Cover of the pamphlet Australian Aboriginal Art, National Museum of Victoria, 1952

 

 

I found this rare pamphlet in an op shop (charity shop). I have decided to publish it on Art Blart as part of a historical record, so that it is available to researchers into Indigenous Australian culture and art. While I believe that the text and images contain no information of secret sacred importance, if anyone has any concerns please contact me at bunyanth@netspace.net.au.

What is fascinating about the text is that it was originally published by the National Museum of Victoria in 1929, and then reprinted verbatim for this pamphlet in 1952. In other words, no new scholarship had taken place in the intervening 23 years that was noteworthy enough for the Museum to feel it needed to update the text. Other interesting facts are that Aboriginal Art was housed within the Australian Ethnology section, art as an outcome of the study of the characteristics of different people, and that it was known as “primitive art” made by “primitive peoples”. Even the National Gallery of Australia had a “primitive art” gallery up until the 1980s!

Of course, the texts are of their time. In the first text “The Primitive Artist” by Charles Barrett, he questions the quality, authenticity and age of the rock paintings at Mootwingee – whether they are a few centuries old or of old antiquity it – and apparently, it makes no difference. Barrett then praises the magic making art of Indigenous Australians, while at the same time encouraging us to look upon their art as merely pictures (Barrett, p. 11). He seems to be equally attracted and repulsed by “primitive art”, as an expression of man’s artistic tendency, in cave paintings and rock-carvings whose forms are grotesque and even repulsive.

Barrett admits that their finest decorations, on weapons and sacred objects, are magic: “Here is a magic truly; no “Art for Art’s sake.” (Barrett, p. 12). And then in the next paragraph, while extolling that we should have more interest in the Australian race, and learn its culture, he announces that Indigenous Australians are “living fossils” and are failing. Using the terminology of Edward S. Curtis (who photographed the First Nations Peoples of America in the early 20th century), they are The Vanishing Race (1904), the title of his photograph of Navajo riding off into an indeterminate distance. Destined for extinction. Further, Barrett states that every “relic” of the Aboriginals is worth preserving, as though all Indigenous people were already a historical artefact, no longer living. The use of the word relic is informative: its derivation comes from Old French relique (originally plural), from Latin reliquiae, the latter mid 17th century Latin, feminine plural (used as a noun) of reliquus ‘remaining’, based on linquere ‘to leave’. In other words, they remain and leave at one and the same time, the remainder only a husk of the original.

In the second text “The Art of the Australian Aboriginal” by A.S. Kenyon, the researcher and psychologist into Indigenous art is urged, indeed must, divest themselves of all civilised conceptions and mentality and assume those of a prehistoric man – or that of a child. “Prior or the British settlement of Eastern Australia – to be precise, prior to Governor Phillip establishing his colony at Port Jackson, there appears to be no record of aboriginal paintings or carvings.” (A.S. Kenyon, p. 22) What Kenyon seems to be suggesting is that it is only through the influence of the “civilised” Europeans that Indigenous Australians begin painting and carving. A description of the various representational techniques of Indigenous Australian art making follows, the art divided into two classes: fixed and portable. “In the first class, those of fixed objects, we have (a) rock-paintings; (b) rock-carvings; (c) tree-carvings; (d) tree-paintings; (e) ground-paintings; (f) ground-models. In the second, or portable class, there are (a) figures or models; (b) weapons, implements and utensils, decorated either by painting or carving; (c) ceremonial objects; (d) ornaments or personal adornment; (e) bark-paintings. (A.S. Kenyon, p. 27)

I believe it is important to have these texts (which are less than 100 years old), and the paradoxical historical attitudes towards Australian Indigenous culture and art they contain, published online. The pamphlet recognises Aboriginal culture yet also rules a ledger under it. (Professor Tom Griffiths’ observations on Geoffrey Blainey’s book Triumph of the Nomads). The attitude was that while this “primitive art” was worthy of study, ultimately it belonged to an archaic, fragile culture which was destined to be consigned to history.

I am so glad that this spiritual culture (and the changing Western understanding of Australian Indigenous art and culture) has proved the authors wrong.

Dr Marcus Bunyan

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

 

 

Title page of the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon 1952

 

Title page of the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952

 

Preface of the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon 1952

 

Preface of the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952

 

"The Primitive Artist" by Charles Barrett in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Primitive Artist” by Charles Barrett in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 5

 

"The Primitive Artist" by Charles Barrett in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Primitive Artist” by Charles Barrett in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 6-7

 

Mootwingee Rock Carvings

 

Unknown photographer. “Mootwingee Rock Carvings. Pecked Type,” in “The Primitive Artist” by Charles Barrett from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 6

 

Great Rock Shelter at Mootwingee, New South Wales

 

Unknown photographer. “Great Rock Shelter at Mootwingee, New South Wales,” in “The Primitive Artist” by Charles Barrett from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 7

 

Rock Engraving, Mootwingee

 

Unknown photographer. “Rock Engraving, Mootwingee,” in “The Primitive Artist” by Charles Barrett from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 7

 

"The Primitive Artist" by Charles Barrett in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Primitive Artist” by Charles Barrett in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 8-9

 

from North Queensland

 

“Painted Shields from North Queensland,” in “The Primitive Artist” by Charles Barrett from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 9

 

"The Primitive Artist" by Charles Barrett in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Primitive Artist” by Charles Barrett in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 10-11

 

Bark Drawing. Northern Territory. Native in canoe spearing crocodile

 

“Bark Drawing. Northern Territory. Native in canoe spearing crocodile,” in “The Primitive Artist” by Charles Barrett from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 11

 

"The Primitive Artist" by Charles Barrett in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Primitive Artist” by Charles Barrett in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 12-13

 

Rock Painting, South Africa

 

“Rock Painting, South Africa,” in “The Primitive Artist” by Charles Barrett from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 12

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 14-15

 

 

“Native Corroboree. Drawn by Tommy Barnes, a Mission Aboriginal, showing European influence,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 14.

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 16-17

 

Prehistoric Rock Painting, Spain. Showing superimposed figures

 

“Prehistoric Rock Painting, Spain. Showing superimposed figures,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 16

 

Stone Churingas from Central Australia. Showing symbolic and totemic figures

 

“Stone Churingas from Central Australia. Showing symbolic and totemic figures,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 17

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 18-19

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 20-21

 

Rock Paintings. Prince Regent River, North-west Australia. Superimposed figures

 

“Rock Paintings. Prince Regent River, North-west Australia. Superimposed figures,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 21

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 22-23

 

Bark drawing representing Settler's Homestead, Lake Tyrrell, Victoria

 

“Bark drawing representing Settler’s Homestead, Lake Tyrrell, Victoria,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 23

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 24-25

 

Rock Carvings, Port Jackson, New South Wales. Grooved type

 

“Rock Carvings, Port Jackson, New South Wales. Grooved type,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 25

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 26-27

 

Rock Painting, Prince Regent River, North-west Australia. From Bradshaw's original sketch

 

“Rock Painting, Prince Regent River, North-west Australia. From Bradshaw’s original sketch,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 26

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 28-29

 

Stencilled Hands in the Cave of Hands, Victoria Range, Victoria

 

Unknown photographer. “Stencilled Hands in the Cave of Hands, Victoria Range, Victoria,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 29

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 30-31

 

Rock Painting, Cave of the Serpent, Langi Ghiran, Victoria

 

“Rock Painting, Cave of the Serpent, Langi Ghiran, Victoria,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 30

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 32-33

 

Carved Tree. From a photograph by Edmund Milne

 

Edmund Milne. “Carved Tree. From a photograph by Edmund Milne,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 32

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 34-35

 

Decorated Shields, Carved and Painted

 

“Decorated Shields, Carved and Painted,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 34

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 36-37

 

Painted Bark Bags, Northern Territory

 

“Painted Bark Bags, Northern Territory,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 36

 

"The Art of the Australian Aboriginal" by A.S. Kenyon in the pamphlet 'Australian Aboriginal Art' by Charles Barrett and A.S. Kenyon

 

“The Art of the Australian Aboriginal” by A.S. Kenyon in the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 38-39

 

Bark Paintings, Alligator River, Northern Territory

 

“Bark Paintings, Alligator River, Northern Territory,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 38

 

Making Tracings of Rock Paintings, Glen Isla Rock Shelter, Victoria Range, Victoria

 

Unknown photographer. “Making Tracings of Rock Paintings, Glen Isla Rock Shelter, Victoria Range, Victoria,” in “The Art of the Australian Aboriginal” by A.S. Kenyon from the pamphlet Australian Aboriginal Art with texts by Charles Barrett and A.S. Kenyon (text reprinted from the 1929 exhibition), National Museum of Victoria, 1952, p. 39

 

 

LIKE ART BLART ON FACEBOOK

Back to top

07
Aug
20

Text: “Atget’s shadow,” on his Paris photographs

August 2020

 

Eugène Atget (French, 1857-1927) 'Fontaine des Quatre-Parties-du-Monde, Jardin Marco Polo, Paris' 1907

 

Eugène Atget (French, 1857-1927)
Fontaine des Quatre-Parties-du-Monde, Jardin Marco Polo, Paris
1907
Albumen silver print

 

 

Atget’s shadow

A delicious posting on the work of the French photographer Eugène Atget (1857-1927). Atget’s photographs bridge the gap between subjective and objective representation – on the one hand extolling the subjective quality of art as an expression of the artist’s inner self; but on the other, providing a rejection of artistic consciousness, his objective “documents for artists” appealing to the Surrealists who used his images in publications such as Révolution Surréaliste.

In their presence, the photographs of Atget proffer an intimate in/tension (intention) – between representation and abstraction, documentary and modern, ordinary and dream. His photography, “which focussed on seemingly ordinary sights on the streets of Paris – a door knocker, a mannequin, a window rail – is seen as a forerunner of Surrealist and modern approaches to photography.”1

Further, “The critic and philosopher Walter Benjamin famously invoked crime scenes in discussing Atget’s photographs. He was pointing to their emptiness, their clinical attention to details of the urban landscape, their absolute rejection of the sentimental and the grandiose. … In Atget’s Paris, “the city is evacuated, like an apartment that hasn’t yet found its new tenant,” Benjamin wrote.”2

And yet, there is always something of the artist in every photograph, no matter how criminal the raping of time.

Thinking of my latest body of work “A Day in the Tiergarten”, my current research into parks and photographers, and then looking at Atget’s photographs of parks, I believe that the “park” with Atget takes some of its meaning from the ownership of the parks and the royalty / citizen system that was in place at the time AND what that might allow. Here is the photographer bearing his heavy camera like a tramp on the road, wandering in an empty domain owned by a higher power – and using its magnificence to discover more about the self searching vagabond.

Sometimes the question: “is there anyone here” is answered like Cocteau in Beauty and the Beast, and the answer is: “yes there is – yourself” says the (objective) camera. Sometimes, in other ways, the photographer goes nearly crazy with the possibilities of photography: what is the truth about my presence, the presence of a rock, or the sky? Yes, there is you, but in saying that it opens up all these other (subjective) possibilities. The options of inserting ourselves into representation, into what photography can hold, drives us crazy.

As Lee Friedlander observes, “The photographs of these places … are a hint, just a blink at a piece of the real world. At most, an aphrodisiac.”

Dr Marcus Bunyan

 

  1. “Surrealism did not always involve the strange and absurd. For example, the photography of Eugène Atget (1857-1927), which focussed on seemingly ordinary sights on the streets of Paris – a door knocker, a mannequin, a window rail – is seen as a forerunner of Surrealist and modern approaches to photography…Only a year before his death, in 1926, Atget was approached by Man Ray for approval to use his photograph, L’Eclipse – Avril 1912 for the front cover of the publication La Révolution Surréaliste. Despite protestations that, “these are simply documents I make”, Atget’s rejection of artistic self-consciousness combined with his pictures of an old, often hauntingly deserted Paris, appealed to Surrealists.”Anonymous. “Surrealist photography,” on the V&A website [Online] Cited 07/08/2020
  2. Anonymous. “Atget’s Paris, 100 years later,” on the Art Daily website 31/05/2020

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

 

 

“The subject itself,” he wrote of landscape, “is simply perfect, and no matter how well you manage as a photographer, you will only ever give a hint as to how good the real thing is. We photographers don’t really make anything: we peck at the world and try to find something curious or wild or beautiful that might fit into what the medium of photography can hold.”

“The photographs of these places,” he added, “are a hint, just a blink at a piece of the real world. At most, an aphrodisiac.”

.
Lee Friedlander

 

 

Eugène Atget (French, 1857-1927) 'Ancien Hotel dit de Sartine – 21 rue du Cherche-Midi, Paris' 1906

 

Eugène Atget (French, 1857-1927)
Ancien Hotel dit de Sartine – 21 rue du Cherche-Midi, Paris
1906
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Ancien Monastère des Bénédictins Anglais, 269 rue Saint-Jacques. Paris 5' 1900

 

Eugène Atget (French, 1857-1927)
Ancien Monastère des Bénédictins Anglais, 269 rue Saint-Jacques. Paris 5
1900
Albumen silver print

 

Eugène Atget. 'Hôtel du Maréchal de Tallard, 78 rue des Archives' c. 1898-1905

 

Eugène Atget (French, 1857-1927)
Hôtel du Maréchal de Tallard, 78 rue des Archives
c. 1898-1905
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Grille de l'ancien pavillon de chasse de Philippe-Égalité (Hospice Debrousse), 148 rue de Bagnolet. Paris 20' 1900

 

Eugène Atget (French, 1857-1927)
Grille de l’ancien pavillon de chasse de Philippe-Égalité (Hospice Debrousse), 148 rue de Bagnolet. Paris 20
1900
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Heurtoir, 19bis Rue Tournefort' 1906

 

Eugène Atget (French, 1857-1927)
Heurtoir, 19bis Rue Tournefort
1906
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Heurtoir, St. Étienne du Mont (Cherub Door Knocker)' 1909

 

Eugène Atget (French, 1857-1927)
Heurtoir, St. Étienne du Mont (Cherub Door Knocker)
1909
Albumen silver print

 

Eugène Atget (France 1857-1927) 'Heurtoir, 6 rue du Parc Royal' c. 1901-1914

 

Eugène Atget (French, 1857-1927)
Heurtoir, 6 rue du Parc Royal
c. 1901-1914
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'L'Oranger (with Shadow of Photographer and His Camera)' 1900

 

Eugène Atget (French, 1857-1927)
L’Oranger (with Shadow of Photographer and His Camera)
1900
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Le Portail de l'église Saint-Éliphe, Rampillon (Seine-et-Marne)' 1921

 

Eugène Atget (French, 1857-1927)
Le Portail de l’église Saint-Éliphe, Rampillon (Seine-et-Marne)
1921
Albumen silver print

 

 

The critic and philosopher Walter Benjamin famously invoked crime scenes in discussing Atget’s photographs. He was pointing to their emptiness, their clinical attention to details of the urban landscape, their absolute rejection of the sentimental and the grandiose.

As Benjamin observed, Atget established a beneficial “distance between man and his environment.” And Lima’s haunting updated recreations confirm the long-dead photographer’s disquieting insight – Paris doesn’t care about your presence. It is indifferent, and will certainly go on without you.

You can feel joy at standing on a Paris street, but the feeling is not reciprocated.

Atget, who was born in 1857, initially tried unsuccessfully at acting and painting. In 1890, he set up shop as a photographer, in order – as a sign over his door said – to provide “Documents for Artists.” He knew that painters needed images as models for their work, and he set about furnishing them.

For nearly three decades, he trudged through the city, bearing his heavy tripod and documenting a Paris of narrow streets and grime-covered low buildings that was already disappearing.

In 1920, Atget wrote: “I can say that I possess all of Old Paris.”

The world was mostly indifferent to Atget’s work until, several years before his death in 1927, he met a young American photographer, Berenice Abbott, who was working as an assistant to the artist Man Ray. She photographed him, wrote about him, acquired many of his prints and promoted him relentlessly for 50 years.

Today, Atget is recognised as a major figure in the history of photography.

The empty Paris of his prints looms out of the half-light of what seems like perpetual fog. His buildings are independent of people. They don’t even need them. Paris, the message seems to be, continues. It does not care about the individual presence. The city is not sentimental about humankind.

True, traces of humanity are ever-present in his pictures – torn advertising posters, artisanal shop signs, bins of vegetables, rows of boots. But these are only reminders that the city might once have been inhabited. And there are few people in the images to confirm this.

In Atget’s Paris, “the city is evacuated, like an apartment that hasn’t yet found its new tenant,” Benjamin wrote.

Compare that with the images from today. The occasional masked figures are incidental to the landscape. That they wear masks, hiding part of their faces, is a further denial of their humanity.

The “picturesque” – which Atget shunned, as Benjamin points out – is more difficult to avoid…”

Anonymous. “Atget’s Paris, 100 years later,” on the Art Daily website 31/05/2020

 

Eugène Atget (French, 1857-1927) 'Notre Dame (Stalles), Paris' 1905

 

Eugène Atget (French, 1857-1927)
Notre Dame (Stalles), Paris
1905
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Notre Dame, Paris' 1906

 

Eugène Atget (French, 1857-1927)
Notre Dame, Paris
1906
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Quai d'Anjou, Paris' 1910

 

Eugène Atget (French, 1857-1927)
Quai d’Anjou, Paris
1910
Albumen silver print

 

Eugène Atget. 'Saint-Cloud' 1926

 

Eugène Atget (French, 1857-1927)
Saint-Cloud
1926
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Rue des Lombards, Paris' 1910

 

Eugène Atget (French, 1857-1927)
Rue des Lombards, Paris
1910
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Tuileries Gardens' 1907

 

Eugène Atget (French, 1857-1927)
Tuileries Gardens
1907
Albumen silver print

 

Eugène Atget (French, 1857-1927) 'Vigne (Grape Vine)' 1920

 

Eugène Atget (French, 1857-1927)
Vigne (Grape Vine)
1920
Albumen silver print

 

 

LIKE ART BLART ON FACEBOOK

Back to top

31
Jul
20

European photographic research tour exhibition: ‘Brassaï’ at Foam, Amsterdam

Exhibition dates: 13th September – 4th December 2019
Visited September 2019 posted July 2020

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam
Photo: Marcus Bunyan

 

 

These are my thoughts at the time of my seeing the exhibition.

.
I have been blessed this trip by seeing an amazing selection of master photographers… Brassaï being no exception.

Every print in this exhibition is a vintage print. They were made by Brassaï before 1968. If larger than 30 x 40cm they were made after 1945 when he started printing with an enlarger.

As usual, the iPhone camera makes all the images too light and adds too much contrast. Think darker, less contrast in these vintage prints.

Brassaï’s prints are – just like those of Josef Sudek and August Sander that I have seen on this trip – much softer and with a more limited tonal range than I imagined. They are all the more atmospheric and magical because of it.

To walk around the exhibition and then arrive at an alcove (see walk through below)… to stand in front of Le Môme Bijou, the old lady with the jewellery and Billiard Player, is such a privilege. I am surrounded by the presence of these famous images. I peer intently at each of them, observing the details, feeling their eyes stare back at me. No deflection of intent, just these human beings and their spirit presented in a photograph. Brassaï captured their essence before they drifted away, just in that moment.

In the latter print the dark billiard ball was almost indistinguishable from the baize; in the former, the circular light in the woman’s eyes means that Brassaï must have set up a light, or that there was a light source, above and behind the camera. Specular highlights twinkle off jewellery and pearls. Even as she is draped in her bourgeois, bohemian ornamentation this dame of the night possesses a resilient, composed, determined air.

Personally, I think Brassaï’s Graffiti series are far stronger than Lee Friedlander’s series of the same name.

The juxtaposition of the photographs in Paris at Night is something I will always remember.

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image. All iPhone installation photographs © Marcus Bunyan

 

 

The more scrupulously [the photographer] has respected the independence and autonomy of his subject, and the closer he has gone toward it instead of bringing it nearer to himself, the more completely his own personality has become incorporated into his pictures.

.
Brassaï

 

 

Foam is proud to present the first retrospective of Brassaï in the Netherlands. The French photographer of Hungarian descent is considered a key figure of 20th-century photography.

Brassaï (1899-1984) created countless iconic images of 1930s Parisian life. He was famous for capturing the grittier aspects of the city, but also documented high society, including the ballet, opera, and intellectuals – among them his friends and contemporaries like Pablo Picasso, Salvador Dalí and Henri Matisse. The exhibition at Foam traces his career with over 170 vintage prints, plus a selection of drawings, a sculpture and documentary material.

Brassaï gathers many of the artistic facets of the photographer, from photos to drawings of female nudes. It is organised in twelve thematic sections: Paris by Day, and by Night, Minotaure, Graffiti, Society, Places and Things, Personages, Sleep, Pleasures, Body of a Woman, Portraits – Artists, Writers, Friends and The Street. Each is very different from the next – reflecting the diversity of Brassaï’s photographic work.

 

 

 

Digital walk through of the exhibition Brassaï at Foam, Amsterdam in September 2019

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam showing at second right Brassaï’s Paris 1937, and at right Paris c. 1932
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
Paris (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris' 1937 (installation view)

 

Brassaï (French, 1899-1984)
Paris (installation view)
1937
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris' 1937 (installation view)

 

Brassaï (French, 1899-1984)
Paris (installation view)
1937
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam
Photos: Marcus Bunyan

 

 

Foam is proud to announce the first retrospective of Brassaï in the Netherlands. This French photographer of Hungarian descent is considered as one of the key figures of 20th-century photography. Brassaï (1899-1984) created countless iconic images of 1930s Parisian life. He was famous for capturing the grittier aspects of the city, but also documented high society, including the ballet, opera, and intellectuals – among them his friends and contemporaries like Pablo Picasso, Salvador Dalí and Henri Matisse. The exhibition at Foam traces his career with over 170 vintage prints, plus a selection of drawings, a sculpture and documentary material.

Gyula Halász, Brassaï’s original name, was born in 1899 in Brassó, Transylvania (then part of the Austro-Hungarian empire, nowadays Brasov, Romania). He studied at the University of Arts in Berlin before finally settling in Paris in 1924, a city that was to become the main subject of his work. He started as a painter but soon discovered that his strongest and most original talent lay in photography. To keep his real name for his paintings, he signed journalistic work, caricatures and photographs with ‘Brassaï’ (from Brassó). His photos would make this pseudonym more famous than his real name. Brassaï’s work of the 1930s would become a cornerstone of a new tradition as photography was discovered as a medium with aesthetic potential. A generation earlier photographers had merely emulated the established arts. Now photography became an art in itself and the perfect medium to capture modern life.

The nocturnal scenes collected in his book Paris by Night (1933) are complemented by his work that reveals the everyday life of the city by day. The monuments, picturesque spots, scenes from daily life and architectural details are present in his work as a reflection of the irresistible fascination the artist felt for the French capital. In his quest to cover all of the facets of Paris, he also immersed himself in the city’s darker side. For Brassaï the gang members, outcasts, prostitutes and drug addicts all represented the least cosmopolitan aspect of Paris, an aspect that was more alive and more authentic. He compiled a huge collection of images of entertainment venues, ranging from night clubs to popular festivals and featuring the people who frequented them. Brassaï was deeply immersed in a wide circle of friends among the writers and artists of Montparnasse, who also became the subjects for some of his portraits. Most of the portraits taken by Brassaï were of well-known people, putting him into a very comfortable position. He collaborated with the luxury art magazine Minotaure right from its very first issue and enjoyed a prominent role for the publication over the years. After the war, he also travelled regularly on commissioned shoots for the American magazine Harper’s Bazaar.

The exhibition at Foam gathers many of the artistic facets of the photographer, from photos to drawings of female nudes. It is organised in twelve thematic sections: Paris by Day, and by Night, Minotaure, Graffiti, Society, Places and Things, Personages, Sleep, Pleasures, Body of a Woman, Portraits – Artists, Writers, Friends and The Street. Each is very different from the next – reflecting the diversity of Brassaï’s photographic work.

Press release from the Foam gallery website

 

Brassaï (French, 1899-1984) 'Staircase, Montmartre' 1937 (installation view)

 

Brassaï (French, 1899-1984)
Staircase, Montmartre (installation view)
1937
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Les Escaliers de Montmartre, Paris' 1936

 

Brassaï (French, 1899-1984)
Les Escaliers de Montmartre, Paris
1936
Gelatin silver print

 

Brassaï (French, 1899-1984) 'La rue Quincampoix' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
La rue Quincampoix (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'La rue Quincampoix' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
La rue Quincampoix (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Pillar of the Elevated, Metro Glacière' 1932 (installation view)

 

Brassaï (French, 1899-1984)
Pillar of the Elevated, Metro Glacière (installation view)
1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Near the rue Mouffetard' c. 1945 (installation view)

 

Brassaï (French, 1899-1984)
Near the rue Mouffetard (installation view)
c. 1945
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdamz

 

Installation views of the exhibition Brassaï at Foam, Amsterdam with at bottom centre, Brassaï’s Concierge’s Lodge, Paris, 1933
Photos: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Concierge's Lodge, Paris' 1933 (installation view)

 

Brassaï (French, 1899-1984)
Concierge’s Lodge, Paris (installation view)
1933
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Concierge's Lodge, Paris' 1933 (installation view)

 

Brassaï (French, 1899-1984)
Concierge’s Lodge, Paris (installation view)
1933
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Concierge's Lodge, Paris' 1933

 

Brassaï (French, 1899-1984)
Concierge’s Lodge, Paris
1933
Gelatin silver print
Photo: Marcus Bunyan

 

99-1984) 'Lovers at the gare Saint Lazare' c. 1937 (installation view)

 

Brassaï (French, 1899-1984)
Lovers at the gare Saint Lazare (installation view)
c. 1937
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Sunday Painter, avenue du Général Leclerc' 1946 (installation view)

 

Brassaï (French, 1899-1984)
Sunday Painter, avenue du Général Leclerc (installation view)
1946
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Sunday Painter, avenue du Général Leclerc' 1946 (installation view)

 

Brassaï (French, 1899-1984)
Sunday Painter, avenue du Général Leclerc (installation view)
1946
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Annecy' 1936 (installation view)

 

Brassaï (French, 1899-1984)
Annecy (installation view)
1936
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Hôtel de la Belle Étoile' 1945 (installation view)

 

Brassaï (French, 1899-1984)
Hôtel de la Belle Étoile (installation view)
1945
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) A Corpse on the Banks on the Seine 1931 (installation view

 

Brassaï (French, 1899-1984)
A Corpse on the Banks on the Seine (installation view)
1931
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Les Fétes de Paris: La Nuit Féerique de Longhamp' 1937

 

Brassaï (French, 1899-1984)
Les Fétes de Paris: La Nuit Féerique de Longhamp
1937
In L’illustration, no. 4, 923 (July 10, 1937)
13. Rue Saint-Georges, Paris (9°)
Photo: Marcus Bunyan

 

Regards, no. 155 (December 31, 1936)

 

Regards, no. 155 (December 31, 1936)
Back cover
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing at at left, Brassaï’s Meat Porters, Les Halles c. 1935 and at second left, Au Cochon Limousin 1935
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Meat Porters, Les Halles' c. 1935 (installation view)

 

Brassaï (French, 1899-1984)
Meat Porters, Les Halles (installation view)
c. 1935
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Au Cochon Limousin' 1935 (installation view)

 

Brassaï (French, 1899-1984)
Au Cochon Limousin (installation view)
1935
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Les Halles' 1930-32 (installation view)

 

Brassaï (French, 1899-1984)
Les Halles (installation view)
1930-32
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Cesspool cleaners' c. 1931 (installation view)

 

Brassaï (French, 1899-1984)
Cesspool cleaners (installation view)
c. 1931
Gelatin silver print
Photo: Marcus Bunyan

 

 

Paris de nuit / Paris at night

Brassaï had been making photographs for barely two years when luck and ambition brought him a contract for a book on nocturnal Paris. When Paris de nuit (Paris at Night) was published to acclaim in December 1932, “Brassaï” became a familiar name in the world of photography. The book’s rich photogravures, marginalises pages, and bold design made it an icon of modernity. Many of Brassaï’s best night picture were made after Paris de nuit appeared, however, and many of his greatest images of Parisian nightlife were not published until 1976.

In the self-portrait here we see Brassaï’s first camera, a Voigtländer Bergheil that used 6.5 x 9 cm glass plates one at a time. The long exposures of night photography – often five minutes or more – required a tripod, which Brassaï frequently used for other pictures as well. While much of the adventurous European photography of the 1920s and 1930s celebrated mobility and speed, spontaneity was alien to Brassaï’s sensibility. He favoured images that are sharp, deliberate, and stable.

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam
Photos: Marcus Bunyan

 

Brassaï (French, 1899-1984) Morris Column, avenue de l'Observatoire 1934 (installation view)

 

Brassaï (French, 1899-1984)
Morris Column, avenue de l’Observatoire (installation view)
1934
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Morris Column, avenue de l'Observatoire' 1934

 

Brassaï (French, 1899-1984)
Morris Column, avenue de l’Observatoire
1934
Gelatin silver print

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing at right, Brassaï’s Self portrait, On the boulevard Saint-Jacques 1930-32
Photo: Marcus Bunyan

 

Brassaï (Gyulá Halász, 1899 - 1984) 'Self-portrait, Boulevard Saint-Jacques, Paris 14ème' c. 1931-1932

 

Brassaï (French, 1899-1984)
Self portrait, On the boulevard Saint-Jacques
1930-32
Gelatin silver print

 

Voigtländer Bergheil Built in 1932

 

Voigtländer
Bergheil
Built in 1932
6.5 x 9cm negative
Green

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing at left, Brassaï’s The Tour Saint-Jacques 1932-33, and at third right View through the pont Royal toward the pont Solférino c. 1933
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'The Tour Saint-Jacques' 1932-33 (installation view)

 

Brassaï (French, 1899-1984)
The Tour Saint-Jacques (installation view)
1932-33
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'View through the pont Royal toward the pont Solférino' c. 1933

 

Brassaï (French, 1899-1984)
View through the pont Royal toward the pont Solférino
c. 1933
Gelatin silver print

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing at right, Brassaï’s Avenue de l’Observatoire in the Fog c. 1937
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Avenue de l'Observatoire in the Fog' c. 1937 (installation view)

 

Brassaï (French, 1899-1984)
Avenue de l’Observatoire in the Fog (installation view)
c. 1937
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Avenue de l'Observatoire in the Fog' c. 1937

 

Brassaï (French, 1899-1984)
Avenue de l’Observatoire in the Fog
c. 1937
Gelatin silver print

 

Brassaï (French, 1899-1984) 'Paris de Nuit' (Paris at Night) 1932

 

Brassaï (French, 1899-1984)
Paris de Nuit (Paris at Night) pp. 9-10
1932
Book

 

Brassaï (French, 1899-1984) 'Paris de Nuit' (Paris at Night) 1932

 

Brassaï (French, 1899-1984)
Paris de Nuit (Paris at Night) pp. 13-14
1932
Book

 

 

Digital flick through of Brassaï’s Paris de Nuit (Paris at Night) book 1932
Video: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris de Nuit' (Paris at Night) 1932 (installation view)

 

Brassaï (French, 1899-1984)
Paris de Nuit (Paris at Night) pp. 19-20 (installation view)
1932
Book
Photo: Marcus Bunyan

 

Minotaure, no. 7 (June 1935)

 

Minotaure, no. 7 (June 1935)
Pages 24-25: Photographs by Brassaï, “Nuits parisiennes” (Parisian Nights)
Pages 26-29: Photographs by Brassaï
Photo: Marcus Bunyan

 

 

Portraits – artists, writers and friends

In Brassaï’s era, portraits and nudes were bread-and-butter genres for any professional photographer. As a portraitist Brassaï made a speciality of artists and writers, who often were his friends, and in 1982 he collected many of the best pictures in Les artistes de ma vie (The Artists of My Life), for which he also wrote the lively text. He excelled at two distinct types of portraiture: In one, the artist is framed by his environment – the studio. In the other, the subjects confronts the photographer frankly, and the setting hardly matters. In an undated note, Brassaï summed up his approach to the second type: “To oblige the model to behave as if the photographer isn’t there really is to stage a comic performance. What’s natural is precisely not to dodge the photographer’s presence. The natural thing in that situation is for the model to pose honestly.”

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam showing in the top photograph at right, Oskar Kokoschka in his Studio, Paris 1931-32 and in the bottom photograph at third right, Brassaï’s Kiki de Montparnasse and her Friends, Thérèse Treize and Lily c. 1932
Photos: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Oskar Kokoschka in his Studio, Paris' 1931-32

 

Brassaï (French, 1899-1984)
Oskar Kokoschka in his Studio, Paris (installation view)
1931-32
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Kiki de Montparnasse and her Friends, Thérèse Treize and Lily' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
Kiki de Montparnasse and her Friends, Thérèse Treize and Lily (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam showing in the bottom photograph at left, Brassaï’s portrait of Jean Genet 1948
Photos: Marcus Bunyan

 

Brassai. 'Jean Genet' 1948

 

Brassaï (French, 1899-1984)
Jean Genet
1948
Gelatin silver print

 

 

Graffiti

The appreciation of graffiti as a powerful if anonymous art form began to blossom in the twentieth century. Like African tribal objects and the art of children, graffiti was admired as more expressive and vital than the refined forms of traditional Western art. Brassaï was among the first to embrace it. He was an inveterate magpie who collected all manner of neglected artefacts and natural specimens throughout his life. Virtually as soon as he began making photographs, he used the medium to collect the graffiti that appeared abundantly on the walls of Paris – predominantly images that had been scratched or gouged rather than drawn or painted and, as he pointed out, in which irregularities of the wall itself played a role. He compiled hundreds of these pictures, a small sample of which is presented here.

 

Minotaure

Between arriving in Paris in early 1924 and taking up photography six years later, Brassaï developed a wide circle of friends among the international community of artists and writers in Montparnasse. Among them were Les deux aveugles (The Two Blind Men), as the art critics Maurice Raynal and E. Tériade called themselves. In December 1932 – the same month Brassaï’s book Paris de unit (Paris at Night) appeared – Tériade invited Brassaï to photograph Pablo Picasso and his studios in and near Paris for the first issue of Minotaure, a lavish art magazine launched in June 1933 by the Swiss published Albert Skira. Thus began one of the key friendships of Brassaï’s life. Over the next few years he played prominent role in Minotaure, notable as a collaborator of Salvador Dalí, as an illustrator of texts by André Breton, and, on a few occasions, as an artist in his own right.

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation views of the exhibition Brassaï at Foam, Amsterdam showing to the right, photographs from Brassaï’s series Graffiti
Photo: Marcus Bunyan

 

Minotaure, nos. 3-4 (December 1933)

Minotaure, nos. 3-4 (December 1933)

 

Minotaure, nos. 3-4 (December 1933)
Pages 6-7: Photographs and text by Brassaï, “Du mur des cavernes au mur d’usine” (From the Wall of the Caves to the Wall of the Factory).
Photos: Marcus Bunyan

This was the first appearance in print of Brassaï’s series Graffiti.

 

Brassaï (French, 1899-1984) 'The Sun King' 1945-50 (installation view)

 

Brassaï (French, 1899-1984)
The Sun King (installation view)
1945-50
From the series Graffiti
Gelatin silver print
Photo: Marcus Bunyan

 

Brassai. 'Untitled' from the series 'Graffiti' 1950

 

Brassaï (French, 1899-1984)
Untitled (installation view)
1950
From the series Graffiti
Gelatin silver print
Photo: Marcus Bunyan

 

Brassai. 'Untitled' from the series 'Graffiti' 1945-55

 

Brassaï (French, 1899-1984)
Untitled (installation view)
1945-50
From the series Graffiti
Gelatin silver print

 

Brassai. 'Untitled' from the series 'Graffiti' 1945-55

 

Brassaï (French, 1899-1984)
Untitled (installation view)
1945-50
From the series Graffiti
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left La Môme Bijou, Bar de la Lune, Montmartre 1932; and in the centre, Billiard Player, boulevard Rochechouart 1932-33 and Market Porter, Les Halles 1939
Photo: Marcus Bunyan

 

 

Personages

In the introduction to a book of his photographs that was published in 1949, Brassaï linked the modern arts of photography and film to the work of artists of the past who had depicted everyday life, among them Rembrandt van Rijn, Honoré Daumier, Edgar Degas, and Henri de Toulouse-Lautrec. He praised them for the “desire to get beyond the anecdotal and to promote [their] subjects to the dignity of types.” Brassaï himself had a talent for rendering at the same time a generic social role and a particular individual who inhabited it, as if his attentiveness to the person would elevate him or her into a distinctive personage.

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left, Festival in Seville 1951; and at right, La Môme Bijou, Bar de la Lune, Montmartre 1932
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left, Festival in Seville 1951; at centre, La Môme Bijou, Bar de la Lune, Montmartre 1932; and at right, Billiard Player, boulevard Rochechouart 1932-33
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing a photograph from the section Personages, La Môme Bijou, Bar de la Lune, Montmartre 1932
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'La Môme Bijou, Bar de la Lune, Montmartre' 1932 (installation view)

 

Brassaï (French, 1899-1984)
La Môme Bijou, Bar de la Lune, Montmartre (installation view)
1932
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'La Môme Bijou, Bar de la Lune, Montmartre' 1932

 

Brassaï (French, 1899-1984)
La Môme Bijou, Bar de la Lune, Montmartre
1932
Gelatin silver print

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left La Môme Bijou, Bar de la Lune, Montmartre 1932; and at right, Billiard Player, boulevard Rochechouart 1932-33
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Billiard Player, boulevard Rochechouart' 1932-33 (installation view)

 

Brassaï (French, 1899-1984)
Billiard Player, boulevard Rochechouart (installation view)
1932-33
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Billiard Player, boulevard Rochechouart' 1932-33

 

Brassaï (French, 1899-1984)
Billiard Player, boulevard Rochechouart
1932-33
Gelatin silver print

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from the section Personages including at left Billiard Player, boulevard Rochechouart 1932-33; and at right, Market Porter, Les Halles 1939
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Market Porter, Les Halles' 1939 (installation view)

 

Brassaï (French, 1899-1984)
Market Porter, Les Halles (installation view)
1939
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Bal des Quatre Saisons, rue de Lappe' c. 1932

 

Brassaï (French, 1899-1984)
Bal des Quatre Saisons, rue de Lappe
c. 1932
Gelatin silver print

 

Brassaï (French, 1899-1984) 'Chez Suzy' 1931-32

 

Brassaï (French, 1899-1984)
Chez Suzy
1931-32
Gelatin silver print

 

Brassaï (French, 1899-1984) 'At the Hôtel des Terrasses' c. 1932 (installation view)

 

Brassaï (French, 1899-1984)
At the Hôtel des Terrasses (installation view)
c. 1932
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from Brassaï’s series Sleep
Photo: Marcus Bunyan

 

 

Sleep

In 1945 Brassaï wrote a brief essay to accompany some of his pictures of sleepers. It reads in part “All things that stand against their inclination – a tree, a column, a tower, a rock – are regarded with a malign eye by gravity … She especially has a grudge against man, that foolhardy being who, in open collusion with the sunlight, alone among his brothers under the spell of gravitation, dares to stand up. For sunlight and gravity fight over living beings, the one turning over what the other has put up. Alas! Sunlight lives a long way away and can never be found when she is needed the most. Thus gravity is suited to have the last word.”

 

Installation view of the exhibition 'Brassaï' at Foam, Amsterdam

 

Installation view of the exhibition Brassaï at Foam, Amsterdam showing photographs from Brassaï’s series Sleep with at left, Paris c. 1934; and at centre, Sleeping c. 1935
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Paris' c. 1934 (installation view)

 

Brassaï (French, 1899-1984)
Paris (installation view)
c. 1934
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Sleeping' c. 1935 (installation view)

 

Brassaï (French, 1899-1984)
Sleeping (installation view)
c. 1935
Gelatin silver print
Photo: Marcus Bunyan

 

Brassaï (French, 1899-1984) 'Montmartre' 1930-31

 

Brassaï (French, 1899-1984)
Montmartre
1930-31
Gelatin silver print

 

 

Foam
Keizersgracht 609
1017 DS Amsterdam
The Netherlands
Phone: + 31 20 5516500

Opening hours:
Monday – Wednesday 10am – 6pm
Thursday – Friday 10am – 9pm
Sat-Sun 10am – 6pm

Foam website

LIKE ART BLART ON FACEBOOK

Back to top

26
Jul
20

Marcus Bunyan black and white archive: ‘Padlocks/People’, 1994-96

July 2020

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

 

The padlocks were from a collection borrowed from a friend and photographed on a black velvet background. I liked their antiquity coupled with their minimalist modernist aesthetic highlighted against the black background. The installation photographs at the bottom of the posting show how they were originally exhibited at my solo exhibition The Cleft in Words, The Words as Flesh at Stop 22 Gallery, Melbourne in 1996, in a grid formation with the facade of an English cathedral.

The people were photographed out of the open door of an old W class tram on Swanston Street, Melbourne, with me sitting on the floor of the tram handholding my Mamiya RZ67 – so that the people outside were at eye level as they entered. At the time, I was fascinated by the open door of the tram, of life sliding past, of people not being aware they were being photographed climbing up into the tram after the door had opened.

Today, putting these two sets of images together, I am thinking about the relationship between the mundanity of everyday life and being locked into the routine and ritual of existence, with barely a key in/sight. At the time, and now, I am informed by a quotation from Susan Stewart:

“To walk in the city is to experience the disjuncture of partial vision/partial consciousness. The narrativity of this walking is belied by a simultaneity we know and yet cannot experience. As we turn a corner, our object disappears around the next corner. The sides of the street conspire against us; each attention suppresses a field of possibilities… The walkers of the city travel at different speeds, their steps like handwriting of a personal mobility.”1

Shadows lengthen, people hasten, rushing who knows where, the body immersed in absent presence, present and not present, conscious and not conscious, aware and yet unaware of the narratives of the body and the city. Walkers of this transcendent and anonymous silence.

Dr Marcus Bunyan

 

  1. Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Durham: Duke University Press, 1993, p. 2. Prologue.

 

I am scanning my negatives made during the years 1991-1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan. Please click the photographs for a larger version of the image. Please remember these are just straight scans of the prints, all full frame, no cropping !

 

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Installation of the Padlocks at the exhibition ‘The Cleft in Words, The Words as Flesh’ at Stop 22 Gallery, Melbourne, 1996'

 

Marcus Bunyan (Australian, born England 1958)
Installation of the Padlocks at the exhibition ‘The Cleft in Words, The Words as Flesh’ at Stop 22 Gallery, Melbourne, 1996
1996
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Installation of the Padlocks at the exhibition ‘The Cleft in Words, The Words as Flesh’ at Stop 22 Gallery, Melbourne, 1996'

 

Marcus Bunyan (Australian, born England 1958)
Installation of the Padlocks at the exhibition ‘The Cleft in Words, The Words as Flesh’ at Stop 22 Gallery, Melbourne, 1996
1995-96
Gelatin silver print

 

 

Marcus Bunyan black and white archive 1991-1997

Marcus Bunyan website

LIKE ART BLART ON FACEBOOK

Back to top

22
Jul
20

Exhibition: ‘2020 Vision: Photographs, 1840s-1860s’ at the Metropolitan Museum of Art, New York

Exhibition dates: 3rd December 2019 – closing date to be announced due to the COVID-19 pandemic

 

Antoine-François-Jean Claudet. ‘The Chess Players’ c. 1845 (detail)

 

Likely by Antoine-François-Jean Claudet (French, Lyon 1797 – 1867 London)
Possibly by Nicolaas Henneman (Dutch, Heemskerk 1813 – 1898 London)
The Chess Players (detail)
c. 1845
Salted paper print from paper negative
Sheet: 9 5/8 × 7 11/16 in. (24.5 × 19.6cm)
Image: 7 13/16 × 5 13/16 in. (19.8 × 14.7cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

An excellent selection of photographs in this posting. I particularly like the gender-bending, shape-shifting, age-distorting 1850s-60s Carte-de-visite Album of Collaged Portraits by an unknown artist. I’ve never seen anything like it before, especially from such an early date. Someone obviously took a lot of care, had a great sense of humour and definitely had a great deal of fun making the album.

Other fascinating details include the waiting horses and carriages in Fox Talbot’s View of the Boulevards of Paris (1843); the mannequin perched above the awning of the photographic studio in Dowe’s Photograph Rooms, Sycamore, Illinois (1860s); and the chthonic underworld erupting from the tilting ground in Carleton E. Watkins’ California Oak, Santa Clara Valley (c. 1863).

Dr Marcus Bunyan

.
Many thankx to the Metropolitan 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.

 

 

When The Met first opened its doors in 1870, photography was still relatively new. Yet over the preceding three decades it had already developed into a complex pictorial language of documentation, social and scientific inquiry, self-expression, and artistic endeavour.

These initial years of photography’s history are the focus of this exhibition, which features new and recent gifts to the Museum, many offered in celebration of The Met’s 150th anniversary and presented here for the first time. The works on view, from examples of candid portraiture and picturesque landscape to pioneering travel photography and photojournalism, chart the varied interests and innovations of early practitioners.

The exhibition, which reveals photography as a dynamic medium through which to view the world, is the first of a two-part presentation that plays on the association of “2020” with clarity of vision while at the same time honouring farsighted and generous collectors and patrons. The second part will move forward a century, bringing together works from the 1940s through the 1960s.

Text from the Metropolitan Museum of Art website

 

 

Antoine-François-Jean Claudet. ‘The Chess Players’ c. 1845

 

Likely by Antoine-François-Jean Claudet (French, Lyon 1797 – 1867 London)
Possibly by Nicolaas Henneman (Dutch, Heemskerk 1813 – 1898 London)
The Chess Players
c. 1845
Salted paper print from paper negative
Sheet: 9 5/8 × 7 11/16 in. (24.5 × 19.6cm)
Image: 7 13/16 × 5 13/16 in. (19.8 × 14.7cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

Lewis Carroll (British, Daresbury, Cheshire 1832 - 1898 Guildford) '[Alice Liddell]' June 25, 1870

 

Lewis Carroll (British, Daresbury, Cheshire 1832 – 1898 Guildford)
[Alice Liddell]
June 25, 1870
Albumen silver print from glass negative
Sheet: 6 1/4 × 5 9/16 in. (15.9 × 14.1cm)
Image: 5 7/8 × 4 15/16 in. (15 × 12.6cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

Eighteen-year-old Alice Liddell’s slumped pose, clasped hands, and sullen expression invite interpretation. A favoured model of Lewis Carroll, and the namesake of his novel Alice in Wonderland, Liddell had not seen the writer and photographer for seven years when this picture was made; her mother had abruptly ended all contact in 1863. The young woman poses with apparent unease in this portrait intended to announce her eligibility for marriage. The session closed a long and now controversial history with Carroll, whose portraits of children continue to provoke speculation. In what was to be her last sitting with the photographer, Liddell embodies the passing of childhood innocence that Carroll romanticised through the fictional Alice.

 

Unknown photographer (American) '[Surveyor]' c. 1854

 

Unknown photographer (American)
[Surveyor]
c. 1854
Daguerreotype
Case: 1.6 × 9.2 × 7.9cm (5/8 × 3 5/8 × 3 1/8 in.)
Gift of Charles Isaacs and Carol Nigro, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art
Public domain

 

 

This portrait of a surveyor from an unknown daguerreotype studio was made during the heyday of the Daguerreian era in the United States, a time that coincided with an increased need for survey data and maps for the construction of railways, bridges, and roads. The unidentified surveyor, seated in a chair, grasps one leg of the tripod supporting his transit, a type of theodolite or surveying instrument that comprised a compass and rotating telescope. The carefully composed scene, in which the angle of the man’s skyward gaze is aligned with the telescope and echoed by one leg of the tripod, conflates its surveyor subject with an astronomer. As a result, the lands of young America are compared to the vast reaches of space, with both territories full of potential discovery.

 

Unknown photographer (American) '[Surveyor]' c. 1854

 

Unknown photographer (American)
[Surveyor]
c. 1854
Daguerreotype
Case: 1.6 × 9.2 × 7.9cm (5/8 × 3 5/8 × 3 1/8 in.)
Gift of Charles Isaacs and Carol Nigro, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art
Public domain

 

Alphonse Delaunay (French, 1827-1906) 'Patio de los Arrayanes, Alhambra, Granada, Spain' 1854

 

Alphonse Delaunay (French, 1827-1906)
Patio de los Arrayanes, Alhambra, Granada, Spain
1854
Albumen silver print from paper negative
10 in. × 13 5/8 in. (25.4 × 34.6cm)
Gift of W. Bruce and Delaney H. Lundberg, 2017
The Metropolitan Museum of Art
Public domain

 

 

One of the most talented students of famed French photographer Gustave Le Gray, Delaunay was virtually unknown before a group of his photographs appeared at auction in 2007. Subsequent research led to the identification of several bodies of work, including the documentation of contemporary events through instantaneous views captured on glass negatives. Delaunay also was a particular devotee of the calotype (or paper negative) process, with which he created his best pictures – including this view of the Alhambra. Among a group of pictures he made between 1851 and 1854 in Spain and Algeria, this view of the Patio de los Arrayanes reveals the extent to which Delaunay was able to manipulate the peculiarities of the paper negative. He revels in the graininess of the image, purposefully not masking out the sky before printing the negative, so that the marble tower appears somehow carved out of the very atmosphere that surrounds it. In contrast, the reflecting pool remains almost impossibly limpid, its dark surface offering a cool counterpart to the harsh Spanish sky.

 

Hippolyte Bayard (French, 1801-1887) '[Classical Head]' probably 1839

 

Hippolyte Bayard (French, 1801-1887)
[Classical Head]
probably 1839
Salted paper print
6 1/2 × 5 7/8 in. (16.5 × 15cm)
Purchase, Horace W. Goldsmith Foundation Gift, 2019
The Metropolitan Museum of Art
Public domain

 

 

This luminous head seems to materialise before our very eyes, as if we are observing the moment in which the latent photographic image becomes visible. Nineteenth-century eyewitnesses to Hippolyte Bayard’s earliest photographs (direct positives on paper) described a similarly enchanting effect, in which hazy outlines coalesced with light and tone to form charmingly faithful, if indistinct, images. These works, which Bayard referred to as essais (tests or trials), often included statues and busts, which he frequently arranged in elaborate tableaux. In this case, he photographed the lone subject (an idealised classical head) from the front and side, as if it were a scientific specimen. The singular object emerges as a relic from photography’s origins and now distant past.

 

William Henry Fox Talbot (British, Dorset 1800 - 1877 Lacock) 'Group Taking Tea at Lacock Abbey' August 17, 1843

 

William Henry Fox Talbot (British, Dorset 1800 – 1877 Lacock)
Group Taking Tea at Lacock Abbey
August 17, 1843
Salted paper print from paper negative
Mount: 9 15/16 in. × 13 in. (25.3 × 33cm)
Sheet: 7 3/8 × 8 15/16 in. (18.7 × 22.7cm)
Image: 5 in. × 7 1/2 in. (12.7 × 19 cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

Although Talbot’s groundbreaking calotype (paper negative) process allowed for more instantaneous image making, works such as this one nevertheless reflect the technical limitations of early photography. Here, he adapts painterly conventions to the new medium, staging a genre scene on his family estate. The stilted arrangement of figures – rigidly posed to produce a clear image – belies Talbot’s attempt to show action in progress. To achieve sufficient light exposure, he photographed the domestic tableau outdoors, arranging his subjects before a blank backdrop to create the illusion of interior space.

 

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

 

Unknown artist (American or Canadian)
[Carte-de-visite Album of Collaged Portraits]
1850s-60s
Albumen silver prints
5 15/16 × 5 1/8 × 2 1/16 in. (15.1 × 13 × 5.3cm)
Bequest of Herbert Mitchell, 2008
The Metropolitan Museum of Art
Public domain

 

 

Beginning in the late 1850s, cartes de visite, or small photographic portrait cards, were produced on a scale that put photography in the hands of the masses. This unusual collection of collages is ahead of its time in spoofing the rigidity of the format. The images play with scale and gender by juxtaposing cutout heads and mismatched sitters, thereby highlighting the difference between social identity – which was communicated in part through the exchange of calling cards – and individuality.

 

Unknown artist (American) '[Studio Photographer at Work]' c. 1855

 

Unknown artist (American)
[Studio Photographer at Work]
c. 1855
Salted paper print
Image: 5 1/8 × 3 13/16 in. (13 × 9.7cm)
Sheet: 9 1/2 × 5 5/8 in. (24.1 × 14.3cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

In this evocative image, picture making takes centre stage. Underneath a canopy of dark cloth, the photographer poses as if to adjust the bellows of a large format camera. The view reflected on its ground glass would appear reversed and upside down. Viewers’ expectations are similarly overturned, because the photographer’s subject remains unseen.

 

Unknown artist (American) '[Boy Holding a Daguerreotype]' 1850s

 

Unknown artist (American)
[Boy Holding a Daguerreotype]
1850s
Daguerreotype with applied colour
Image: 3 1/4 × 2 3/4 in. (8.3 × 7cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

The boy in this picture clutches a cased image to his chest, as if to illustrate his affection for the subject depicted within. Daguerreotypes were a novel form of handheld picture, portable enough to slip into a pocket or palm. Portraits exchanged between friends and family could be kept close – a practice often mimed by sitters, who would pose for one daguerreotype while holding another.

 

James Fitzallen Ryder (American, 1826-1904) 'Locomotive James McHenry (58), Atlantic and Great Western Railway' 1862

 

James Fitzallen Ryder (American, 1826-1904)
Locomotive James McHenry (58), Atlantic and Great Western Railway
1862
Albumen silver print
Image: 7 3/8 × 9 1/4 in. (18.7 × 23.5cm)
Mount: 10 × 13 in. (25.4 × 33cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

In spring 1862, the chief engineer in charge of building the Atlantic and Great Western Railway – which ran from Salamanca, New York, to Akron, Ohio, and from Meadville to Oil City, Pennsylvania – engaged James Ryder to make photographs that would convince shareholders of the worthiness of the project. Ryder’s assignment was “to photograph all the important points of the work, such as excavations, cuts, bridges, trestles, stations, buildings and general character of the country through which the road ran, the rugged and the picturesque.” In a converted railroad car kitted out with a darkroom, water tank, and developing sink, he processed photographs that make up one of the earliest rail surveys.

 

Attributed to Josiah Johnson Hawes (American, Wayland, Massachusetts 1808 - 1901 Crawford Notch, New Hampshire) Winter on the Common, Boston' 1850s

 

Attributed to Josiah Johnson Hawes (American, Wayland, Massachusetts 1808 – 1901 Crawford Notch, New Hampshire)
Winter on the Common, Boston
1850s
Salted paper print
Window: 6 15/16 × 8 15/16 in. (17.6 × 22.7cm)
Mat: 16 × 20 in. (40.6 × 50.8cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

Having originally set his sights on a career as a painter, Josiah Hawes gave up his brushes for a camera upon first seeing a daguerreotype in 1841. Two years later, he joined Albert Sands Southworth in Boston to form the celebrated photographic studio Southworth & Hawes. Turning to paper-based photography in the early 1850s, Hawes frequently depicted local scenery. This surprising picture, which presents Boston Common through a veil of snow-laden branches, shows that Hawes brought his creative ambitions to the nascent art of photography.

 

 

Carleton E. Watkins (American, 1829-1916)
[California Oak, Santa Clara Valley]
c. 1863
Albumen silver print
Image: 12 in. × 9 5/8 in. (30.5 × 24.5cm)
Mount: 21 1/4 in. × 17 5/8 in. (54 × 44.8cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

For viewers today, the crown of this majestic oak tree, with its complex network of branches, might evoke the allover paintings of Abstract Expressionism with their layers of dripped paint. As photographed by Carleton Watkins, the dark, flattened silhouette of the tree feathers out across the camera’s field of view. The sloped horizon line, uncommon in Watkins’s output, both echoes the ridge in the distance and grounds the energy of the tree canopy, ably demonstrating his masterful command of pictorial composition.

 

George Wilson Bridges (British, 1788-1864) 'Garden of Selvia, Syracuse, Sicily' 1846

 

George Wilson Bridges (British, 1788-1864)
Garden of Selvia, Syracuse, Sicily
1846
Salted paper print from paper negative
Image: 6 15/16 × 8 9/16 in. (17.7 × 21.7cm)
Sheet: 7 5/16 × 8 13/16 in. (18.5 × 22.4cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

The monk’s gesture of prayer in this image by George Wilson Bridges is a touchstone of stillness against the impressive landscape and vegetation that rise up behind him. Bridges was an Anglican reverend and friend of William Henry Fox Talbot, the inventor of the calotype (paper negative), who instructed him on the method before it was patented. Bridges was also one of the earliest photographers to embark upon a tour of the Mediterranean region; he wrote to Talbot that he conceived of the excursion both as a technical mission to advance photography and as a pilgrimage to collect imagery of religious sites.

 

Pietro Dovizielli (Italian, 1804-1885) '[Spanish Steps, Rome]' c. 1855

 

Pietro Dovizielli (Italian, 1804-1885)
[Spanish Steps, Rome]
c. 1855
Albumen silver print from glass negative
Image: 14 11/16 × 11 5/16 in. (37.3 × 28.8cm)
Sheet: 24 7/16 × 18 7/8 in. (62 × 48cm)
Gift of W. Bruce and Delaney H. Lundberg, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art
Public domain

 

 

Made in late afternoon light, Pietro Dovizielli’s picture shows a long shadow cast onto Rome’s Piazza di Spagna that almost obscures one of the market stalls flanking the base of the famed Spanish Steps. Rising above the sea of stairs is the church of Trinità dei Monti, its facade neatly bisected by the Sallustiano obelisk. In the piazza, a lone figure – the only visible inhabitant of this eerily empty public square – rests against the railing of the Barcaccia fountain. Keenly composed pictures like this led reviewers of Dovizielli’s photographs to proclaim them “the very paragons of architectural photography.”

 

Edouard Baldus (French (born Prussia), 1813-1889) '[Amphitheater, Nîmes]' c. 1853

 

Edouard Baldus (French (born Prussia), 1813-1889)
[Amphitheater, Nîmes]
c. 1853
Salted paper print from paper negative
Overall: 12 3/8 × 15 3/16 in. (31.5 × 38.5cm)
Gift of Joyce F. Menschel, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art

 

 

Instead of photographing the entire arena in Nîmes, as he had two years earlier, Baldus focusses here on a section of the façade, playing the superimposed arches against the vertical, shadowed pylons in the foreground. The resulting composition manages to isolate and monumentalise the architecture, while creating a rhythmic play of light and dark that energises the picture. The photograph was part of a massive, four-year project, Villes de France photographiées, in which the views from the south of France were said to surpass all of the photographer’s previous work in the region.

 

William Henry Fox Talbot (British, Dorset 1800-1877 Lacock) 'View of the Boulevards of Paris' 1843

 

William Henry Fox Talbot (British, Dorset 1800 – 1877 Lacock)
View of the Boulevards of Paris
1843
Salted paper print from paper negative
Mount: 9 in. × 10 1/16 in. (22.8 × 25.6cm)
Sheet: 7 3/8 × 10 1/8 in. (18.7 × 25.7cm)
Image: 6 5/16 × 8 1/2 in. (16.1 × 21.6cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

In May 1843 Talbot traveled to Paris to negotiate a licensing agreement for the French rights to his patented calotype process. His invention used a negative-positive system and a paper base – not a copper support as in a daguerreotype. Although his negotiations were not fruitful, Talbot’s views of the elegant new boulevards of the French capital were highly successful.

Filled with the incidental details of urban life, architectural ornamentation, and the play of spring light, this photograph appears as the second plate in Talbot’s groundbreaking publication The Pencil of Nature (1844). The chimney posts on the roofline of the rue de la Paix, the waiting horses and carriages, and the characteristically French shuttered windows evoke as vivid a notion of mid-nineteenth-century Paris now as they must have 170 years ago.

 

Lewis Dowe (American, active 1860s-1880s) '[Dowe's Photograph Rooms, Sycamore, Illinois]' 1860s

 

Lewis Dowe (American, active 1860s-1880s)
[Dowe’s Photograph Rooms, Sycamore, Illinois]
1860s
Albumen silver print
Image: 5 7/8 × 7 5/8 in. (14.9 × 19.3cm)
Mount: 8 × 10 in. (20.3 × 25.4cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

Above a bustling thoroughfare in Sycamore, Illinois, boldface lettering advertises the services of photographer Lewis Dowe, a portraitist who also published postcards and stereoviews. Easier to miss in the image is a mannequin perched above the awning to promote the studio. The flurry of activity below Dowe’s storefront and the prime location of the outfit, poised between a tailor and a saloon, speak to the important role of photography in town life.

 

E. & H. T. Anthony (American) '[Specimens of New York Bill Posting]' 1863

 

E. & H. T. Anthony (American)
[Specimens of New York Bill Posting]
1863
Albumen silver prints
Mount: 3 1/4 in. × 6 3/4 in. (8.3 × 17.1cm)
Image: 2 15/16 in. × 6 in. (7.5 × 15.3cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

Benefit concerts, minstrel shows, lectures, and horse races all clamour for attention in this graphic field of broadsides posted in the Bowery neighbourhood of Manhattan. The stereograph format lends added depth and dimensionality to the layered fragments of text, transporting viewers to a hectic city sidewalk. Published for a national market, the scene indexes a precise moment in the summer of 1863, offering armchair tourists an inadvertent trend report on downtown cultural life.

 

Roger Fenton (British, 1819-1869) 'The Diamond and Wasp, Balaklava Harbour' March, 1855

 

Roger Fenton (British, 1819-1869)
The Diamond and Wasp, Balaklava Harbour
March, 1855
Albumen silver print from glass negative
Image: 8 in. × 10 1/8 in. (20.3 × 25.7 cm)
Mount: 19 5/16 × 24 3/4 in. (49 × 62.9 cm)
Gift of Thomas Walther Collection, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art

 

 

Fenton’s view of the Black Sea port of Balaklava, which the British used as a landing point for their siege of Sevastopol during the Crimean War, shows a busy but orderly operation. The British naval ships, HMS Diamond and HMS Wasp, oversaw the management of transports into and out of the harbour, which explains the presence of ships and rowboats, as well as the large stack of crates near the rail track in the foreground. Against claims of “rough-and-tumble” mismanagement of Balaklava in the British press, Fenton (commissioned by a Manchester publisher to record the theatre of war) offers documentation of a well-functioning port.

 

Roger Fenton (British, 1819-1869) 'The Mamelon and Malakoff from front of Mortar Battery' April, 1855

 

Roger Fenton (British, 1819-1869)
The Mamelon and Malakoff from front of Mortar Battery
April, 1855
Salted paper print from glass negative
Image: 9 1/8 × 13 1/2 in. (23.1 × 34.3cm)
Sheet: 14 3/4 × 17 13/16 in. (37.5 × 45.3cm)
Gift of Joyce F. Menschel, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art

 

 

Fenton’s extensive documentation of the Crimean War – the first use of photography for that purpose – was a commercial endeavour that did not include pictures of battle, the wounded, or the dead. His unprepossessing view of a vast rocky valley instead discloses, in the distance, a site of crucial strategic importance. Fort Malakoff, the general designation of Russian fortifications on two hills (Mamelon and Malakoff) is just perceptible at the horizon line. Malakoff’s capture by the French in September 1855, five months after Fenton made this photograph, ended the eleven-month siege of Sevastopol and was the final episode of the war.

 

Felice Beato (British (born Italy), Venice 1832-1909 Luxor) and James Robertson (British, 1813-1881) [Dome of the Rock, Jerusalem] 1856-57

 

Felice Beato (British (born Italy), Venice 1832-1909 Luxor) and James Robertson (British, 1813-1881)
[Dome of the Rock, Jerusalem]
1856-57
Albumen silver print
Image: 9 in. × 11 1/4 in. (22.9 × 28.6cm)
Mount: 17 5/8 in. × 22 1/2 in. (44.8 × 57.2cm)
Gift of Joyce F. Menschel, 2013
The Metropolitan Museum of Art

 

 

This detailed print showing the Dome of the Rock in Jerusalem provides a sense of the structure’s natural and architectural surroundings. Felice Beato depicted the religious site from a pilgrim’s point of view – walls and roads are given visual priority and stand between the viewer and the shrine. Holy sites such as this were the earliest and most common subjects of travel photography. Beato made multiple journeys to the Mediterranean and North Africa, and he is perhaps best known for photographing East Asia in the 1880s.

 

R.C. Montgomery (American, active 1850s) '[Self-Portrait (?)]' 1850s

 

R.C. Montgomery (American, active 1850s)
[Self-Portrait (?)]
1850s
Daguerreotype with applied colour
Image: 3 1/4 × 4 1/4 in. (8.3 × 10.8 cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

The insouciant subject here may be the daguerreotypist himself, posing in bed for a promotional picture or a private joke. His rumpled suit and haphazard hairstyle affect intimacy, perhaps in an effort to showcase an informal portrait style. Because they required long exposure times, daguerreotypes often captured sitters at their most stilted. With this surprising picture, the maker might have hoped to attract clients who were in search of a more novel or natural likeness.

 

 

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Phone: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30am – 5.30pm*
Friday – Saturday: 9.30am – 9.00pm*
Sunday: 9.30am – 5.30pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

17
Jul
20

Exhibition: ‘Hilma af Klint – Artist, Researcher, Medium’ at Moderna Museet Malmö

Exhibition dates: 4th April 2020 – 21st February 2021

Curators: Iris Müller-Westermann and Milena Høgsberg

 

 

Hilma af Klint (Swedish, 1862-1944) 'Serie WU/Rosen, Grupp II, The Eros Series, No. 2' 1907

 

Hilma af Klint (Swedish, 1862-1944)
Serie WU/Rosen, Grupp II, The Eros Series, No. 2
1907
© Stiftelsen Hilma af Klints Verk
Photo: Albin Dahlström/Moderna Museet

 

 

The third secret

Af Klint is one my favourite painters. At such an early date (preceding any man), she created new forms from her imagination, abstract forms, that connect to, and exist, on a celestial plane.

af Klint studied Theosophy and Rosicrucianism, expanding her consciousness, trusting that “knowledge of a deeper spiritual reality could be achieved through focused attention on intuition, meditation, and other means of transcending normal human consciousness.” All from 1906-07 onwards.

Her paintings and drawings emit an aura, her aura “drawn” into a cosmic aura, as a revelation of spirit – invisible dimensions that exist beyond the visible world – a connection from our reality to the spirit of the cosmos. Childhood; youth; adulthood; primordial chaos; eros; evolution; the altar and the tree of knowledge. All knowledge that allows us access to the divine, that opens us not to phenomena, but to the noumenal experiences of the felt, spiritual sublime.

Imagine af Klint painting her huge canvases on the floor of her studio, so many years before Jackson Pollock attempted the same connection to altered consciousness, and creating these symbolic and sensation/al masterpieces. Then to have the prescience to understand that the world was not ready for her art, would not understand it, had no way of comprehending the enormity of her artistic enquiry. To leave “a radical body of work – unprecedented in its use of colour, scale and composition – which she hoped future audiences might be better able to sense and decode.” All in hope!

Leaving everything to her nephew, she instructed him not to even open the boxes of her abstract art (which she never exhibited during her lifetime) until 20 years after her death in the late 1960s. In the ultimate irony, in 1970 her entire collection was offered to the Moderna Museet as a gift – the very museum in which this exhibition is being staged – AND THEY REFUSED THE GIFT.

What were the big wigs and curators (probably all men) at the Moderna Museet thinking in 1970? Didn’t they use their eyes, didn’t they sense the bravery of af Klint’s artistic enquiry, or feel the ecstatic (involving an experience of mystic self-transcendence) ecstasy of her work – that rapture of an emotional divine!

I am SO happy her work is now being acclaimed. For the force was truly with her.

Dr Marcus Bunyan

.
Many thankx to the Moderna Museet Malmö for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

The exhibition opens with the joyful series dedicated to Eros, the Greek god of love, associated with fertility and desire. Full of life, these pink-hued works take up the theme of polarity between male and female as the driving force of evolution. These abstract works completely differ from the classic representation of Eros.

In the series “The Seven-Pointed Star” (1908), Hilma af Klint experimented with a greater economy of line, depicting spiralling energy expanding outwards and forming new centres. As is the case with most of af Klint’s work, there is no singular meaning. Seven is a sacred number in many cultures, associated with divine order, and also the eternal harmony of the universe. In Theosophy the star cluster, known as the Seven Stars or the Pleiades, transmits spiritual energy that eventually reaches the human plane.

 

Hilma af Klint (Swedish, 1862-1944) 'Serie WU/Rosen, Grupp II, The Eros Series, No. 8' 1907

 

Hilma af Klint (Swedish, 1862-1944)
Serie WU/Rosen, Grupp II, The Eros Series, No. 8
1907
© Stiftelsen Hilma af Klints Verk

 

 

During the spring and summer of 2020, Moderna Museet Malmö will give its visitors an opportunity to become acquainted with the fascinating and ground-breaking Swedish artist Hilma af Klint in a comprehensive presentation. The exhibition will present, among other works, the series “The Ten Largest,” which will be shown in it’s entirety.

Hilma af Klint (1862-1944) was a pioneer of abstraction. As early as 1906 she had developed a rich, symbolic imagery that preceded the more broadly recognised emergence of abstract art. Since her retrospective at Moderna Museet in Stockholm in 2013, interest in the Swedish artist has increased all over the world. The exhibition “Hilma af Klint – Artist, Researcher, Medium” further expands our understanding of this groundbreaking artist and researcher.

Hilma af Klint studied at the Royal Academy of Fine Arts in Stockholm from 1882 to 1887 where she focused on naturalistic landscape and portrait paintings. Like many of her contemporaries, af Klint also had a keen interest in invisible dimensions that exist beyond the visible world. When painting she was convinced that she was in contact with higher consciousness, which conveyed messages through her. Her major series, “The Paintings for the Temple”, became the crux of this artistic inquiry.

The exhibition centres on three aspects of Hilma af Klint’s life and interests – as artist, researcher and medium – that are key to revealing and understanding her art. With few exceptions, af Klint never exhibited her abstract works during her lifetime. Yet she left us with a radical body of work – unprecedented in its use of colour, scale and composition – which she hoped future audiences might be better able to sense and decode.

Hilma af Klint made paintings for the future, and that future is now.

 

Artist and Medium

Like many of her contemporaries at the turn of the twentieth century, Hilma af Klint sought to expand her consciousness in order to gain a wider perspective on what we perceive as reality. Consciousness remains one of the deepest mysteries in our time, a subject eagerly explored in neurology, psychology, quantum physics and epigenetics. As part of her spiritual practice, af Klint meditated, adhered to a vegetarian diet, and studied Theosophy and Rosicrucianism. These two esoteric schools thought knowledge of a deeper spiritual reality could be achieved through focused attention on intuition, meditation, and other means of transcending normal human consciousness. Over a period of ten years, af Klint met weekly with four other women, known as De fem (“The Five”). They trained their capability to access or “channel” higher levels of consciousness through contact with spiritual guides known as De Höga (“The Masters”). Af Klint received a specific assignment, which she accepted, known as “The Paintings for the Temple”. She worked throughout her life to understand the deeper meaning embedded in these works.

“The pictures were painted directly through me, without any preliminary drawings and with great force. I had no idea what the paintings were supposed to depict; nevertheless, I worked swiftly and surely, without changing a single brushstroke.” 

.
The artist described how she painted the series as a medium, where shapes, colours and compositions came to her. Although af Klint perceived these works as flowing uninhibitedly through her guided hand, she very much applied herself and all her skills in the process: she worked methodically and sequentially in series, divided into thematically and formally focused groups exploring different aspects of cosmic and human evolution.

 

The Paintings for the Temple

Between 1906 and 1915, Hilma af Klint created “The Paintings for the Temple”. It comprises 193 paintings and drawings, divided into series and groups. Works produced between 1906 and 1908 are on view in the Turbine Hall; works from the second part of the series from 1912 to 1915 are on view in the upstairs galleries at Moderna Museet Malmö.

The overall theme of the series is to convey different aspects of human evolution, instigated by polarity. “The Paintings for the Temple” also thematises different stages of development that every human being goes through during life on earth. The temple in the title refers not only to a physical building, which af Klint imagined would house the work, but also to the body as a temple for the soul.

Text from the Moderna Museet Malmö website

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, No. 1, Childhood' 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 1, Childhood
1907
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, No. 2, Childhood' 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 2, Childhood
1907
© Stiftelsen Hilma af Klints Verk

 

 

Like many of the other series within “The Paintings for the Temple”, “The Ten Largest” seems somehow unfettered by limitations of place and time. Across ten canvases, swirling shapes in soft pastel colours rhythmically interact with cursive letters, forming a kind of visual poem. Petals, ovaries, flowers and spirals pulsate in constant sparks of creation. Hilma af Klint attributed this series to the exploration of the human life cycle, from childhood and youth to adulthood and old age. The artist created the ten works between November and December of 1907 on large sheets of paper later glued onto canvas. Given the unusual scale of the works, it is likely that af Klint painted each canvas, while it was lying flat on her studio floor.

Text from the Moderna Museet Malmö website

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, No. 3, Youth' 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 3, Youth
1907
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, No. 4, Youth' 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 4, Youth
1907
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, No. 5, Adulthood' 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 5, Adulthood
1907
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, no. 6' 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 6
1907
© Stiftelsen Hilma af Klints Verk
Photo: Albin Dahlström/Moderna Museet

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, No. 7, Adulthood' 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 7, Adulthood
1907
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, No. 8, Adulthood' 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 8, Adulthood
1907
© Stiftelsen Hilma af Klints Verk

 

 

On June 16, Moderna Museet Malmö opened again after having been closed for a time in response to the Coronavirus pandemic. Finally, Hilma af Klint – Artist, Researcher, Medium, a comprehensive presentation of the artist with 230 works occupying the entire museum building, can be experienced by the public.

Hilma af Klint (1862-1944) was an artist who allowed herself to take a broader perspective on life and who wanted to open up new ways of looking at reality. Her achievement as a pioneer of abstract art has been celebrated before, but with the exhibition Hilma af Klint – Artist, Researcher, Medium, Moderna Museet Malmö now wants to offer new insights into the artist’s systematic research.

“Hilma af Klint radically turned away from the portrayal of a visible reality,” says Iris Müller-Westermann. “For her, art making was about visualising contexts that lie beyond what the eye can see. Af Klint was convinced that she was connected to a higher level of consciousness when she was making her works. The exhibition argues that her spiritual practice was inextricably linked to her artistic practice. First and foremost, however, Hilma af Klint believed in the power of images.”

The whole Moderna Museet Malmö has been transformed into Hilma af Klint’s temple. The exhibition spans the artist’s entire career, and the selection of works examines the artist’s research into nature and the links between the visible and invisible worlds. In addition, the comprehensive exhibition touches on the artist’s own thoughts about her work and its various methods.

“Hilma af Klint had an inquisitive mind,” says Milena Høgsberg. “For her, painting was both an artistic activity and a spiritual one. When she was painting she meditatively allowed something bigger to pass through her and manifest itself in works of art. She then spent her life, systematically and analytically trying to understand the meaning behind her paintings, drawings, and writings.”

The heart of the exhibition are The Paintings for the Temple (1906-15), which the artist considered her most important works. They also include the magnificent series The Ten Largest from 1907.

In conjunction with the exhibition, a comprehensive and richly illustrated catalogue has been produced, with essays by Iris Müller-Westermann, Milena Høgsberg in conversation with Tim Rudbøg, Hedvig Martin, Ernst Peter Fischer, and Anne Sophie Jørgensen. The exhibition catalogue has been published in two editions – one in Swedish and one in English.

Hilma af Klint – Artist, Researcher, Medium will be on view at Moderna Museet Malmö until September 27, 2020.

Text from the Moderna Museet Malmö website

 

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

 

Installation views, Hilma af Klint, Moderna Museet Malmö, 2020
Photo: Helene Toresdotter/Moderna Museet

 

Hilma af Klint (Swedish, 1862-1944) 'De tio största, nr 9, Ålderdomen, grupp IV' 1907

 

Hilma af Klint (Swedish, 1862-1944)
De tio största, nr 9, Ålderdomen, grupp IV
1907
© Stiftelsen Hilma af Klints Verk
Photo: Albin Dahlström/Moderna Museet

 

Hilma af Klint (Swedish, 1862-1944) 'Serie SUW/UW, Grupp IX/UW, nr 25, The Dove, No. 1' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Serie SUW/UW, Grupp IX/UW, nr 25, The Dove, No. 1
1915
© Stiftelsen Hilma af Klints Verk

 

 

“The Dove” (1915) depicts the creation process. It draws upon Christian symbols such as the dove for spirit, peace and unity. It also thematises the battle between the forces of light and darkness through the allegory of Saint George and the Dragon.

 

Hilma af Klint (Swedish, 1862-1944) 'The Dove, no. 9' 1915

 

Hilma af Klint (Swedish, 1862-1944)
The Dove, no. 9
1915
© Stiftelsen Hilma af Klints Verk
Photo: Albin Dahlström/Moderna Museet

 

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

 

Installation view, Hilma af Klint, Moderna Museet Malmö, 2020 showing at left The Dove, No. 1, and at right The Dove, No. 9
Photo: Helene Toresdotter/Moderna Museet

 

Hilma af Klint (Swedish, 1862-1944) 'The Large Figure Paintings, No. 5' 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Large Figure Paintings, No. 5
1907
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Group I, Primordial Chaos, No. 10' 1906

 

Hilma af Klint (Swedish, 1862-1944)
Group I, Primordial Chaos, No. 10
1906
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Group I, Primordial Chaos, No. 15' 1906-1907

 

Hilma af Klint (Swedish, 1862-1944)
Primordial Chaos, No. 15
1906-1907
© Stiftelsen Hilma af Klints Verk

 

 

“Primordial Chaos” (1906-07) is devoted to the creation of the physical world. From the original unity a polarised world arose out of spirit, shown here as feminine (blue and the eyelet) and masculine (yellow and the hook), and also as W (material) and U (spirit). These works are full of spirals of energy and sparks of creation, of symbols of fertility and rebirth (sperm, snakes, crosses).

 

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

 

Installation view, Hilma af Klint, Moderna Museet Malmö, 2020 showing at left works from the series Evolution, and at centre works from the series Primordial Chaos
Photo: Helene Toresdotter/Moderna Museet

 

Hilma af Klint (Swedish, 1862-1944) 'Group VI, The Evolution, No. 7' 1908

 

Hilma af Klint (Swedish, 1862-1944)
Group VI, The Evolution, No. 7
1908
© Stiftelsen Hilma af Klints Verk

 

 

The theme of the evolution of consciousness runs throughout “The Paintings for the Temple”. In the series “Evolution” (1908), the process of development is shown through the interplay between polarities: male and female, light and darkness, good and evil. Compositionally these works strive to find a balance, in horizontal and vertical mirroring. Hilma af Klint’s exploration seems aligned with the theosophist notion of evolution as a spiritual process, extending beyond the biological perspective on human development that, with the publishing of Darwin’s “The Evolution of the Species” fifty years earlier, had gained widespread notoriety. This series ends the first part of “The Paintings for the Temple”, as the commission was paused between 1908 and 1912.

Text from the Moderna Museet Malmö website

 

Hilma af Klint (Swedish, 1862-1944) 'Group VI, The Evolution, No. 9' 1908

 

Hilma af Klint (Swedish, 1862-1944)
Group VI, The Evolution, No. 9
1908
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Group VI, The Evolution, No. 10' 1908

 

Hilma af Klint (Swedish, 1862-1944)
The Evolution, No. 10
1908
© Stiftelsen Hilma af Klints Verk

 

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

 

Installation view, Hilma af Klint, Moderna Museet Malmö, 2020 showing work from the series The Swan
Photo: Helene Toresdotter/Moderna Museet

 

Hilma af Klint (Swedish, 1862-1944) 'Serie SUW/UW, Grupp IX/SUW, nr 1., The Swan, No. 1' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Serie SUW/UW, Grupp IX/SUW, nr 1., The Swan, No. 1
1915
© Stiftelsen Hilma af Klints Verk

 

 

When Hilma af Klint resumed her work on “The Paintings for the Temple” in 1912, her abstraction became more geometric in nature, and Christian symbols became increasingly pronounced. When working, the artist was still in contact with higher planes of consciousness but was encouraged to interpret spiritual messages more freely.

Viewed in sequence, “The Swan” (1914-15) has a distinct visual rhythm. Often a horizontal line breaks the canvases into two sections where opposite forces meet – light and dark, male and female, life and death. These poles unfold as a black and white swan. Eventually, figuration gives way to abstraction in a fuller spectrum of colour. In the final work in the series, the swan pair returns, unified at the centre, intertwined yet distinct and balanced as male and female poles.

Text from the Moderna Museet Malmö website

 

Hilma af Klint (Swedish, 1862-1944) 'The Swan, No. 8' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Serie SUW/UW, Grupp IX/SUW, The Swan, No. 8
1915
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Serie SUW/UW, Grupp IX/SUW, The Swan, No. 9' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Serie SUW/UW, Grupp IX/SUW, The Swan, No. 9
1915
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Serie SUW/UW, Grupp IX/SUW, The Swan, No. 16' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Serie SUW/UW, Grupp IX/SUW, The Swan, No. 16
1915
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Serie SUW/UW, Grupp IX/SUW, The Swan, No. 17' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Serie SUW/UW, Grupp IX/SUW, The Swan, No. 17
1915
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Serie SUW/UW, Grupp IX/SUW, The Swan, No. 21' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Serie SUW/UW, Grupp IX/SUW, The Swan, No. 21
1915
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Serie SUW/UW, Grupp IX/SUW, The Swan, No. 23' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Serie SUW/UW, Grupp IX/SUW, The Swan, No. 23
1915
© Stiftelsen Hilma af Klints Verk

 

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

 

Installation view, Hilma af Klint, Moderna Museet Malmö, 2020 showing work from the series The Swan
Photo: Helene Toresdotter/Moderna Museet

 

Hilma af Klint (Swedish, 1862-1944) 'Altarpiece Grupp X, No. 1' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Altarpiece Grupp X, No. 1
1915
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Altarpiece Group X, No. 2' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Altarpiece Group X, No. 2
1915
Oil and metal leaf on canvas
93.75 x 70.5 inches
© Stiftelsen Hilma af Klints Verk

 

 

Hilma af Klint understood the three powerful “Altarpieces” (1915) as the essence of “The Paintings for the Temple”. These works capture the two directions of spiritual evolution: the ascension from the material world back to unity (the triangle pointing to the golden circle) and the descension from divine unity into the diversity of the material world (the inverted triangle). In the third and final painting, a small six-pointed star within the large golden circle is an esoteric symbol for the universe.

Text from the Moderna Museet Malmö website

 

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

 

Installation views, Hilma af Klint, Moderna Museet Malmö, 2020 showing work from the series Altarpieces
Photo: Helene Toresdotter/Moderna Museet

 

Hilma af Klint (Swedish, 1862-1944) 'Altarpiece Grupp X, No. 3' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Altarpiece Grupp X, No. 3
1915
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Parsifal Grupp I, No. 1' 1916

 

Hilma af Klint (Swedish, 1862-1944)
Parsifal Grupp I, No. 1
1916
© Stiftelsen Hilma af Klints Verk

 

 

The title of this series from 1916 may refer to the legend of King Arthur, in which Parsifal, one of the Knights of the Round Table, takes part in the quest for the Holy Grail. On 144 sheets, of which a selection is on view, Hilma af Klint depicts the search for knowledge as a journey through various levels of consciousness. In the first image this is marked by a winding path through the darkness towards the white light at the centre of the spiral. In other works, a young boy, shown in different ages, attempts to balance between matter and spirit, up and down. This exploration is continued in radically conceptual yellow monochromes, inscribed with words marking direction: “Nedåt” (downward), “Framåt” (forward), “Bakåt” (backward), “Utåt” (outward) and “Inåt” (inward). Parsifal’s journey also mirrors the artist’s own process in the inward journey she has undertaken by accepting, completing and trying to understand “The Paintings for the Temple”.

Text from the Moderna Museet Malmö website

 

Hilma af Klint (Swedish, 1862-1944) 'Parsifal Grupp II, No. 69' 1916

 

Hilma af Klint (Swedish, 1862-1944)
Parsifal Grupp II, No. 69
1916
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Parsifal Grupp III, No. 110' 1916

 

Hilma af Klint (Swedish, 1862-1944)
Parsifal Grupp III, No. 110
1916
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Parsifal Grupp III, No. 117' 1916

 

Hilma af Klint (Swedish, 1862-1944)
Parsifal Grupp III, No. 117
1916
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'No title, No. 22' 1917

 

Hilma af Klint (Swedish, 1862-1944)
No title, No. 22
1917
© Stiftelsen Hilma af Klints Verk

 

 

De Fem – Drawings

Between 1896 and 1906, Hilma af Klint and four other women formed the group “De Fem” (“The Five”). They met weekly to meditate, read spiritual literature and accesses higher consciousness through communication with spirit guides, “De Höga” (“The Masters”). These meetings were meticulously recorded in writing and led even to automatic drawings. The women took turns to wield the pen during their sessions, but individual authorship was not important, and rarely indicated on the drawings. The pastel works on view exhibit elements that recur in af Klint’s later work – for example, spiral, stylised floral motifs and other geometrical forms.

 

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

 

Installation views, Hilma af Klint, Moderna Museet Malmö, 2020 showing at bottom left, the Tree of Knowledge series 1915; and at centre right, work from Late Series
Photo: Helene Toresdotter/Moderna Museet

 

 

New Gallery is dedicated to Hilma af Klint the researcher, specifically her effort to process and understand the deeper meaning of her spiritually guided work in paintings, drawings and writing, from the 1890s to 1930s. Af Klint had an inquisitive mind. She came from a family of naval officers and nautical cartographers and approached her artistic practice with structured rigour. While she had the courage to open herself to let something larger flow through her while painting, she approached the resulting body of work in a systematic and analytic way. 

Throughout her life, af Klint took copious notes, regarding her experiences and interpretations of the messages she apprehended through her spiritual practice. After completing “The Paintings for the Temple”, the artist tried to methodically gain an overview of her work and its possible meanings. In the spirit of a scientific researcher, she edited and reorganised her early notes, created a dictionary of the symbols that appeared in her works and catalogued all the works in “The Paintings for the Temple” in a portable portfolio. Remarkably, af Klint understood all of her works of art as a unified project – a notion radical for the time, but also a testament to the fact that she believed her work to have a higher purpose.

Text from the Moderna Museet Malmö website

 

Hilma af Klint (Swedish, 1862-1944) 'Tree of Knowledge, No. 3' 1915

 

Hilma af Klint (Swedish, 1862-1944)
Tree of Knowledge, No. 3
1915
© Stiftelsen Hilma af Klints Verk

 

 

In the series the “Tree of Knowledge” (1913-15), Hilma af Klint maps the different spiritual planes of existence in order to picture the complexity of existence and the connection between the earth and the divine. In later series like “Series IV” (1920) and “VII” (1920), af Klint seems to focus her research on symbols such as the cross, the circle and the triangle as well as the six-pointed star and processes these sacred symbols instigate. Many of these works are characterised by a geometric idiom and involve analysis on both the macrocosmic and microcosmic level.

Text from the Moderna Museet Malmö website

 

Hilma af Klint (Swedish, 1862-1944) 'Tree of Knowledge, No. 5' (Kunskapens träd, nr 5) 1915

 

Hilma af Klint (Swedish, 1862-1944)
Tree of Knowledge, No. 5
1915
© Stiftelsen Hilma af Klints Verk

 

Hilma af Klint (Swedish, 1862-1944) 'Group 2, No title, No. 14a - No. 21' 1919

 

Hilma af Klint (Swedish, 1862-1944)
Group 2, No title, No. 14a – No. 21
1919
© Stiftelsen Hilma af Klints Verk

 

Installation view, 'Hilma af Klint', Moderna Museet Malmö, 2020

 

Installation view, Hilma af Klint, Moderna Museet Malmö, 2020

 

 

The Blue Books

In 1917, Hilma af Klint had a studio built on Munsö, where for the first time she had the possibility of seeing all “The Paintings for the Temple’s” different series in their entirety. Perhaps this is what precipitated the creation of the ten blue-bound books, a portable overview of “The Paintings for the Temple”. On each spread, a work is represented by a black-and-white photograph and a watercolour intended to give an accurate impression of the original. In some of the watercolours, af Klint adds close-ups and lets us examine the work as if through a microscope in order to further clarify what was not clear enough in the paintings. The works were organised in concordance with the order of the series. This tremendous effort demonstrates that af Klint wanted to reinvestigate and reflect on her life’s work in a systematic way and perhaps to share it more easily with others.

Text from the Moderna Museet Malmö website

 

Hilma af Klint (Swedish, 1862-1944) 'The Atom, No. 5' 1917

 

Hilma af Klint (Swedish, 1862-1944)
The Atom, No. 5
1917
© Stiftelsen Hilma af Klints Verk
Photo: Albin Dahlström/Moderna Museet

 

 

 

In “The Atom Series” from 1917, Hilma af Klint explored another aspect of life that could not be perceived by the human eye: the world of atoms and their energy, a science popular at the time. Apart from the first two drawings, all feature two renderings of an atom: a large one in the lower right, which represents the energy of a physical atom, and a smaller one in the upper left, which represents the atom on an etheric or metaphysical plane. In handwritten notes, af Klint describes the atom as embodying human properties. For the theosophists, whom the artist studied, the discovery of atoms, sub-particle waves etc., were seen as proof of an invisible reality beyond the perceptible world. For af Klint, atoms and thus humans were spiritual entities connected to the centre of the universe.

 

Hilma af Klint (Swedish, 1862-1944) 'Violet Blossoms with Guidelines, Series I' 1919

 

Hilma af Klint (Swedish, 1862-1944)
Violet Blossoms with Guidelines, Series I
1919
© Stiftelsen Hilma af Klints Verk
Photo: Albin Dahlström/Moderna Museet

 

 

Botanical Studies

Throughout her life, Hilma af Klint had a deep interest in nature and botany. Her early botanical studies up to the late watercolours, convey that she was not only a keen observer, but also possessed a rigorously analytic mind, which she could apply in her endeavour to perceive aspects of existence beyond the visible.

Her botanical studies reveal a shifting focus from naturalistic renderings of plant-life as she observed it, to renderings intended to express the spiritual essence or presence beyond the visible body. In “The Violet, Blossoms with Guidelines, Series 1” (1919) she combines naturalistic renderings of the flower with a diagram of its essence. In “Blumen, Moose, Flechten” [Flowers, Moss, Lichens] (1919-20), represented here as a facsimile, af Klint continues with her systematic investigation of the plant kingdom. She combines a diagram with the plant’s Latin name and the date of investigation, alongside properties such as joy, humility and devotion, which one can attempt to come in contact with through contemplation on the plant in question. By 1923, af Klint made yet another stylistic shift, influenced by Rudolf Steiner’s anthroposophical views on aesthetics and her visits to the The Goetheanum, the centre for the anthroposophical movement in Dornach, Switzerland. Here af Klint gave up painting geometric compositions and began instead portraying the spiritual dimension of nature in fluid watercolours.

 

Hilma af Klint (Swedish, 1862-1944) 'Vid betraktandet av blommor och träd' (When considering flowers and trees) 1922

 

Hilma af Klint (Swedish, 1862-1944)
Vid betraktandet av blommor och träd (When considering flowers and trees)
1922
© Stiftelsen Hilma af Klints Verk
Photo: Albin Dahlström/Moderna Museet

 

Hilma af Klint (Swedish, 1862-1944) 'Titel saknas' 1924

 

Hilma af Klint (Swedish, 1862-1944)
Titel saknas
1924
© Stiftelsen Hilma af Klints Verk
Photo: Albin Dahlström/Moderna Museet

 

 

Moderna Museet Malmö
Gasverksgatan 22 in Malmö

Moderna Museet Malmö is located in the city centre of Malmö. Ten minutes walk from the Central station, five minutes walk from Gustav Adolfs torg and Stortorget.

Opening hours:
Tuesday, Thursday – Sunday 11-17
Wednesday 11-19
Mondays closed

Moderna Museet Malmö website

LIKE ART BLART ON FACEBOOK

Back to top

12
Jul
20

European photographic research tour exhibition: ‘Berenice Abbott: Portraits of Modernity’ at Huis Marseille, Amsterdam Part 2

Exhibition dates: 7th September – 1st December 2019, posted July 2020

Curator: Estrella de Diego, Professor of Modern Art at the Complutense University of Madrid

 

 

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

 

Installation view of the exhibition Berenice Abbott: Portraits of Modernity at Huis Marseille, Amsterdam
Photo: Dr Marcus Bunyan

 

 

Old New York, new New York

This was an impressive exhibition from this powerhouse of a photographer in that most beautiful of galleries, Huis Marseille in Amsterdam. While her debt to that French master photographer Eugène Atget (1857-1927) is acknowledged through Abbott’s statement that she planned “to do for New York what Atget did for Paris,” Abbott’s photographs and her ‘point of view’ differ significantly to that of her Parisian hero.

Inflections of the influence of the Parisian master are present in the work, but in the project Changing New York Abbott develops a unique visual language through her representation of city life. Her photographs of shop fronts are more static and formal than that of Atget, more interested in the multiplicities of form than they are of reflections in glass, or ghostly people standing in doorways. Further, Atget would never have taken a photograph such as Gunsmith and Police Department, 6 Centre Market Place, Manhattan (1937, below) because the angle of the composition looking upwards is too severe, too modernist. Similarly, the placement by Abbott of the lamppost and U.S. Mail box in Old Law Tenements, 35-47 East 1st Street (1937, below) as the focus of attention, make this photograph uniquely her own.

Abbott photographs the co-mingled elements of old New York and new New York – the crowded tenements, rushing people, and “grand canyons” lined with monolithic skyscrapers of the bustling metropolis – as a city caught in the shadows of a piercing New York light. If you have been to New York you know that the city has that light, a hard, clinical light that bounces off surfaces until it sinks into the deepening shadows and recesses of overshadowed buildings. In her vital, still, intense, renditions of the cityscape Abbott’s photographs capture this light.

But what really changes her attitude (or altitude you might say) to the city is Abbott’s depiction of those edifices of modernism that are the crowning glory of New York: the skyscraper. Paraphrasing Karen Chambers from her article, “Paris to New York: Photographs by Eugène Atget and Berenice Abbott,” we can say that Abbott’s photographs of skyscrapers are different from the human scale of Atget’s photographs and of Abbott’s of a disappearing New York. Whether looking up from the bowls of the city (Canyon: Broadway and Exchange Place, 1936 below); across at the regimented forms of building (New York Telephone Company’s Lower Broadway Building, 1930-31 below); or down from a God-like perspective (Waterfront, from roof of Irving Trust Company Building, 1938 below), Abbott’s photographs of skyscrapers and the spaces they inhabit perfectly capture the layered forms and walls of isolation of the contemporary working metropolis, complete with Tempo of the City automatons.

Through the meritocracy of her talent, Abbott’s vision soars and plunges, meticulously, into the utopian / dystopian fabric of the city, Atget influences subsumed into American light, form and culture… the brooding hulks of towering skyscrapers; the skeletal form of bridges; and Abbott’s clear persistence of vision – seeing modernity clearly, with focus, in focus.

Dr Marcus Bunyan

.
All iPhone photographs by Dr Marcus Bunyan. Please click on the photographs for a larger version of the image.

 

 

“When Abbott returned to New York in 1929, she planned “to do for New York what Atget did for Paris.” The project became known as ‘Changing New York’, and in her application for funding from the Federal Art Project (FAP), a part of the Farm Security Administration, best known for sending photographers, including Dorothea Lange and Walker Evans, into the American heartland to document rural poverty, she wrote that the purpose of the project was “to preserve for the future an accurate and faithful chronicle in photographs of the changing aspect of the world’s greatest metropolis”.”

.
Karen S. Chambers. ““Paris to New York: Photographs by Eugène Atget and Berenice Abbott,” Taft Museum of Art, through January 20, 2019,” on the AEQAI website October 28th, 2018 [Online] Cited 08/06/2020

 

 

Installation view of the exhibition Berenice Abbott: Portraits of Modernity at Huis Marseille, Amsterdam

 

Installation view of the exhibition Berenice Abbott: Portraits of Modernity at Huis Marseille, Amsterdam showing Abbott’s Gunsmith and Police Department Headquarters 1937
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Gunsmith and Police Department Headquarters'  February 4, 1937 (installation view)

 

Berenice Abbott (American, 1898-1991)
Gunsmith and Police Department Headquarters (installation view)
February 4, 1937
Gelatin silver print
International Center of Photography
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Gunsmith and Police Department, 6 Centre Market Place, Manhattan'  February 4, 1937

 

Berenice Abbott (American, 1898-1991)
Gunsmith and Police Department, 6 Centre Market Place, Manhattan 
February 4, 1937
Gelatin silver print
Wikipedia Commons, Public domain

 

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

 

Installation view of the exhibition Berenice Abbott: Portraits of Modernity at Huis Marseille, Amsterdam
Photos: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'New York Harbour' 1938 (installation view)

 

Berenice Abbott (American, 1898-1991)
New York Harbour (installation view)
1938
Gelatin silver print
International Center of Photography
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Waterfront, from roof of Irving Trust Company Building' 1938 (installation view)

 

Berenice Abbott (American, 1898-1991)
Waterfront, from roof of Irving Trust Company Building (installation view)
1938
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Daily News Building, 42nd Street between 2nd and 3rd Avenues, Manhattan' 1935 (installation view)

 

Berenice Abbott (American, 1898-1991)
Daily News Building, 42nd Street between 2nd and 3rd Avenues, Manhattan
1935
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Daily News Building, 42nd Street between 2nd and 3rd Avenues, Manhattan' 1935

 

Berenice Abbott (American, 1898-1991)
Daily News Building, 42nd Street between 2nd and 3rd Avenues, Manhattan
1935
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Wikipedia Commons, Public domain

 

Berenice Abbott (American, 1898-1991) 'New York Telephone Company’s Lower Broadway Building' 1930-31 (installation view)

 

Berenice Abbott (American, 1898-1991)
New York Telephone Company’s Lower Broadway Building (installation view)
1930-31
Gelatin silver print
Courtesy of Howard Greenberg Gallery
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'New York Telephone Company Building, 140 West Street, Manhattan' 1936 (installation view)

 

Berenice Abbott (American, 1898-1991)
New York Telephone Company Building, 140 West Street, Manhattan (installation view)
1936
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Canyon: Broadway and Exchange Place' July 16, 1936

 

Berenice Abbott (American, 1898-1991)
Canyon: Broadway and Exchange Place
July 16, 1936
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

 

Installation views of the exhibition Berenice Abbott: Portraits of Modernity at Huis Marseille, Amsterdam
Photos: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'R.C.A. building' c. 1932 (installation view)

 

Berenice Abbott (American, 1898-1991)
R.C.A. building (installation view)
c. 1932 (printed before 1950)
Gelatin silver print
Courtesy of Howard Greenberg Gallery
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Manhattan Skyline: I. South Street and Jones Lane' 1936 (installation view)

Berenice Abbott (American, 1898-1991) 'Manhattan Skyline: I. South Street and Jones Lane' 1936 (installation view)

Berenice Abbott (American, 1898-1991) 'Manhattan Skyline: I. South Street and Jones Lane' 1936 (installation view)

 

Berenice Abbott (American, 1898-1991)
Manhattan Skyline: I. South Street and Jones Lane (installation views)
1936
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photos: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Manhattan Skyline: I. South Street and Jones Lane' 1936

 

Berenice Abbott (American, 1898-1991)
Manhattan Skyline: I. South Street and Jones Lane
1936
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Public domain

 

Berenice Abbott (American, 1898-1991) 'Old Law Tenements, 35-47 East 1st Street' February 11, 1937 (installation view)

 

Berenice Abbott (American, 1898-1991)
Old Law Tenements, 35-47 East 1st Street (installation view)
February 11, 1937
Gelatin silver print
Courtesy of Howard Greenberg Gallery
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Old Law Tenements, 35-47 East 1st Street' February 11, 1937

 

Berenice Abbott (American, 1898-1991)
Old Law Tenements, 35-47 East 1st Street
February 11, 1937
Gelatin silver print
Public domain

 

Berenice Abbott (American, 1898-1991) 'Shelter on the Waterfront, Coenties Slip, Pier 5, East River, Manhattan' 1938 (installation view)

 

Berenice Abbott (American, 1898-1991)
Shelter on the Waterfront, Coenties Slip, Pier 5, East River, Manhattan (installation view)
1938
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Provincetown Playhouse, 133 MacDougal Street, Manhattan' December 29, 1936 (installation view)

Berenice Abbott (American, 1898-1991) 'Provincetown Playhouse, 133 MacDougal Street, Manhattan' December 29, 1936 (installation view)

 

Berenice Abbott (American, 1898-1991)
Provincetown Playhouse, 133 MacDougal Street, Manhattan  (installation view)
December 29, 1936
Gelatin silver print
Courtesy of Howard Greenberg Gallery
Photos: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Country Store Interior' October 11, 1935 (installation view)

Berenice Abbott (American, 1898-1991) 'Country Store Interior' October 11, 1935 (installation view)

 

Berenice Abbott (American, 1898-1991)
Country Store Interior (installation view)
October 11, 1935
Gelatin silver print
Gift of the Metropolitan Museum of Art, 1948
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Country Store Interior' October 11, 1935

 

Berenice Abbott (American, 1898-1991)
Country Store Interior
October 11, 1935
Gelatin silver print
Public domain

 

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

 

Installation views of the exhibition Berenice Abbott: Portraits of Modernity at Huis Marseille, Amsterdam
Photos: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Charles Lane, between West and Washington Street' September 20, 1938 (installation view)

 

Berenice Abbott (American, 1898-1991)
Charles Lane, between West and Washington Street (installation view)
September 20, 1938
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Charles Lane, between West and Washington Street' September 20, 1938

 

Berenice Abbott (American, 1898-1991)
Charles Lane, between West and Washington Street
September 20, 1938
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Public domain

 

Berenice Abbott (American, 1898-1991) 'Newsstand, 32nd Street and 3rd Avenue, Manhattan' 1935 (installation view)

 

Berenice Abbott (American, 1898-1991)
Newsstand, 32nd Street and 3rd Avenue, Manhattan (installation view)
1935
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Newsstand, 32nd Street and 3rd Avenue, Manhattan' 1935

 

Berenice Abbott (American, 1898-1991)
Newsstand, 32nd Street and 3rd Avenue, Manhattan
1935
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Public domain

 

Berenice Abbott (American, 1898-1991) 'Cheese Store, 276 Bleecker Street, Manhattan' 1937 (installation view)

 

Berenice Abbott (American, 1898-1991)
Cheese Store, 276 Bleecker Street, Manhattan (installation view)
1937
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

 

New York must have seem to Abbott extremely photogenic, with its skyscrapers and street vendors on Hester Street on the Lower East Side. It is a city of contrasts; of light and shade, and bustling squares; of all manner of shoes overflowing with bread, bric-a-brac, ricotta in Little Italy, rope, metal objects… Abbott depicts a city that heralds the consumer society and its abundance – its excess, even.

 

Berenice Abbott (American, 1898-1991) 'Cheese Store, 276 Bleecker Street, Manhattan' 1937

 

Berenice Abbott (American, 1898-1991)
Cheese Store, 276 Bleecker Street, Manhattan
1937
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Public domain

 

Berenice Abbott (American, 1898-1991) 'A & P (Great Atlantic & Pacific Tea Co.), 246 3rd Avenue, Manhattan' 1936 (installation view)

 

Berenice Abbott (American, 1898-1991)
A & P (Great Atlantic & Pacific Tea Co.), 246 3rd Avenue, Manhattan (installation view)
1936
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Hardware Store, 316-318 Bowery' 1938 (installation view)

 

Berenice Abbott (American, 1898-1991)
Hardware Store, 316-318 Bowery (installation view)
1938
Gelatin silver print
Courtesy of Howard Greenberg Gallery
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Pingpank Barber Shop, 413 Bleecker Street, Manhattan' 1938 (installation view)

 

Berenice Abbott (American, 1898-1991)
Pingpank Barber Shop, 413 Bleecker Street, Manhattan (installation view)
1938
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Pingpank Barber Shop, 413 Bleecker Street, Manhattan' 1938

 

Berenice Abbott (American, 1898-1991)
Pingpank Barber Shop, 413 Bleecker Street, Manhattan
1938
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Public domain

 

Berenice Abbott (American, 1898-1991) 'Sumner Healey Antique Shop, 942 3rd Avenue and 57th Street, Manhattan' 1936 (installation view)

 

Berenice Abbott (American, 1898-1991)
Sumner Healey Antique Shop, 942 3rd Avenue and 57th Street, Manhattan (installation view)
1936
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Sumner Healey Antique Shop, 942 3rd Avenue and 57th Street, Manhattan' 1936

 

Berenice Abbott (American, 1898-1991)
Sumner Healey Antique Shop, 942 3rd Avenue and 57th Street, Manhattan
1936
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Public domain

 

Berenice Abbott (American, 1898-1991) 'Union Square, 14th Street and Broadway, Manhattan' 1936 (installation view)

 

Berenice Abbott (American, 1898-1991)
Union Square, 14th Street and Broadway, Manhattan (installation view)
1936
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Union Square' July 16, 1936

 

Berenice Abbott (American, 1898-1991)
Union Square
July 16, 1936
Gelatin silver photograph
6 7/8 x 8 7/8 in. (17.5 x 22.5 cm)
Brooklyn Museum, Brooklyn Museum Collection
Public domain

 

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

 

Installation views of the exhibition Berenice Abbott: Portraits of Modernity at Huis Marseille, Amsterdam
Photos: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Lewis Hine' 1930 (Installation view)

 

Berenice Abbott (American, 1898-1991)
Lewis Hine (installation view)
1930
Gelatin silver photograph
International Centre of Photography
Purchase with funds provided by the Lois and Bruce Henkel purchase Fund, 1984
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Edward Hopper' 1949 (installation view)

 

Berenice Abbott (American, 1898-1991)
Edward Hopper (installation view)
1949
Gelatin silver photograph
International Centre of Photography
Gift of Jonathan A. Berg, 1984
Photo: Dr Marcus Bunyan

 

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

Installation view of the exhibition 'Berenice Abbott: Portraits of Modernity' at Huis Marseille, Amsterdam

 

Installation views of the exhibition Berenice Abbott: Portraits of Modernity at Huis Marseille, Amsterdam
Photos: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Manhattan Bridge, Manhattan' 1935 (installation view)

Berenice Abbott (American, 1898-1991) 'Manhattan Bridge, Manhattan' 1935 (installation view)

 

Berenice Abbott (American, 1898-1991)
Manhattan Bridge, Manhattan (installation view)
1935
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photos: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'Penn Station, Manhattan' 1935 (installation view)

 

Berenice Abbott (American, 1898-1991)
Penn Station, Manhattan (installation view)
1935
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Photo: Dr Marcus Bunyan

 

Berenice Abbott (American, 1898-1991) 'El': 2nd & 3rd Avenue lines, looking W. from Second & Pearl St., Manhattan' 1936

 

Berenice Abbott (American, 1898-1991)
El’: 2nd & 3rd Avenue lines, looking W. from Second & Pearl St., Manhattan
1936
Gelatin silver print
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection
The New York Public Library, Astor, Lenox and Tilden Foundations
Public domain

 

Yousuf Karsh (Armenian-Canadian, 1908-2002) 'Portrait of Berenice Abbott, Monson, Maine' August 1989 (installation view)

 

Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs
The New York Public Library, Astor, Lenox and Tilden Foundations
Gift of the photographer

 

 

Huis Marseille
Keizersgracht 401
1016 EK Amsterdam
Phone: +31 20 531 89 89

Opening hours
Tue – Sun, 11 – 18 h

Huis Marseille website

LIKE ART BLART ON FACEBOOK

Back to top