Archive for the 'Paris' Category

09
Oct
20

Exhibition: ‘Robert Frank – Memories’ at the Fotostiftung Schweiz, Winterthur, Zürich

Exhibition dates: 12th September 2020 – 10th January 2021

 

Robert Frank (Swiss, 1924-2019) 'White Tower, New York' 1948

 

Robert Frank (Swiss, 1924-2019)
White Tower, New York
1948
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

 

An interesting selection of media images, including some early Swiss and American photographs, which are rarely seen.

Frank’s perceptiveness of human beings and their context of being and becoming is incredible. Look at the faces in Landsgemeinde, Hundwil (1949, below), Paris (1952, below) and the attitude of the bodies, surmounted by the sun (top left), in London (1951, below).

“It is important to see what is invisible to others.”

Dr Marcus Bunyan

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

 

 

The recently deceased Robert Frank is widely regarded as one of the most important photographers of our time. His book The Americans, first published in Paris in 1958 and then in New York the following year, is quite possibly the most influential photo book of the 20th century. As a kind of photographic road movie, it sketches a gloomy social portrait that served as a wake-up call to all of America at the time. And his personal style, alternating between documentary and subjective expression, radically changed post-war photography. But The Americans wasn’t merely a spontaneous stroke of genius. Frank’s early works already feature back stories and side plots that are closely connected to the themes and images of his legendary book. The Fotostiftung Schweiz holds a collection of lesser-known works – many of which were donated by the artist – which illustrate the consolidation of Frank’s subjective style. In addition to essays from Switzerland and Europe, it also includes works from early 1950s America that are on par with the well-known classics, but remained unpublished for editorial reasons. At the heart of the exhibition Robert Frank – Memories is the narrative force of Frank’s visual language, which developed in opposition to all conventions and only received international recognition when Frank had already abandoned photography and turned to the medium of film.

The exhibition is accompanied by a presentation of the books that publisher Gerhard Steidl produced with Robert Frank over a period of more than 15 years.

 

 

Robert Frank (Swiss, 1924-2019) 'New York City' 1948

 

Robert Frank (Swiss, 1924-2019)
New York City
1948
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Landsgemeinde, Hundwil' 1949

 

Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Landsgemeinde, Hundwil' 1949

 

Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Landsgemeinde, Hundwil' 1949 (detail)

 

Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil (detail)
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Landsgemeinde, Hundwil' 1949 (detail)

 

Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil (detail)
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'London' 1951

 

Robert Frank (Swiss, 1924-2019)
London
1951
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Paris' 1952

 

Robert Frank (Swiss, 1924-2019)
Paris
1952
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'New York City' early 1950s

 

Robert Frank (Swiss, 1924-2019)
New York City
early 1950s
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

 

Robert Frank, who was born in Zurich in 1924 and died last year in Canada, is widely regarded as one of the most important photographers of our time. Over the course of decades, he has expanded the boundaries of photography and explored its narrative potential like no other. Robert Frank travelled thousands of miles between the American East and West Coasts in the mid-1950s, going through nearly 700 films in the process. A selection of 83 black-and-white images from this blend of diary, sombre social portrait and photographic road movie would leave its mark on generations of photographers to come. The photobook The Americans was first published in Paris, followed by the US in 1959 – with an introduction by Beat writer Jack Kerouac, no less. Off-kilter compositions, cut-off figures and blurred motion marked a new photographic style teetering between documentation and narration that would have a profound impact on postwar photography.

It is quite possibly the single most influential book in the history of photography; however, rather than being a spontaneous stroke of genius, Frank had worked on his subjective visual language for years. Many of his photographs from Switzerland, Europe and South America, as well as his rarely shown works from the USA in the early 1950s, are on a par with the famous classics from The Americans. The photographer’s early work, which remained unpublished for editorial reasons and is therefore little known to this day, reveals connections to those iconic pictures that still define our image of America, even today.

At the heart of the exhibition Robert Frank – Memories is the narrative force of Robert Frank’s visual language, which developed in opposition to all conventions and only received international recognition after Frank had already abandoned photography and turned to the medium of film. The exhibition mainly features vintage silver gelatin prints from the collection of the Fotostiftung Schweiz, which either come from the former collection of Robert Frank’s long-time friend Werner Zryd (now owned by the Swiss Confederation) or were donated to the Fotostiftung Schweiz by the artist himself. They are complemented by a number of loans from the Fotomuseum Winterthur. A presentation of the books and films that publisher Gerhard Steidl released with Robert Frank over a period of more than 15 years accompanies the exhibition (in the corridor leading to the library and in the seminar room).

 

Early Work

In March 1947, Robert Frank arrived in New York following an adventurous journey on a cargo ship. The young, ambitious photographer had found Switzerland too stifling and he hoped to gain new freedom in America liberated from social and family obligations. The photographer carried a 6×6 Rolleiflex and a small spiral-bound book of 40 photographs taken during his apprentice years from 1941 to 1946. This portfolio included landscapes, portraits, personal photojournalistic works, and meticulously executed still lifes, all of which reveal that the 22-year old was a highly skilled photographer. It is therefore unsurprising that influential Harper’s Bazaar art director Alexey Brodovitch swiftly hired Frank as an assistant photographer after seeing his portfolio and first test photos.

In the magazine’s in-house photo studio, Frank photographed fashion industry products from clinical shots of women’s shoes and every imaginable accessory to laboriously staged fashion shoots and occasionally even photojournalistic assignments offering a little more freedom. Frank was successful and rose through the ranks, but quickly realised that this industry cared only about money, an attitude to which he couldn’t reconcile himself. Only a few months later, he quit his job in order to be able to work wholly free of constraints. He traveled to Peru and Bolivia the following year and often used his 35 mm Leica. Later he recalled: “I was making a kind of diary. I was very free with the camera. I didn’t think of what would be the correct thing to do; I did what I felt good doing. I was like an action painter.”

Frank returned to Europe in spring 1949. He photographed the yearly cantonal assembly in the Swiss canton of Appenzell Ausserrhoden, during which citizens (exclusively men back then) voted by a show of hands. However, he was unsuccessful in placing this story with a major periodical, even though he circulated the images via the acclaimed agency Magnum. Evidently, Frank had focused too little on the actual events. He was more interested in the bystanders’ stances than in the pomp of government officials wearing tailcoats and top hats. His photographs of this assembly prefigure the penetrating and critical gaze he would later level on America’s societal and political landscape. Here as there, his was an outsider’s subjective and inward looking perspective.

 

Black White and Things

In late 1949, the international magazine Camera published a first selection of Robert Frank’s work. The accompanying text described him as a photographer who loved “truth and unvarnished reality”, as someone “whose thirst for experience compelled him to get out and capture life with his camera”. Indeed, Frank worked chiefly in Paris, London, and Spain between 1949 and 1953, frequently traveling between Europe and the US. He reported on a bullfighter in Spain and observed life in London’s financial district. In Paris he took pictures of objects – mostly chairs and flowers – photographs he assembled in an album dedicated to his future wife. In subsequent years, he shook off any sentimental tendencies.

Frank continued his attempts to publish both smaller and more substantial stories and photo essays in glossy magazines such as Life, but with limited success. His reportage on Welsh coal miner Ben James, which appeared in U.S. Camera 1955 annual, was a rare exception. But Frank found himself less and less able to reconcile himself with the conventional view of photography as a universal language accessible to all. Instead, he increasingly distanced himself from print media’s expectations and developed a strong aversion to what he once termed stereotypical “Life stories”, “those goddamned stories with a beginning and an end”.

In autumn 1952, Frank created Black White and Things with his Zurich-based friend Werner Zryd. This handmade book comprising 34 photographs was an attempt to counter these expectations with something new: an intuitively ordered series of photos with neither text nor linear narrative structure, introduced simply by Saint-Exupéry’s famed lines from The Little Prince: “It is only with the heart that one can see rightly; what is essential is invisible to the eye.” Accordingly, Black White and Things is a kind of three-part visual poem: “Black” evokes death, materialism, loneliness, and anonymity; “White” evokes home, love, religion, and camaraderie; and “Things” engages with diametrical oppositions such as friendship and cruelty, and affection and solitude. The order and pairing of the images sparks thoughts, associations, and feelings. Yet Frank’s evocative arrangement is intentionally ambiguous and open: “Something must be left for the onlooker, he must have something to see. It is not all said for him.”

 

America, America

After a further trip to New York – which he assured his mother would be his last – Robert Frank applied for a Guggenheim fellowship in October 1954. His project proposal was for an “observation and record of what one naturalised American finds to see in the United States that signifies the kind of civilisation born here and spreading elsewhere”. The result was to be a book, for which he had already won support from Arnold Kübler, the long-standing editor of the Zurich-based culture magazine Du, and Robert Delpire, a young publisher in Paris. Thanks to help from Alexey Brodovitch, Walker Evans, Edward Steichen and others, Frank was the first European photographer to be awarded this generous fellowship. The award made it possible for him to set off on his now-legendary road trips across the US in spring 1955.

Over almost two years, Frank took more than 20,000 photographs on his travels. He made roughly 1,000 work prints in the autumn and winter of 1956-57, which he pinned to the walls and laid on the floor of his apartment. At the time his home was East Village, New York, where artists including Alfred Leslie and Willem de Kooning also lived. Over many months Frank made countless passes through his photographs, eliminating those images he was unsure of and focusing on specific themes. He constantly rearranged the selection that was gradually coming together until he had a first mocked-up book with just under 90 images and the provisional title America, America. Frank took this book with him when he traveled to Europe in summer 1957, showing it to Delpire and his Swiss photographer friend Gotthard Schuh.

Over the years, the America photographs not included in his final selection disappeared into archives and collections or even got lost altogether. Only recently has it been possible to ascertain that many of the rejected and unpublished photographs were of the same caliber as the 83 book images Frank and Delpire agreed on. Frank’s contact sheets show that these photos were often taken directly before or after the images that have become icons of photographic history. Rather than putting forth a single message, Frank’s dark take on 1950s America contains impressive variations, facets, and excursuses that made a powerful impression on many, including his early supporter, Schuh. Schuh wrote to his young friend: “I don’t know America, but your photographs frighten me because in them you show, with visionary alertness, things that affect us all.”

 

The Americans

Following the first French edition of Les Américains, Robert Frank’s book was published as The Americans in New York in 1959. The English edition dropped the cover illustration and the selection of texts on America (which Delpire had insisted on over Frank’s protests), and added an introduction by Jack Kerouac. Frank had much in common with the Beat poets, though he only met them after his Guggenheim-funded travels. Like Kerouac’s main character in On the Road, Frank crisscrossed the country with apparent aimlessness, working spontaneously. Moreover, his work shares a stylistic consonance with Beat literature: Frank had abandoned all technical conventions and photographed intuitively instead. Many of his photographs are underexposed and grainy; they frame a scene and omit key details; their horizons are slanting and the lighting is often murky. Frank’s focus was the everyday, the fleeting, and the marginal. People are shown turning away from the camera, and his landscapes are desolate and bleak, “really more like Russia”, as Frank once remarked to Kerouac. He flouted the rules he had learned during his early training as a photographer in Switzerland in order to be as true as possible to his subjective experience and to capture unvarnished reality.

Kerouac’s introduction begins with the words: “That crazy feeling in America when the sun is hot on the streets and music comes out of the jukeboxes or from a nearby funeral, that’s what Robert Frank has captured in tremendous photographs taken as he traveled on the road around practically forty-eight states in an old used car (on Guggenheim Fellowship) and with the agility, mystery, genius, sadness and strange secrecy of a shadow photographed scenes that have never been seen before on film …” The Americans is a long, poetic image arc with cross-references, digressions, and associations, but also mental leaps and ambiguities, which provoked many critics. Although most acknowledged that Frank’s photographs were highly powerful, they read his take on Americans as a malicious attack on the country. Frank, a Jewish foreigner, was resented for picking up on the racism, hollow patriotism, commodified cheer, and political corruption lurking behind the façade of American society. Even before his groundbreaking book was published, Robert Frank wrote: “Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others.”

Martin Gasser, Curator

 

Robert Frank (Swiss, 1924-2019) "Los Angeles" 1955

 

Robert Frank (Swiss, 1924-2019)
“Los Angeles”
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'City fathers – Hoboken, New Jersey' 1955

 

Robert Frank (Swiss, 1924-2019)
City fathers – Hoboken, New Jersey
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Bus-Stop, Detroit' 1955

 

Robert Frank (Swiss, 1924-2019)
Bus-Stop, Detroit
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Bar – Gallup, New Mexico' 1955

 

Robert Frank (Swiss, 1924-2019)
Bar – Gallup, New Mexico
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Charity Ball – New York' 1954

 

Robert Frank (Swiss, 1924-2019)
Charity Ball – New York
1954
© Andrea Frank Foundation; courtesy Pace / MacGill Gallery, New York
Collection of the Swiss Photo Foundation

 

Müller + Hess, Wendelin Hess and Jesse Wyss, Basel / Zurich

 

Müller + Hess, Wendelin Hess and Jesse Wyss, Basel / Zurich

 

 

Fotostiftung Schweiz
Grüzenstrasse 45
CH-8400 Winterthur (Zürich)
Phone: +41 52 234 10 30

Opening hours:
Tuesday – Sunday 11am – 6pm
Wednesday 11am – 8pm
Closed on Mondays

Fotostiftung Schweiz website

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27
Sep
20

European photographic research tour exhibition: ‘L’equilibriste, André Kertész’ at Jeu de Paume, Château de Tours Part 2

Exhibition dates: 26th June – 27th October 2019
Visited September 2019 posted September 2020

Curators: Matthieu Rivallin and Pia Viewing

 

 

 

André Kertész (Hungarian, 1894-1985)
Nageur sous l’eau, Esztergom
Underwater swimmer, Esztergom
1918
Contact original

 

 

“”… especially haptic qualities are demanded of the deconstructionist performer, spectator, and reader; not to follow optically the ‘line of ideas’ in the text or in a picture and see only the representation proper, the surface, but to probe with the eyes the pictorial texture and even to enter the texture.”69 Such “touching” with the eye did not lead to a secure tactile experience of being firmly planted on the ground, for all grounds, all foundations, were suspect, however construed. We are, as Nietzsche knew, swimming in an endless sea, rather than standing on dry land. To “touch” a trace, groping blindly in the dark, is no more the guarantee of certainty than to see its residues.”

.
Gandelman, Claude. ‘Reading Pictures, Viewing Texts’. Bloomington, Indiana, 1991, p. 140 quoted in Martin Jay. ‘Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought’. Berkley: University of California Press, 1993, p. 512.

 

 

Touching with the eye

Part 2 of a large posting on the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours, which I saw in Tours in September 2019.

This posting contains photographs from his famous series “Distortions” (fascinating to see the original plates for the book of the same name, complete with cropping marks and red lead pencil annotations); American works from 1936 onwards, when Kertész moved to the United States to avoid the persecution of the Jews and the threat of World War II; and the late work colour Polaroids.

I admit that Kertész is not my favourite photographer. While I admire some of his photographs, I feel emotionally distant from most of them. Edward Clay observes in the quotation below that Kertész was “one of the most lyrical and formally inventive photographers of the twentieth-century… [His photographs] often convey a quiet mood of melancholy … He remains revered for his clarity of style and ability to blend simplicity with emotion, prizing impact over technical precision, seeking metaphors and geometry in everyday objects and scenarios, to turn the mundane into the surreal.”

Personally, I don’t find his photographs emotional nor lyrical, only a few poetic. Not melancholic, but geometric. In later works, he simplifies, simplifies, simplifies much like his friend Mondrian did. For me, the balance between sacred / geometry, the sacred geometry of the mystery of things, is often unbalanced in these images (particularly relevant, given the title of this exhibition). Is it enough just to turn the mundane into the surreal? Where does that lead the viewer? Is it enough to just observe, represent, without digging deeper.

At his best, in images such as Underwater swimmer, Esztergom (1918, above), Arm and Fan, New York (1937, below) and Washington Square, New York (1954, below) there is a structured, avant-garde mystery about the reality of the world, as re/presented through the object of the photograph, it’s physical presence. In Underwater swimmer, the body is stretched and distorted by an element, water, not a man-made mirror. His photographs from Hungary, Italy and early Paris possess a sensitivity of spirit that seems to have been excised from his life, the older he got. Far too often in later images, there is a “brittleness” to his photography, in which the object of reflection sits at the surface of the image, all sparkling in unflinching light. The single cloud oh so lonely in the sterile city; the man looking at the broken bench; the “buy, buy, buy” of consumer culture. You consumer Kertész’s later images, you do not reflect on them.

Dr Marcus Bunyan

.
All iPhone installation photographs © Marcus Bunyan. Please click on the photographs for a larger version of the image. View Part 1 of the posting.

 

 

“André Kertész, one of the most lyrical and formally inventive photographers of the twentieth-century, whose work advocated for spontaneity over technical precision, has left a distinctive legacy of poetic images which form a bridge between the avant-garde and geometrical precision. A roamer for much of his life, his feelings of rootlessness manifest in his work and often convey a quiet mood of melancholy. …

Claiming “I am an amateur and I intend to stay that way for the rest of my life”, Kertesz was a great source of inspiration to photographic legends such as Cartier-Bresson.

He remains revered for his clarity of style and ability to blend simplicity with emotion, prizing impact over technical precision, seeking metaphors and geometry in everyday objects and scenarios, to turn the mundane into the surreal. Nothing was too plain or ordinary for his eye, since he had a special ability to breathe life into even the most ‘unremarkable’ subjects.”

.
Edward Clay. “André Kertész: between poetry and geometry,” on ‘The Independent Photographer’ website, May 19th 2020 [Online] Cited 26/08/2020

 

 

André Kertész (Hungarian, 1894-1985) 'Distortion #34' 1933

 

André Kertész (Hungarian, 1894-1985)
Distortion #34 
1933
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Distortion #40' 1933

 

André Kertész (Hungarian, 1894-1985)
Distortion #40
1933
Gelatin silver print

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation views of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours showing photographs from the series Distortions, the bottom image showing at left, the photograph Underwater swimmer, Esztergom 1918
Photos: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

André Kertész (Hungarian, 1894-1985) 'Original plates of the model of the book 'Distortions'' 1975-76 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Planches originales de la maquette du livre ‘Distortions’ (installation view)
Original plates of the model of the book ‘Distortions’ 
1975-76
Collection Médiathèque de l’architecture et du patrimoine
Photos: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours showing photographs from the series Distortions
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #60' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #60 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #86' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #86 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #86' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #86 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #109' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #109 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #6' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #6 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #159' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #159 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #128' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #128 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #70' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #70 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #70' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #70 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion #80' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion #80 (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distortion' 1933 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Distortion (installation view)
1933
Contact original
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Distorted Portrait (Face of a Woman), Paris' 1927 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Portrait déformé (Visage de femme), Paris (installation view)
Distorted Portrait (Face of a Woman), Paris
1927
Gelatin silver print
Photo: Marcus Bunyan

 

 

One of the twentieth century’s great photographers, André Kertész (Budapest, 1894 – New York, 1985) left a prolific body of work spanning more than seventy years (1912-1984), a blend of the poetic and the intimate with its wellspring in his Hungarian culture. The Art of Poise: André Kertész traces this singular career, showcasing compositions that bear the stamp of Europe’s avant-garde art movements, from the artist’s earliest Hungarian photographs to the blossoming of his talent in France, and from his New York years to ultimate international recognition.

Kertész arrived in Paris in October 1925. Moving in avant-garde literary and artistic circles, he photographed his Hungarian friends, artists’ studios, street life and the city’s parks and gardens. In 1933 he embarked on his famous Distortions series of nudes deformed by funhouse mirrors, producing anamorphic images similar in spirit to the work of Pablo Picasso, Jean Arp and Henry Moore.

In addition to this profusion of activity, he explored the possibility of disseminating his work in publications. Between 1933 and the end of his life he had designed and published a total of nineteen books.

In 1936 Kertész and his wife Elizabeth left for New York, where he began with a brief assignment for Keystone, the world’s biggest photographic agency. He struggled, though, to carve out a place for himself in a context whose demands were very different from those of his Paris years.

Inspired by the rediscovery of his Hungarian and French negatives, from 1963 onwards he devoted himself solely to personal projects, and was offered retrospectives by the French National Library in Paris and MoMA in New York. This fresh recognition sparked a flurry of books in which he harked back to the high points of his oeuvre. In his last years, armed with a Polaroid, he returned to his earlier practice of everyday photography.

Text from the Jeu de Paume website for the earlier exhibition The Art of Poise: André Kertész

 

 

Text from the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Text from the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours

 

 

André Kertész (Hungarian, 1894-1985)
La Tulipe mélancolique, New York
Melancholic Tulip, New York
1939
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Paris' 1984 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Paris (installation view)
1984
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Paris' 1984

 

André Kertész (Hungarian, 1894-1985)
Paris
1984
Gelatin silver print

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation views of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours showing at top left, Ballet, New York 1938; and at bottom left, Lake Placid 1954
Photos: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Ballet, New York' 1938 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Ballet, New York (installation view)
1938
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Ballet, New York' 1938

 

André Kertész (Hungarian, 1894-1985)
Ballet, New York
1938
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Lake Placid' 1954 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Lake Placid (installation view)
1954
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'New York' 1937 (installation view)

 

André Kertész (Hungarian, 1894-1985)
New York (installation view)
1937
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'New York' 1939 (installation view)

 

André Kertész (Hungarian, 1894-1985)
New York (installation view)
1939
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'New York' 1939

 

André Kertész (Hungarian, 1894-1985)
New York
1939
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'New York' 1954 (installation view)

 

André Kertész (Hungarian, 1894-1985)
New York (installation view)
1954
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) Escalier, rampe, ombres et femme, New York (installation view) 'Staircase, banister, shadows and woman, New York' 1951 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Escalier, rampe, ombres et femme, New York (installation view)
Staircase, banister, shadows and woman, New York

1951
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) Escalier, rampe, ombres et femme, New York (installation view) 'Staircase, banister, shadows and woman, New York' 1951 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Escalier, rampe, ombres et femme, New York (installation view)
Staircase, banister, shadows and woman, New York

1951
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) '"Buy", Long Island' 1963

 

André Kertész (Hungarian, 1894-1985)
“Buy”, Long Island
1963
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) '6th Avenue, New York' 1973

 

André Kertész (Hungarian, 1894-1985)
6th Avenue, New York
1973
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Nuage égaré' 'Lost cloud' 1937 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Nuage égaré
Lost cloud
1937
Photo: Marcus Bunyan

 

André Kertész. 'Lost Cloud' New York, 1937

 

André Kertész (Hungarian, 1894-1985)
Nuage égaré
Lost cloud
1937
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Poughkeepsie, New York' 1937 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Poughkeepsie, New York (installation view)
1937
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Poughkeepsie, New York' 1937

 

André Kertész (Hungarian, 1894-1985)
Poughkeepsie, New York
1937
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Of New York…' New York, Alfred A. Knopf, 1976 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Of New York… (installation view)
New York, Alfred A. Knopf, 1976
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'New York' 1951 (installation view)

 

André Kertész (Hungarian, 1894-1985)
New York (installation view)
1951
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Of New York…' New York, Alfred A. Knopf, 1976 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Of New York… (installation view)
New York, Alfred A. Knopf, 1976
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) '"Buy", New York' 1966 (installation view)

 

André Kertész (Hungarian, 1894-1985)
“Buy”, New York (installation view)
1966
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Of New York…' New York, Alfred A. Knopf, 1976 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Of New York… (installation view)
New York, Alfred A. Knopf, 1976
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Of New York…' New York, Alfred A. Knopf, 1976 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Double page de la maquette originale du livre ‘Of New York…’ (installation view)
Double page of the original model of the book ‘Of New York…’
1975-76
Photo: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours showing at second left, New York 1939; and at third left, New York 1936
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'New York' 1939 (installation view)

 

André Kertész (Hungarian, 1894-1985)
New York (installation view)
1939
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'New York' 1936 (installation view)

 

André Kertész (Hungarian, 1894-1985)
New York (installation view)
1936
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'New York' 1936

 

André Kertész (Hungarian, 1894-1985)
New York
1936
Gelatin silver print

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours showing at second right, Arm and Fan, New York 1937
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Bras et ventilateur, New York' 'Arm and Fan, New York' 1937 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Bras et ventilateur, New York (installation view)
Arm and Fan, New York
1937
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Arm and Fan, New York' 1937

 

André Kertész (Hungarian, 1894-1985)
Bras et ventilateur, New York
Arm and Fan, New York
1937
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Of New York…' New York, Alfred A. Knopf, 1976 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Of New York… (installation view)
New York, Alfred A. Knopf, 1976
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'New York' 1947 (installation view)

 

André Kertész (Hungarian, 1894-1985)
New York (installation view)
1947
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Le retour au port, New York' 'Return to port, New York' 1944 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Le retour au port, New York (installation view)
Return to port, New York
1944
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours showing at left, Disappearance, New York 1955
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'La Disparition, New York' 'Disappearance, New York' 1955 (installation view)

 

André Kertész (Hungarian, 1894-1985)
La Disparition, New York (installation view)
Disappearance, New York
1955
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'La Disparition, New York' 'Disappearance, New York' 1955 (installation view)

 

André Kertész (Hungarian, 1894-1985)
La Disparition, New York (installation view)
Disappearance, New York
1955
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Disappearance, New York' 1955

 

André Kertész (Hungarian, 1894-1985)
Disappearance, New York
1955
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'New York' 1969 (installation view)

 

André Kertész (Hungarian, 1894-1985)
New York (installation view)
1969
Gelatin silver print
Photo: Marcus Bunyan

 

Text from the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Text from the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation views of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours showing at left in the bottom image, Broken Bench, New York 1962
Photos: Marcus Bunyan

 

1985) 'Broken Bench, New York' 1962

 

André Kertész (Hungarian, 1894-1985)
Le Banc cassé, New York
Broken Bench, New York

1962
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Of New York…' New York, Alfred A. Knopf, 1976 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Of New York… (installation view)
New York, Alfred A. Knopf, 1976
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Soixante ans de photographie' 'Sixty years of photography' 1912-1972 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Soixante ans de photographie (installation view)
Sixty years of photography
1912-1972
Paris, éditions du Chêne, 1972
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Jour pluvieux, Tokyo' 'Rainy day, Tokyo' 1968 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Jour pluvieux, Tokyo (installation view)
Rainy day, Tokyo
1968
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'McDougall Alley, New York' 1965 (installation view)

 

André Kertész (Hungarian, 1894-1985)
McDougall Alley, New York (installation view)
1965
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Washington Square, New York' 1954

 

André Kertész (Hungarian, 1894-1985)
Washington Square, New York
1954
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Washington Square, New York' 1954 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Washington Square, New York (installation view)
1954
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Washington Square, New York' 1954

 

André Kertész (Hungarian, 1894-1985)
Washington Square, New York
1954
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Winter Garden, New York' 1970 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Jardin d’hiver, New York (installation view)
Winter Garden, New York
1970
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Martinique' 1972

 

André Kertész (Hungarian, 1894-1985)
Martinique
1972
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Soixante ans de photographie' 'Sixty years of photography' 1912-1972 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Soixante ans de photographie (installation view)
Sixty years of photography
1912-1972
Paris, éditions du Chêne, 1972
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'In the cellar, Williamsburg' 1951 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Dans la cave, Williamsburg (installation view)
In the cellar, Williamsburg
1951
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Nara, Japan' 1968

 

André Kertész (Hungarian, 1894-1985)
Nara, Japan
1968
Gelatin silver print

 

Text from the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Text from the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours

 

Harold Riley. 'André Kertész' Manchester, The Manchester Collection, 1984  (installation view)

 

Harold Riley
André Kertész (installation view)
Manchester, The Manchester Collection, 1984
Collection Médiathèque de l’architecture et du patrimoine
Photo: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation views of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours showing his late Polaroid work
Photos: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) '12 December 1979' (installation view)

 

André Kertész (Hungarian, 1894-1985)
12 December 1979 (installation view)
1979
Tirage jet d’encre d’après la reproduction d’un polaroid, 2019
Inkjet print from a reproduction of a polaroid, 2019
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Untitled' 1979-1981 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Untitled (installation view)
1979-1981
Tirage jet d’encre d’après la reproduction d’un polaroid, 2019
Inkjet print from a reproduction of a polaroid, 2019
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'June 1979' (installation view)

 

André Kertész (Hungarian, 1894-1985)
June 1979 (installation view)
1979
Tirage jet d’encre d’après la reproduction d’un polaroid, 2019
Inkjet print from a reproduction of a polaroid, 2019
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) '21 June 1979' (installation view)

 

André Kertész (Hungarian, 1894-1985)
21 June 1979 (installation view)
1979
Tirage jet d’encre d’après la reproduction d’un polaroid, 2019
Inkjet print from a reproduction of a polaroid, 2019
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Untitled' 1979-1981 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Untitled (installation view)
1979-1981
Tirage jet d’encre d’après la reproduction d’un polaroid, 2019
Inkjet print from a reproduction of a polaroid, 2019
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) '13 August 1979' (installation view)

 

André Kertész (Hungarian, 1894-1985)
13 August 1979 (installation view)
1979
Tirage jet d’encre d’après la reproduction d’un polaroid, 2019
Inkjet print from a reproduction of a polaroid, 2019
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'July 3, 1979
'

 

André Kertész (Hungarian, 1894-1985)
July 3, 1979

1979
Tirage jet d’encre d’après la reproduction d’un polaroid, 2019
Inkjet print from a reproduction of a polaroid, 2019

 

André Kertész (Hungarian, 1894-1985) 'Untitled' 1979-1981

 

André Kertész (Hungarian, 1894-1985)
Untitled
1979-1981
Tirage jet d’encre d’après la reproduction d’un polaroid, 2019
Inkjet print from a reproduction of a polaroid, 2019

 

André Kertész (Hungarian, 1894-1985) '13 August 1983'

 

André Kertész (Hungarian, 1894-1985)
13 August
1983
Tirage jet d’encre d’après la reproduction d’un polaroid, 2019

 

 

Jeu de Paume at the Château de Tours
25 avenue André Malraux, 37000 Tours
Phone: 02 47 70 88 46

Opening hours:
Tuesday – Sunday 2pm – 6pm
Closed on Monday

Jeu de Paume at the Château de Tours website

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21
Aug
20

European photographic research tour exhibition: ‘L’equilibriste, André Kertész’ at Jeu de Paume, Château de Tours Part 1

Exhibition dates: 26th June – 27th October 2019
Visited September 2019 posted August 2020

Curators: Matthieu Rivallin and Pia Viewing

 

Entrance to the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Entrance to the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours
Photo: Marcus Bunyan

 

 

equilibrist, noun: an acrobat who performs balancing feats, especially a tightrope walker.

Part 1 of a large posting on the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours, which I saw in Tours in September 2019.

This was the most disappointing of the “grand master” exhibitions that I saw on my European photographic research tour, mainly because the photographs were all modern prints, and there seemed to be a lot of “filler” in the exhibition – namely, reproductions of late book layouts scattered generously throughout the rooms (see installation photographs below).

Having said that, it was still a great joy to see Kertész’s photographs, especially some of the photographs which are hard to find online. Here are images such as Görz, Italy 1915 and Abony 1921 which I have never seen before, together with rare Paris images such as Attelage, Paris 1925; Wooden horse, Paris c. 1926; The Quays after the rain, Paris 1963; Behind Notre-Dame, Paris 1925; Paris 1931; Legs, Paris 1928; Study of lines and shadow 1927 and Saint-Gervais-les-Bains, Savoie 1929 – none of which have been available in a large size online before.

Together with the three intense, brooding, suspended still life (The Fork, Paris 1928; Composition, Paris 1928 and Glasses and Pipe of Mondrian, Paris 1926) and the sublime, modernist Chez Mondrian, Paris 1926, one of the most outstanding photographs in the posting, and one of Kertész’s most famous images, is Burlesque dancer, Paris 1926. The circular tensioning of the image is immaculate. The form of the twisting male torso at left with its upraised right hand leads the eye to the drawing at top centre, which then descends to the framed female form at right which inverts the male form with the right hand of the female now raised. The eye then descends to the reclining dancer, the zig-zag arms and legs perfectly composed, her left hand touching the ground like the Bhumisparsha mudra which symbolises the Buddha’s enlightenment under the bodhi tree, when he summoned the earth goddess (quite apt) … while her left leg completes the circle, pointing towards the twisting legs of the male statue. The split of the male legs are reinforced by those in the female print, and complimented by the exquisite folds of the dancers silky dress, unnoticed until you really look at the print.

I will comment more comprehensively in Part 2 of the posting on Kertész’s Leica-ed world.

Dr Marcus Bunyan

.
All iPhone installation photographs © Marcus Bunyan. Please click on the photographs for a larger version of the image. View Part 2 of the posting.

 

 

 

Exposition “L’équilibriste, André Kertész” au Jeu de Paume, Tours

 

 

Entrance to the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours, with a poster of Rainy Day, Tokyo 1968
Photo: Marcus Bunyan

 

Entrance text to the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Entrance text to the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours
Photo: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at left top, Friends, Esztergom 1917; at left bottom, Little geese, Esztergom 1918; at second left, Hungarian landscape 1914; at fifth left, Abony 1921; at seventh left, Young Gypsy 1918; at second right, Traveling violinist, Abony 1921 and at far right, Cellist 1916
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Les Amis, Esztergom' 'Friends, Esztergom' 1917 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Les Amis, Esztergom (installation view)
Friends, Esztergom
1917
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Petites oies, Esztergom' 'Little geese, Esztergom' 1918 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Petites oies, Esztergom (installation view)
Little geese, Esztergom
1918
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Paysage hongrois' 'Hungarian landscape' 1914 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Paysage hongrois (installation view)
Hungarian landscape
1914
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours (installation view)

 

André Kertész (Hungarian, 1894-1985)
Paysage hongrois (installation view)
Hungarian landscape
1914
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Abony' 1921 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Abony (installation view)
1921
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Abony' 1921 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Abony (installation view)
1921
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Jeune Tzigane' 'Young Gypsy' 1918 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Jeune Tzigane (installation view)
Young Gypsy
1918
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Violoniste ambulant, Abony' 'Traveling violinist, Abony' 1921

 

André Kertész (Hungarian, 1894-1985)
Violoniste ambulant, Abony 
Traveling violinist, Abony
1921
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Violoncelliste' 'Cellist' 1916 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Violoncelliste (installation view)
Cellist
1916
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at left, Lovers, Budapest 1915
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Hungarian Memories' 1982 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Hungarian Memories (installation view)
1982
New York, New York Graphic Society / Boston, Little, Brown and Company
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Lovers, Budapest' 1915

 

André Kertész (Hungarian, 1894-1985)
Lovers, Budapest
1915
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Garçon endormi, Budapest' 'Sleeping boy, Budapest' 1912 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Garçon endormi, Budapest (installation view)
Sleeping boy, Budapest
1912
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Mon frère imitant le "scherzo"' 'My brother as a "Scherzo"' 1919 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Mon frère imitant le “scherzo” (installation view)
My brother as a “Scherzo”
1919
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Mon frère imitant le "scherzo"' 'My brother as a "Scherzo"' 1919

 

André Kertész (Hungarian, 1894-1985)
Mon frère imitant le “scherzo”
My brother as a “Scherzo”
1919
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Mon frère tel Icare, Dunaharaszti' 'My brother like Icarus, Dunaharaszti' 1919 André Kertész (Hungarian, 1894-1985) 'Mon frère tel Icare, Dunaharaszti' 'My brother like Icarus, Dunaharaszti' 1919 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Mon frère tel Icare, Dunaharaszti (installation view)
My brother like Icarus, Dunaharaszti
1919
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Mon frère tel Icare, Dunaharaszti' 'My brother like Icarus, Dunaharaszti' 1919 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Mon frère tel Icare, Dunaharaszti (installation view)
My brother like Icarus, Dunaharaszti
1919
Gelatin silver print
Photo: Marcus Bunyan

 

Text from the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Text from the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Hungarian Memories' 1982 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Hungarian Memories (installation view)
1982
New York, New York Graphic Society
Photo: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at centre bottom, Görz, Italy 1915, and at far right, Forced march towards the front 1915
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Görz, Italy' 1915 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Görz, Italy (installation view)
1915
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Marche forcée vers le front, entre Lonié et Mitulen, Pologne' 'Forced march towards the front, between Lonie and Mitulen, Poland' 1915 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Marche forcée vers le front, entre Lonié et Mitulen, Pologne (installation view)
Forced march towards the front, between Lonie and Mitulen, Poland
1915
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at left, Meudon 1928 at second right top, Quai d’Orsay, Paris 1926
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Meudon' 1928

 

André Kertész (Hungarian, 1894-1985)
Meudon
1928
Gelatin silver print

 

Text from the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Text from the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Quai d'Orsay, Paris' 1926

 

André Kertész (Hungarian, 1894-1985)
Quai d’Orsay, Paris
1926
Gelatin silver print

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at left, Attelage, Paris 1925; at second left, 60 years of photography 1912-1972; and at fifth left, Trottoir, Paris 1929
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Attelage, Paris' 'Coupling, Paris' 1925 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Attelage, Paris (installation view)
Coupling, Paris
1925
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Soixante ans de photographie' '60 years of photography' 1912-1972 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Soixante ans de photographie (installation view)
60 years of photography
1912-1972
Paris, éditions du Chêne, 1972
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Trottoir, Paris' 'Sidewalk, Paris' 1929

 

André Kertész (Hungarian, 1894-1985)
Trottoir, Paris
Sidewalk, Paris
1929
Gelatin silver print

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation views of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at second left, Cheval de bois, Paris c. 1926; and at third left, Colette, Paris 1930. In the display cabinet is Marquette originale du livre non publié ‘Paris Automne’ December 1963
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Maquette originale du livre non publié Paris Automne' December 1963 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Marquette originale du livre non publié ‘Paris Automne’ (installation view)
Original maquette from the unpublished book ‘Paris Automne’
December 1963
Collection Médiathèque de l’architecture et du patrimoine
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Cheval de bois, Paris' 'Wooden horse, Paris' c. 1926 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Cheval de bois, Paris (installation view)
Wooden horse, Paris
c. 1926
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Colette, Paris' 1930

 

André Kertész (Hungarian, 1894-1985)
Colette, Paris
1930
Gelatin silver print

 

 

This summer at the Jeu de Paume Château de Tours, the retrospective exhibition The equilibrist, André Kertész: 1912-1982 is dedicated to the great Hungarian naturalised American photographer (1894-1985). His work was in tune with his life and his feelings: from his beginnings in Hungary to the development of his talent in France, from his years of isolation in New York to his international recognition.

A major player in the Parisian artistic scene during the interwar period, André Kertész, whose career spanned more than seventy years, is today recognised as one of the most influential photographers of the 20th century. His abundant work, with compositions marked by the European avant-garde – especially from Eastern Europe – finds its source in his Hungarian culture, which combines poetry and intimacy.

His beginnings in his native country are an important step for this autodidact whose realistic approach differs from the pictorial-influenced fine art photography dear to the Hungarian photographers of his generation. Enlisted in the Austro-Hungarian army during the First World War, he depicts the daily life of soldiers and develops a poetry of the moment, far from heroic or dramatic acts of arms. After the war, he tried to make photography his profession.

In October 1925, he landed in Paris where he frequented avant-garde literary and artistic circles and photographed his friends from the Hungarian diaspora, the street scenes and the Parisian gardens. In France as in Germany, the press, in particular the magazine VU, orders reports and illustrations from him. From 1927, he had a personal exhibition at the Au Sacre du Printemps gallery. In 1933, he produced his famous series of Distortions which shows naked bodies reflected in a distorting mirror. This intense activity led him to design his own books; over the course of his life, he published nineteen of them, including Paris vu par André Kertész (1934).

In 1936, Kertész left for New York to honour a contract with the Keystone agency. However, he struggles to find his place in the face of sponsors with requests far removed from his Parisian years. A few exhibitions as well as the publication of Day of Paris (1945) were not enough to establish him as one of the main representatives of avant-garde photography in the United States. From 1963, the largest museums offered him the opportunity to exhibit his images. This recognition is accompanied by the publication of numerous books which allow him to review his work.

Produced from the collection of negatives and contact prints bequeathed by the photographer to France in 1984, The equilibrist, André Kertész is the fruit of the joint work of the Mediatheque of Architecture and Heritage, which preserves these archives today, and the Jeu de Paume. Consisting of around a hundred modern silver prints made in 1995 by Yvon Le Marlec, the shooter with whom Kertész collaborated in Paris, this exhibition revolves around the major books that the latter published during his lifetime. Through prints, original models and reproductions of pages from her works, she traces the close relationship that Kertész has forged throughout her life between her photographic and editorial practices, composing a visual narration that describes the interwar period in Europe and nearly fifty years in the United States.

Text from the Jeu de Paume website

 

André Kertész (Hungarian, 1894-1985) 'Les Quais après la pluie, Paris The' 'Quays after the rain, Paris' 1963 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Les Quais après la pluie, Paris (installation view)
The Quays after the rain, Paris
1963
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Les Quais après la pluie, Paris The' 'Quays after the rain, Paris' 1963 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Les Quais après la pluie, Paris (installation view)
The Quays after the rain, Paris
1963
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Derrière Notre-Dame, Paris' 'Behind Notre-Dame, Paris' 1925 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Derrière Notre-Dame, Paris (installation view)
Behind Notre-Dame, Paris
1925
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Derrière Notre-Dame, Paris' 'Behind Notre-Dame, Paris' 1925 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Derrière Notre-Dame, Paris (installation view)
Behind Notre-Dame, Paris
1925
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'La Tour Eiffel, Paris' 1929 (installation view)

 

André Kertész (Hungarian, 1894-1985)
La Tour Eiffel, Paris (installation view)
Eiffel Tower, Paris
1929
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Le pont des arts, Paris' 'The bridge of Arts, Paris' 1932

 

André Kertész (Hungarian, 1894-1985)
Le pont des arts, Paris
The bridge of Arts, Paris
1932
Gelatin silver print

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation views of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at left, Touraine 1930; at right top, Paris 1931; and at right bottom, Carrefour, Blois 1930
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Touraine' 1930 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Touraine (installation view)
1930
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Paris' 1931 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Paris
1931
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Carrefour, Blois' 1930 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Carrefour, Blois (installation view)
1930
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Carrefour, Blois' 1930

 

André Kertész (Hungarian, 1894-1985)
Carrefour, Blois
1930
Gelatin silver print

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at left, La Fourchette, Paris 1928; at second left, Composition, Paris 1928; at second right, Les Lunettes et la Pipe de Mondrian, Paris 1926; and at right, Burlesque dancer, Paris 1926
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'La Fourchette, Paris' 'The Fork, Paris' 1928 (installation view)

 

André Kertész (Hungarian, 1894-1985)
La Fourchette, Paris (installation view)
The Fork, Paris
1928
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'La Fourchette, Paris' 'The Fork, Paris' 1928 (installation view)

 

André Kertész (Hungarian, 1894-1985)
La Fourchette, Paris (installation view)
The Fork, Paris
1928
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Composition, Paris' 1928 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Composition, Paris (installation view)
Les Mains de Paul Arma (The Hands of Paul Arma)

1928
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Composition, Paris' 1928 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Composition, Paris (installation view)
Les Mains de Paul Arma (The Hands of Paul Arma)

1928
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Composition, Paris' 1928

 

André Kertész (Hungarian, 1894-1985)
Composition, Paris
Les Mains de Paul Arma (The Hands of Paul Arma)

1928
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Les Lunettes et la Pipe de Mondrian, Paris' 'Glasses and Pipe of Mondrian, Paris' 1926 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Les Lunettes et la Pipe de Mondrian, Paris (installation view)
Glasses and Pipe of Mondrian, Paris
1926
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Les Lunettes et la Pipe de Mondrian, Paris' 'Glasses and Pipe of Mondrian, Paris' 1926

 

André Kertész (Hungarian, 1894-1985)
Les Lunettes et la Pipe de Mondrian, Paris
Glasses and Pipe of Mondrian, Paris
1926
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Danseuse burlesque, Paris' 'Burlesque dancer, Paris' 1926 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Danseuse burlesque, Paris
Burlesque dancer, Paris
1926
Gelatin silver print

 

 

André Kertész (Hungarian, 1894-1985)
Danseuse burlesque, Paris
Burlesque dancer, Paris
1926
Gelatin silver print

 

Text from the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at left, Legs, Paris 1928; at third left, Fun fair, Paris 1931; and at right, Latin Quarter, Paris 1926
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Jambes, Paris' 'Legs, Paris' 1928 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Jambes, Paris (installation view)
Legs, Paris
1928
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Soixante ans de photographie' 'Sixty years of photography' 1912-1972 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Soixante ans de photographie (installation view)
Sixty years of photography
1912-1972
Paris, éditions du Chêne, 1972

 

André Kertész (Hungarian, 1894-1985) 'Fête foraine, Paris' 'Fun fair, Paris' 1931

 

André Kertész (Hungarian, 1894-1985)
Fête foraine, Paris
Fun fair, Paris
1931
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Quartier Latin, Paris' 'Latin Quarter, Paris' 1926

 

André Kertész (Hungarian, 1894-1985)
Quartier Latin, Paris
Latin Quarter, Paris
1926
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Chez Mondrian, Paris' 1926 (installation view)

André Kertész (Hungarian, 1894-1985) 'Chez Mondrian, Paris' 1926 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Chez Mondrian, Paris (installation views)
1926
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Chez Mondrian, Paris' 1926

 

André Kertész (Hungarian, 1894-1985)
Chez Mondrian, Paris
1926
Gelatin silver print

 

 

“I went to [Piet Mondrian’s] studio and instinctively tried to capture in my photographs the spirit of his paintings. He simplified, simplified, simplified. The studio with its symmetry dictated the composition. He has a vase with a flower, but the flower was artificial. It was coloured by him to match the studio.” ~ André Kertész

Decades after this photograph was made, André Kertész recalled the circumstances surrounding its creation. The composition is neatly divided in half: on the left is the intimate interior of the room in which Kertész stood, showing Mondrian’s straw boater on a peg and a table with the flower mentioned above. The vase perches precariously near the edge of the table, as if Kertész moved it to include it in the photographic frame. On the right, seen through a doorway, the curving banister and stairs soften the profusion of right angles and straight lines in the foyer.

Text from the J. Paul Getty website [Online] Cited 27/09/2020

 

Although Mondrian imposed rigid geometric order on everything in the apartment, Kertész found deviations in the curves of the staircase, vase, and the round boater hat hanging on the rack. (The hat belonged to the photographer’s friend Michel Seuphor, a painter and writer who authored a book on Mondrian, who had accompanied Kertész to the studio.) This photograph has become one of Kertész’s most famous, although it was not published until 1943. It was known previously only through exhibitions, including Kertész’s first exhibition in 1927 at the Parisian gallery Au Sacre du Printemps.

Text from the Art Institute of Chicago website [Online] Cited 27/09/2020

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours with at second left, Chairs, Champs-Elysées, Paris, 1930; at centre top, Study of lines and shadow 1927; and at right, Peintre d’ombre, Paris 1926
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Chairs, Champs-Élysées, Paris' 1929

 

André Kertész (Hungarian, 1894-1985)
Chairs, Champs-Élysées, Paris
1929
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Étude de lignes et d'ombre' 'Study of lines and shadow' 1927 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Étude de lignes et d’ombre (installation view)
Study of lines and shadow

1927
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Saint-Gervais-les-Bains, Savoie' 1929 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Saint-Gervais-les-Bains, Savoie  (installation view)
1929
Gelatin silver print
Photo: Marcus Bunyan

 

André Kertész (Hungarian, 1894-1985) 'Peintre d'ombre, Paris' 'Shadow painter, Paris' 1926 (installation view)

 

André Kertész (Hungarian, 1894-1985)
Peintre d’ombre, Paris
Shadow painter, Paris
1926
Gelatin silver print
Photo: Marcus Bunyan

 

Installation view of the exhibition 'L'equilibriste, André Kertész' at Jeu de Paume, Château de Tours

 

Installation view of the exhibition L’equilibriste, André Kertész at Jeu de Paume, Château de Tours
Photo: Marcus Bunyan

 

 

Jeu de Paume at the Château de Tours
25 avenue André Malraux, 37000 Tours
Phone: 02 47 70 88 46

Opening hours:
Tuesday – Sunday 2pm – 6pm.
Closed on Monday

Jeu de Paume at the Château de Tours website

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13
Feb
20

Exhibition: ‘Dora Maar’ at Tate Modern, London

Exhibition dates: 20th November 2019 – 15th March 2020

Curators: Dora Maar is curated by Karolina Ziebinska-Lewandowska, Curator, Centre Pompidou, Paris, Damarice Amao, Assistant Curator, Centre Pompidou, Paris and Amanda Maddox, Associate Curator, the J. Paul Getty Museum, Los Angeles with Emma Lewis, Assistant Curator, Tate Modern. The Tate Modern presentation is curated by Emma Lewis, Assistant Curator with Emma Jones, Curatorial Assistant, Tate Modern.

 

 

Dora Maar (French, 1907-1997) 'Untitled (Hand-Shell)' 1934

 

Dora Maar (French, 1907-1997)
Untitled (Hand-Shell)
1934
Gelatin silver print on paper
401 x 289 mm
Centre Pompidou, Musée national d’art moderne, Paris
Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais
Image Centre Pompidou, MNAM-CCI © ADAGP, Paris and DACS, London 2019

 

 

What a creative woman. But yet another abused by the ego of a male, that of her lover, Picasso.

Beth Gersh-Nesic observes, “Was Dora Maar’s brilliant career cut short by the typical conflicts facing professional women in the 1930s, and even today? Or was she a victim of Picasso’s psychological abuse, which chipped away at her original confidence? Was she compromised to the point that she only wanted to please the man she loved? According to art historian John Richardson, Dora Maar sacrificed her gifts on the altar of her art god, her idol, Picasso. Based on the early Surrealist photographs we see in her retrospective, one can only wish she hadn’t taken up with Picasso, for it seems she might have achieved far more in her lifetime without him.”

What we can say is that Maar left behind a strong body of photographic work – from fashion and commercial, to restrained, classical formalism with surrealist inflections; from street photography to “the stuff of delirium and nightmare, [which] taps into the unconscious, internalised sublime”, her Portrait of Ubu (1936, below) reminding me strongly of William Blake’s painting The Ghost of a Flea (c. 1819). Ubu is “a ghastly being of indeterminate origin and melancholy aspect… [an idea] something like l’informe, the concept Maar’s lover Georges Bataille coined to describe his fellow-Surrealists’ admiration for all things larval and grotesquely about-to-be.” Ubu is a her dark notion of a street “urchin”.

Her warped photomontages are technical marvels. “”She captures the mysterious,” Caws wrote, “in a combination of the unresolved and the sharply angled. This frequently creates a sense of ambiguity, even menace.” Caws notes that Dora Maar responded to Louis Aragon’s invocation “for each person there is one image to find that will disturb the whole universe.” Maar’s images managed to “disturb and reveal” with a bit of the macabre mixed in.”

But her images are more than a bit of this and a bit of that. They possess a utilitarian feeling in the enunciation of their menace, which makes them all the more effective when impinging on our waking dreams. Susan Sontag notes, “Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognise as modern” (Sontag, On Photography, p. 2). Thicken is the critical word. Maar’s photographs thicken our atmospheric (and mental) miasma, prescient of our modern world full of dark passages: pitch black sewers, fatbergs, drone strikes, bush fire skies, virus, murder and mayhem. In the back of my head. My eyes. Roll, roll, roll. Skewered. Roasted.

Dr Marcus Bunyan

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

 

 

The most accomplished examples of Maar’s art are the photomontages of 1935 and 1936. There were already many vaults and arches in her Mont-Saint-Michel pictures; now she took the cloistral galleries of the Orangerie at Versailles, upended them so that they looked like sewers, and populated them with cryptic beings engaged in arcane rituals or dramas. In “The Simulator,” (below) a boy from one of her street photographs is bent backward at an obscene angle; Maar has retouched his eyes so that they roll back in his head toward us, like one of those thrashing hysterics photographed in the nineteenth century. In “29 Rue d’Astorg” (below) – of which Maar made several versions, black-and-white and hand-coloured – a human figure with a curtailed, avian head is seated beneath arches that have been subtly warped in the darkroom.

.
Brian Dillon. “The Voraciousness and Oddity of Dora Maar’s Pictures,” on The New Yorker website May 21, 2019 [Online] Cited 23/11/2019

 

 

During the 1930s, Dora Maar’s provocative photomontages became celebrated icons of surrealism.

Her eye for the unusual also translated to her commercial photography, including fashion and advertising, as well as to her social documentary projects. In Europe’s increasingly fraught political climate, Maar signed her name to numerous left-wing manifestos – a radical gesture for a woman at that time.

Her relationship with Pablo Picasso had a profound effect on both their careers. She documented the creation of his most political work, Guernica 1937. He painted her many times, including Weeping Woman 1937. Together they made a series of portraits combining experimental photographic and printmaking techniques.

In middle and later life Maar withdrew from photography. She concentrated on painting and found stimulation and solace in poetry, religion, and philosophy, returning to her darkroom only in her seventies.

This exhibition will explore the breadth of Maar’s long career in the context of work by her contemporaries.

Text from the Tate Modern website

 

 

Dora Maar (French, 1907-1997) 'Woman sitting in profile, the bust dressed in a blouse made of tattoo patterns drawn on the photograph' c. 1930

 

Dora Maar (French, 1907-1997)
Woman sitting in profile, the bust dressed in a blouse made of tattoo patterns drawn on the photograph
c. 1930
Gelatin silver print
Private Collection
© Estate of Dora Maar / DACS 2019, All Rights Reserved

 

Dora Maar (French, 1907-1997) 'Child with a Beret' c. 1932

 

Dora Maar (French, 1907-1997)
Child with a Beret
c. 1932
Gelatin silver print
Courtesy VEGAP / Museo Nacional Centro de Arte Reina Sofia

 

Dora Maar (French, 1907-1997) 'Barcelona, Saleswomen in the Butcher Shop' 1933

 

Dora Maar (French, 1907-1997)
Barcelona, Saleswomen in the Butcher Shop
1933
Silver Gelatin Print
48.7 x 38.8 cm
Private Collection
© Adagp, Paris 2019
Photo: © Fotogasull

 

Dora Maar (French, 1907-1997) 'Blind Street Peddler, Barcelona' 1933

 

Dora Maar (French, 1907-1997)
Blind Street Peddler, Barcelona
1933
Gelatin silver print
Image: 39.3 x 29.3 cm (15 1/2 x 11 9/16 in.)
Gift of David Raymond
The Cleveland Museum of Art
© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris

 

Dora Maar (French, 1907-1997) 'Street Boy on the Corner of the rue de Genets' 1933

 

Dora Maar (French, 1907-1997)
Street Boy on the Corner of the rue de Genets
1933
Gelatin silver print
Harvard Art Museums/ Fogg Museum, Richard and Ronay Menschel Fund for the Acquisition of Photographs
© ADAGP, Paris and DACS, London 2019

 

Dora Maar (French, 1907-1997) 'Repent for the Kingdom of Heaven is at Hand' 1934

 

Dora Maar (French, 1907-1997)
Repent for the Kingdom of Heaven is at Hand
1934
Gelatin silver print
Sheet: 24.3 × 18 cm (9 9/16 × 7 1/16 in.)
© Dora Maar Estate/Artists Rights Society (ARS), New York/ADAGP, Paris
Gift of David and Marcia Raymond

 

Dora Maar (French, 1907-1997) 'Stairwell and Plants in Kew Gardens' 1934

 

Dora Maar (French, 1907-1997)
Stairwell and Plants in Kew Gardens
1934
Gelatin silver print, ferrotyped
Image: 28 x 24 cm (11 x 9 7/16 in.)
John L. Severance Fund
The Cleveland Museum of Art
© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris

 

Dora Maar (French, 1907-1997) 'Pearly King collecting money for the Empire Day' 1935

 

Dora Maar (French, 1907-1997)
Pearly King collecting money for the Empire Day
1935
Gelatin silver print
Tate
© Estate of Dora Maar / DACS 2019, All Rights Reserved

 

Dora Maar (French, 1907-1997) 'Carousel at Night' 1931-1936

 

Dora Maar (French, 1907-1997)
Carousel at Night
1931-1936
Gelatin silver print, ferrotyped
Image: 25 x 19.8 cm (9 13/16 x 7 13/16 in.)
John L. Severance Fund
The Cleveland Museum of Art
© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris

 

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019

 

Installation views of the exhibition Dora Maar at Tate Modern, 2019 showing, in the bottom image, the photographs Untitled (Nude) 1930s (left) and Untitled (Nude) c. 1938 (right)

 

Dora Maar (French, 1907-1997) 'Assia' 1934

 

Dora Maar (French, 1907-1997)
Assia
1934
Gelatin silver print
26.4 x 19.5 cm

 

 

This autumn, Tate Modern presents the first UK retrospective of the work of Dora Maar (1907-97) whose provocative photographs and photomontages became celebrated icons of surrealism. Featuring over 200 works from a career spanning more than six decades, this exhibition shows how Maar’s eye for the unusual also translated to her commercial commissions, social documentary photographs, and paintings – key aspects of her practice which have, until now, remained little known.

Born Henriette Théodora Markovitch, Dora Maar grew up between Argentina and Paris and studied decorative arts and painting before switching her focus to photography. In doing so, Maar became part of a generation of women who seized the new professional opportunities offered by advertising and the illustrated press. Tate Modern’s exhibition will open with the most important examples of these commissioned works. Around 1931, Maar set up a studio with film set designer Pierre Kéfer specialising in portraiture, fashion photography and advertising. Works such as Untitled (Les années vous guettent) c. 1935 – believed to be an advertising project for face cream that Maar made by overlaying two negatives – will reveal Maar’s innovative approach to constructing images through staging, photomontage and collage. Striking nude studies such as that of famed model Assia Granatouroff will also reveal how women photographers like Maar were beginning to infiltrate relatively taboo genres such as erotica and nude photography.

During the 1930s, Maar was active in left-wing revolutionary groups led by artists and intellectuals. Reflecting this, her street photography from this time shot in Barcelona, Paris and London captured the reality of life during Europe’s economic depression. Maar shared these politics with the surrealists, becoming one of the few photographers to be included in the movement’s exhibitions and publications. A major highlight of the show will be outstanding examples of this area of Maar’s practice, including Portrait d’Ubu 1936, an enigmatic image thought to be an armadillo foetus, and the renowned photomontages 29, rue d’Astorg c. 1936 and Le Simulateur 1935. Collages and publications by André Breton, Georges Hugnet, Paul and Nusch Eluard, and Jacqueline Lamba will place Maar’s work in context with that of her inner circle.

In the winter of 1935-6 Maar met Pablo Picasso and their relationship of around eight years had a profound effect on both their careers. She documented the creation of his most political work Guernica 1937, offering unprecedented insight into his working process. He in turn immortalised her in the motif of the ‘weeping woman’. Together they made a series of portraits that combined experimental photographic and printmaking techniques, anticipating her energetic return to painting in 1936. Featuring rarely seen, privately-owned canvases such as La Conversation 1937 and La Cage 1943, and never-before exhibited negatives from the Dora Maar collection at the Musée National d’art Moderne, the exhibition will shed new light on the dynamic between these two artists during the turbulent wartime years.

After the Second World War, Maar began dividing her time between Paris and the South of France. During this period, she explored diverse subject matter and styles before focusing on gestural, abstract paintings of the landscape surrounding her home. Though these works were exhibited to acclaim in London and Paris into the 1950s, Maar gradually withdrew from artistic circles. As a result, the second half of her life became shrouded in mystery and speculation. The exhibition will reunite over 20 works from this little-known – yet remarkably prolific – period. Dora Maar concludes with a substantial group of camera-less photographs that she made in the 1980s when, four decades after all but abandoning the medium, Maar returned to her darkroom.

Dora Maar is curated by Karolina Ziebinska-Lewandowska, Curator, Centre Pompidou, Paris, Damarice Amao, Assistant Curator, Centre Pompidou, Paris and Amanda Maddox, Associate Curator, the J. Paul Getty Museum, Los Angeles with Emma Lewis, Assistant Curator, Tate Modern. The Tate Modern presentation is curated by Emma Lewis, Assistant Curator with Emma Jones, Curatorial Assistant, Tate Modern.

The exhibition will be accompanied by a fully-illustrated catalogue jointly published by Tate and the J. Paul Getty Museum and a programme of talks and events in the gallery.

Press release from Tate Britain [Online] Cited 16/11/2019

 

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019

 

Installation views of the exhibition Dora Maar at Tate Modern, 2019 showing at second left, Untitled (Study of Beauty) (c. 1931, below)

 

Dora Maar. 'Untitled (Study of Beauty)' c. 1931

 

Dora Maar (French, 1907-1997)
Untitled (Study of Beauty)
c. 1931
Gelatin silver print
© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris

 

Dora Maar (French, 1907-1997) 'Untitled (Lee Miller)' c. 1933

 

Dora Maar (French, 1907-1997)
Untitled (Lee Miller) (multiple exposure)
c. 1933
Gelatin silver print

 

Dora Maar (French, 1907-1997) 'Untitled (Mannequin sitting in profile in dress and evening jacket)' c. 1932-1935

 

Dora Maar (French, 1907-1997)
Untitled (Mannequin sitting in profile in dress and evening jacket)
c. 1932-1935
Gelatin silver print enhanced with colours
29.9 x 23.8cm
Collection Centre Pompidou, Paris, Musée national d’art moderne, Centre de création industrielle
© ADAGP, Paris, 2019

 

Dora Maar (French, 1907-1997) 'Untitled (Fashion photograph Model star)' c. 1935

 

Dora Maar (French, 1907-1997)
Untitled (Fashion photograph Model star)
c. 1935
Gelatin silver print
300 x 200 mm
Collection Therond
© ADAGP, Paris and DACS, London 2019

 

Dora Maar (French, 1907-1997) 'Model in Swimsuit' 1936

 

Dora Maar (French, 1907-1997)
Model in Swimsuit
1936
Gelatin silver on paper
197 x 167 mm
The J. Paul Getty Museum, Los Angeles
© ADAGP, Paris and DACS, London 2019

 

Dora Maar (French, 1907-1997) 'Portrait of Lise Deharme, at home in front of her birdcage' 1936

 

Dora Maar (French, 1907-1997)
Portrait of Lise Deharme, chez elle devant sa cage a oiseaux
Portrait of Lise Deharme, at home in front of her birdcage 
1936
Gelatin silver print

 

Dora Maar (French, 1907-1997) 'Publicity Study, Pétrole Hahn' 1934-1935

 

Dora Maar (French, 1907-1997)
Publicity Study, Pétrole Hahn
1934-1935
Silver gelatin print on a flexible support in cellulose nitrate
17.6 x 24 cm
Collection Centre Pompidou, Paris, Musée national d’art moderne Centre de création industrielle
© Adagp, Paris 2019
Photo: © Centre Pompidou, MNAM-CCI / Dist. RMN-GP

 

 

Associated with Pierre Kéfer from 1930 to 1934, she collaborated in 1931 on the photographic illustration of the art historian Germain Bazin’s book Le Mont Saint-Michel (1935). She then shared a studio with Brassaï, after which Emmanuel Sougez, the spokesman for the New Photography movement, became her mentor. Her work met the aesthetic criteria of the time: close-ups of flowers and objects, and photograms in the style of Man Ray. She also took portraits, original publicity shots, and fashion and erotic photographs. In 1934, while traveling alone in Spain, Paris and London, she shot a vast number of urban views (posters, shop windows, ordinary people). Both a passionate lover and committed intellectual, she became the mistress of the filmmaker Louis Chavance and of the writer Georges Bataille, whom she met in a left-wing activist group. She signed the Contre-Attaque manifesto and rubbed shoulders with the agitprop artistic group Octobre. A close friend of Jacqueline Lamba, who became Breton’s wife, she was fully involved in the surrealist group, of whose members she made many portraits. At the height of her creativity in 1935-1936, she composed strange and bold photomontages, the most famous being 29, rue d’Astorg and The Simulator (both below). Some of her compositions verge on eroticism, like the photomontage showing fingers crawling out of a shell and sensually digging into the sand (Untitled, 1933-1934, top). She also used her city photographs as backdrops for unsettling scenes: her Portrait of Ubu (1936, below) – in fact the picture of an armadillo foetus – conforms to the surrealists’ fascination for macabre and deformity.

Anne Reverseau. “Dora Maar,” from the Dictionnaire universel des créatrices on the Archives of Women Artists Research & Exhibitions website [Online] Cited 16/11/2019

 

Dora Maar (French, 1907-1997) 'Les yeux' c. 1932-1935

 

Dora Maar (French, 1907-1997)
Les yeux (The eyes)
c. 1932-1935
Silver print on flexible media
29.5 x 23.5 cm
© Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais
Image Centre Pompidou, MNAM-CCI, © ADAGP, Paris

 

Dora Maar (French, 1907-1997) 'Untitled' 1935

 

Dora Maar (French, 1907-1997)
Untitled
1935
Photomontage
232 x 150 mm
Musée National d’Art Moderne – Centre Pompidou (Paris, France)
© Estate of Dora Maar / DACS 2019, All Rights Reserved

 

 

When Maar began her career, the illustrated press was expanding quickly. This created a growing market for experimental photography. Maar embraced this opportunity, exploring the creative potential of staged images, darkroom experiments, collage and photomontage.

Most of Maar’s work had one thing in common: an uncanny atmosphere. Her connection to the surrealists led her to create fantastical images. This included using photomontage to bring together contrasting images and reflect the workings of the unconscious mind.

Unlike many other photomontage creators of this time, Maar did not use photographs taken from illustrated newspapers or magazines. Instead the images often came from her own work, including both street and landscape photography. This experimentation and obvious construction became a defining feature of Maar’s work.

Anonymous text from “Seven Things to Know: Dora Maar,” on the Tate website [Online] Cited 16/11/2019

 

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019

 

Installation view of the exhibition Dora Maar at Tate Modern, 2019 showing at second left, Arcade (1934, see below)

 

 www.actingoutpolitics.com Dora Maar. 'Arcade' 1934

 

Dora Maar (French, 1907-1997)
Arcade
1934
Photomontage

 

Dora Maar (French, 1907-1997) 'Danger' 1936

 

Dora Maar (French, 1907-1997)
Danger
1936
Gelatin silver print

 

Dora Maar (French, 1907-1997) '29 rue d'Astorg' c. 1936

 

Dora Maar (French, 1907-1997)
29 rue d’Astorg
c. 1936
Photograph, hand-coloured gelatin silver print on paper
294 x 244 mm
Collection Centre Pompidou, Paris. Musée national d’art moderne Centre de création industrielle
Photo: © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP
© ADAGP, Paris and DACS, London 2019

 

Dora Maar (French, 1907-1997) 'The Simulator' 1936

 

Dora Maar (French, 1907-1997)
The Simulator
1936
Silver gelatin print printed on a carton
27 x 22.2 cm (excluding the margin)
Gift from Marguerite Arp-Hagenbach in 1973
Collection Centre Pompidou, Paris Musée national d’art moderne, Centre de création industrielle
© Adagp, Paris 2019
Photo: © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP

 

 

Maar’s early photomontages look almost as modish and styled as her fashion work. From a shell resting on sand, a dummy hand protrudes, with delicate fingers and painted nails, just like Maar’s own (see top image). In a way, the image could be by one of many photographers of the period – Cecil Beaton, say, or Angus McBean – who politely surrealised their pictures, as if the artistic movement were merely a visual style. Except: there is something ominously self-involved about this hybrid thing. The shell and hand recall Bataille’s obsessions with crustaceans, mollusks, and orphaned or butchered body parts. The hand rhymes with similar ones in the photographs of Claude Cahun, where they sometimes have masturbatory implications. And what are we to make of the storm-lit, gothic sky that looms over this auto-curious object?

The most accomplished examples of Maar’s art are the photomontages of 1935 and 1936. There were already many vaults and arches in her Mont-Saint-Michel pictures; now she took the cloistral galleries of the Orangerie at Versailles, upended them so that they looked like sewers, and populated them with cryptic beings engaged in arcane rituals or dramas. In “The Simulator,” (above) a boy from one of her street photographs is bent backward at an obscene angle; Maar has retouched his eyes so that they roll back in his head toward us, like one of those thrashing hysterics photographed in the nineteenth century. In “29 Rue d’Astorg” (above) – of which Maar made several versions, black-and-white and hand-coloured – a human figure with a curtailed, avian head is seated beneath arches that have been subtly warped in the darkroom.

Brian Dillon. “The Voraciousness and Oddity of Dora Maar’s Pictures,” on The New Yorker website May 21, 2019 [Online] Cited 23/11/2019

 

Dora Maar also participated in the Surrealists’ group exhibitions, such as the one at Charles Ratton’s Gallery in 1936, wherein her Portrait of Ubu became the “icon of Surrealism,” according to her biographer Mary Ann Caws in her exceptional book Picasso’s Weeping Woman: The Life and Art of Dora Maar (2000). “She captures the mysterious,” Caws wrote, “in a combination of the unresolved and the sharply angled. This frequently creates a sense of ambiguity, even menace.” (p. 20) Caws notes that Dora Maar responded to Louis Aragon’s invocation “for each person there is one image to find that will disturb the whole universe.” Maar’s images managed to “disturb and reveal” with a bit of the macabre mixed in. (p. 71)

Beth Gersh-Nesic. “Picasso’s Weeping Woman as Artist Instead of Muse: Dora Maar’s Retrospective at Centre Pompidou,” on the Bonjour Paris website July 24, 2019 [Online] Cited 23/11/2019

 

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019

 

Installation view of the exhibition Dora Maar at Tate Modern, 2019 showing Maar’s photographs Portrait of Ubu (1936, left), Untitled (Hand-Shell) (1934, top middle) and Danger (1936, bottom right) Photo: Tate (Andrew Dunkley)

 

Dora Maar (French, 1907-1997) 'Portrait of Ubu' 1936

 

Dora Maar (French, 1907-1997)
Portrait of Ubu
1936
Silver gelatin print
24 x 18 cm
Collection Centre Pompidou, Paris, Musée national d’art moderne, Centre de création industrielle
© Adagp, Paris
Photo: © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP

 

 

In 1936, at the summit of her celebrity as a photographic artist, Dora Maar showed her picture “Portrait of Ubu” in the International Surrealist Exhibition, at the New Burlington Galleries, London. Named after a scatological, ur-Surrealist play by Alfred Jarry, from 1896, the black-and-white photograph shows a ghastly being of indeterminate origin and melancholy aspect. Maar would never say what the clawed, scaly creature was, nor where she had come across it. Her Ubu has elements of Jarry’s porcine, louse-like original, and, with its doleful eye and drooping ears, it also resembles an ass or an elephant. Scholars generally agree that the monster is in fact an armadillo foetus, preserved in a specimen jar. It is also an idea: something like l’informe, the concept Maar’s lover Georges Bataille coined to describe his fellow-Surrealists’ admiration for all things larval and grotesquely about-to-be.

Brian Dillon. “The Voraciousness and Oddity of Dora Maar’s Pictures,” on The New Yorker website May 21, 2019 [Online] Cited 23/11/2019

 

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019

 

Installation view of the exhibition Dora Maar at Tate Modern, 2019 showing her series of portrait photomontages from the mid-1930s (see below)

 

Dora Maar (French, 1907-1997) 'Double Portrait with Hat' c. 1936-37

 

Dora Maar (French, 1907-1997)
Double Portrait with Hat
c. 1936-37
Gelatin silver print, montage with handwork on negative
Image: 29.8 x 23.8 cm (11 3/4 x 9 3/8 in.)
Gift of David Raymond
The Cleveland Museum of Art
© Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

To produce this complex image, Maar sandwiched together two negatives of the same model, one frontal and one profile, scavenged from a magazine assignment on springtime hats, and painted the background and hat (or decomposing halo?) onto the negative. Softening the emulsion, she scraped and lifted it off, techniques that involve destruction and suggest disintegration. The face evokes Picasso’s depictions of female faces, especially his 1938 paintings of weeping women for which Maar was the model. Although the divided face is not Maar’s, it is tempting to interpret it as a reflection of her emotional state at the time, torn between her career and independence and Picasso’s demands and potent personality. frontal and one profile, scavenged from a magazine assignment on springtime hats, and painted the background and hat (or decomposing halo?) onto the negative. Softening the emulsion, she scraped and lifted it off, techniques that involve destruction and suggest disintegration. The face evokes Picasso’s depictions of female faces, especially his 1938 paintings of weeping women for which Maar was the model. Although the divided face is not Maar’s, it is tempting to interpret it as a reflection of her emotional state at the time, torn between her career and independence and Picasso’s demands and potent personality.

Text from The Cleveland Museum of Art website [Online] Cited 16/11/2019

 

Dora Maar (French, 1907-1997) 'Profile portrait with glasses and hat' 1930-35

 

Dora Maar (French, 1907-1997)
Profile portrait with glasses and hat
1930-35
Gelatin silver print
© Dora Maar Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

 

Dora Maar (French, 1907-1997) 'Man looking inside a sidewalk inspection door, London' c. 1935

 

Dora Maar (French, 1907-1997)
Man looking inside a sidewalk inspection door, London
c. 1935
Gelatin silver print
Collection of Michael Mattis and Judith Hochberg, New York
Courtesy art2art Circulating Exhibitions
© Estate of Dora Maar / DACS 2019, All Rights Reserved​

 

 

Maar became involved with the surrealists from 1933 and was one of the few artists – and even fewer women – to be included in the surrealists’ exhibitions. She became close to the group because of their shared left-wing politics at a time of social and civil unrest in France.

Maar’s photography and photomontages explore surrealist themes such as eroticism, sleep, the unconscious and the relationship between art and reality. Cropped frames, dramatic angles, unexpected juxtapositions and extreme close-ups are used to create surreal images. Contrasting with the idea of a photograph as a factual record, Maar’s scenes disorientate the viewer and create new worlds altogether.

Anonymous text from “Seven Things to Know: Dora Maar,” on the Tate website [Online] Cited 16/11/2019

 

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019

 

Installation view of the exhibition Dora Maar at Tate Modern, 2019 showing Maar’s photographs Portrait of Nusch Éluard (1935, left) and Les années vous guettent (The Years are Waiting for You) (1932, right)

 

Dora Maar (French, 1907-1997) 'Portrait of Nusch Éluard' 1935

 

Dora Maar (French, 1907-1997)
Portrait of Nusch Éluard
1935
Gelatin silver print

 

Dora Maar (French, 1907-1997) 'Les années vous guettent' (The Years are Waiting for You) 1932

 

Dora Maar (French, 1907-1997)
Les années vous guettent (The Years are Waiting for You)
1932
Gelatin silver print
© Dora Maar Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

 

Dora Maar (French, 1907-1997) 'Untitled' c. 1940

 

Dora Maar (French, 1907-1997)
Untitled
c. 1940
Gelatin silver print

 

Eileen Agar (1899-1991) 'Photograph of Dora Maar and Pablo Picasso on the beach' September 1937

 

Eileen Agar (1899-1991)
Photograph of Dora Maar and Pablo Picasso on the beach
September 1937
Gelatin silver print
68 x 60 mm
Taken in Juan-les-pins, France
Tate Archive
Presented to Tate Archive by Eileen Agar in 1989 and transferred from the photograph collection in 2012

 

Eileen Agar (1899-1991) 'Photograph of Dora Maar, Nusch Éluard, Pablo Picasso and Paul Éluard on the beach' September 1937

 

Eileen Agar (1899-1991)
Photograph of Dora Maar, Nusch Éluard, Pablo Picasso and Paul Éluard on the beach
September 1937
Gelatin silver print
66 x 66 mm
Taken in Juan-les-pins, France
Tate Archive
Presented to Tate Archive by Eileen Agar in 1989 and transferred from the photograph collection in 2012

 

Dora Maar (French, 1907-1997) 'Portrait of Picasso, Paris, studio 29, rue d'Astorg' Winter, 1935-35

 

Dora Maar (French, 1907-1997)
Portrait of Picasso, Paris, studio 29, rue d’Astorg
Winter, 1935-35
Silver gelatin negative on flexible support in cellulose nitrate
12 x 9 cm
Collection Centre Pompidou, Paris Musée national d’art moderne Centre de création industrielle
© Adagp, Paris 2019
Photo: © Centre Pompidou, MNAM-CCI / Dist. RMN-GP

 

Dora Maar (French, 1907-1997) 'Portrait of Pablo Picasso' 1936

 

Dora Maar (French, 1907-1997)
Portrait of Pablo Picasso
1936
Pastel on paper
57.5 x 45 cm
Private collection, Yann Panier
Courtesy Galerie Brame and Lorenceau
© Adagp, Paris 2019
© The Museum of Fine Arts, Houston

 

Pablo Picasso (Spanish, 1881-1973) 'Portrait of Dora Maar' 1937

 

Pablo Picasso (Spanish, 1881-1973)
Portrait of Dora Maar
1937
Musée National Picasso-­Paris
Copyright RMN-Grand Palais, Mathieu Rabeau and Succession Picasso, 2018

 

Dora Maar (French, 1907-1997) 'Guernica' May-June, 1937

 

Dora Maar (French, 1907-1997)
Guernica
May-June, 1937
Gelatin silver print
Musée National Picasso-­Paris
Copyright RMN-Grand Palais, Mathieu Rabeau and Succession Picasso, 2018

 

Dora Maar. 'Picasso working on "Guernica"' 1937

 

Dora Maar (French, 1907-1997)
Picasso working on “Guernica”
1937
Gelatin silver print
Courtesy VEGAP / Museo Nacional Centro de Arte Reina Sofia

 

Dora Maar. 'Picasso working on "Guernica"' 1937

 

Dora Maar (French, 1907-1997)
Picasso working on “Guernica”
1937
Gelatin silver print
Courtesy VEGAP / Museo Nacional Centro de Arte Reina Sofia

 

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019 showing Maar's painting 'The Conversation' 1937

 

Installation view of the exhibition Dora Maar at Tate Modern, 2019 showing Maar’s painting The Conversation 1937
Photo: Tate (Andrew Dunkley)

 

Dora Maar (French, 1907-1997) 'The Conversation' 1937

 

Dora Maar (French, 1907-1997)
The Conversation
1937
Oil on canvas
162 x 130 cm
Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid
© FABA © ADAGP, Paris and DACS, London 2019
Photo: Marc Domage

 

 

“I must dwell apart in the desert,” the artist and surrealist photographer Dora Maar once said. “I want to create an aura of mystery about my work. People must long to see it.

“I’m still too famous as Picasso’s mistress to be accepted as a painter.”

These words form part of a conversation recorded by Maar’s friend, the art writer James Lord, in his memoir “Picasso and Dora.” During the exchange, the French artist also explains how she rationalised the work of her later years, given that she rarely exhibited and was not in demand. …

With its deliberate focus on their art, the exhibition doesn’t address certain troubling questions about the pair’s unequal personal relationship. In her memoirs, Picasso’s later lover, Françoise Gilot, recounted the brutal bullying to which the artist subjected Maar. Picasso once described the time that Maar and a previous lover, Marie-Thérèse Walter, came to blows in his studio as one of his “choicest memories.”

It’s a subject Maar didn’t shy away from in her art, painting herself alongside Walter in “The Conversation,” one of the works on show at the Tate Modern. Maar is depicted facing away while Walter looks directly at the viewer.

During the aforementioned exchange with James Lord, Maar told the writer that Picasso’s portraits of her were “lies.” But the struggle for recognition she went on to describe is more insightful – that she had to survive in the “desert” to be celebrated on her own terms.

Max Ramsay. “Dora Maar is no longer Picasso’s ‘Weeping Woman’,” on the CNN website 20th November 2019 [Online] Cited 23/11/2019

 

Pablo Picasso (Spanish, 1881-1973) 'Dora Maar seated' 1938

 

Pablo Picasso (Spanish, 1881-1973)
Dora Maar seated
1938
Ink, gouache and oil paint on paper on canvas
Support: 689 x 625 mm
Frame: 925 x 685 x 120 mm
Tate
Purchased 1960

 

 

In late 1935 or early 1936, Maar met Pablo Picasso. They became lovers soon afterwards. She was at the height of her career, while he was emerging from what he described as ‘the worst time of my life’. He had not sculpted or painted for months.

Their relationship had a huge affect on both their careers. Maar documented the creation of Picasso’s most political work, Guernica 1937, encouraged his political awareness and educated him in photography. Specifically, Maar taught Picasso the cliché verre technique – a complex method combining photography and printmaking.

Picasso painted Maar in numerous portraits, including Weeping Woman 1937. However, Maar explained that she felt this wasn’t a portrait of her. Instead it was a metaphor for the tragedy of the Spanish people. Picasso also encouraged Maar to return to painting. The flattened features and bold outlines of the cubist-style portraits Maar made at this time suggest Picasso’s influence. By 1940 her passport listed her profession as ‘photographer-painter’.

Anonymous text from “Seven Things to Know: Dora Maar,” on the Tate website [Online] Cited 16/11/2019

 

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019

 

Installation view of the exhibition Dora Maar at Tate Modern, 2019 showing portraits of the artist by numerous artists, some of which you can see below

 

Dora Maar (French, 1907-1997) 'Self-portrait with Fan' 1930

 

Dora Maar (French, 1907-1997)
Self-portrait with Fan
1930
Gelatin silver print

 

Emmanuel Sougez (French, 1889-1972) 'Dora Maar' Paris, 1934

 

Emmanuel Sougez (French, 1889-1972)
Dora Maar
Paris, 1934
Gelatin silver print

 

 

Dora Maar considered the French commercial photographer Emmanuel Sougez (1889-1972) her mentor. Her first commission was a book on Mont-Saint-Michel written by art critic Germain Bazin. She collaborated with the stage-set designer Pierre Kéfer in 1931. From that experience they formed a business partnership, set up at first in his parents’ garden in Neuilly and then moving to their own studio at 9 rue Campagne-Première, lent by the Polish photographer Harry Ossip Meerson (1910-1991), younger brother of the cinema art director Lazare Meerson (1900-1938), who had worked with Kéber at Film Albatros studio in the mid-1920s. Harry Meerson also lent out his darkroom to the Hungarian photographer Brassai (Gyula Halász, 1899-1984), who became Dora Maar’s close friend. Her contact with Brassai brought her into the Surrealist circle.

The Kéfer-Dora Maar studio produced glamorous, innovative images for advertising and portraits, becoming part of the booming industry of commercial photography in glossy magazines. It was a fertile context for Dora Maar’s imagination. Her perspective on the modern women of the 1930s produced models oozing with elegant sensuality. Cool, natural, sometimes athletic, sometimes aristocratic, the Kéfer-Dora Maar female gave off a whiff of eroticise insouciance that emanated from Dora’s own disposition. This conceptualisation of contemporary beauty fed the appetite for luxury and leisure time activities, despite the Great Depression. It was a fantasy for some, a reality for others. During this period of working intensely with Pierre Kéfer, Dora had affairs with the filmmaker Louis Chavance (c. 1932-33) and the erotically transgressive writer Georges Bataille (late 1933-1934). The Kéfer-Dora Maar studio closed in 1934.

Beth Gersh-Nesic. “Picasso’s Weeping Woman as Artist Instead of Muse: Dora Maar’s Retrospective at Centre Pompidou,” on the Bonjour Paris website July 24, 2019 [Online] Cited 23/11/2019

 

Man Ray (American, 1890-1976) 'Portrait of Dora Maar' 1936

 

Man Ray (American, 1890-1976)
Portrait of Dora Maar
1936
Gelatin silver print

 

Rogi André (née Rosa Klein) 'Dora Maar, Paris' 1941

 

Rogi André (née Rosa Klein)
Dora Maar, Paris
1941
Gelatin silver print
6 1/2 x 4 1/2 in. (16.5 x 11.4 cm)

 

Brassaï (French-Hungarian, 1899-1984) 'Dora Maar in her workshop rue de Savoie' 1943

 

Brassaï (French-Hungarian, 1899-1984)
Dora Maar dans son atelier rue de Savoie (Dora Maar in her workshop rue de Savoie)
1943
Gelatin silver print
© Adagp, Paris 2019 / Estate Brassaï – RMN-Grand Palais

 

Izis (Israel Bidermanas) (Lithuanian-Jewish, 1911-1980) 'Dora Maar' 1946

 

Izis (Israel Bidermanas) (Lithuanian-Jewish, 1911-1980)
Dora Maar
1946
Gelatin silver print

 

 

Israëlis Bidermanas (17 January 1911 in Marijampolė – 16 May 1980 in Paris), who worked under the name of Izis, was a Lithuanian-Jewish photographer who worked in France and is best known for his photographs of French circuses and of Paris.

Upon the liberation of France at the end of World War II, Izis had a series of portraits of maquisards (rural resistance fighters who operated mainly in southern France) published to considerable acclaim. He returned to Paris where he became friends with French poet Jacques Prévert and other artists. Izis became a major figure in the mid-century French movement of humanist photography – also exemplified by Brassaï, Cartier-Bresson, Doisneau, Sabine Weiss and Ronis – with “work that often displayed a wistfully poetic image of the city and its people.”

For his first book, Paris des rêves (Paris of Dreams), Izis asked writers and poets to contribute short texts to accompany his photographs, many of which showed Parisians and others apparently asleep or daydreaming. The book, which Izis designed, was a success. Izis joined Paris Match in 1950 and remained with it for twenty years, during which time he could choose his assignments.

Text from the Wikipedia website

 

Irving Penn. 'Dora Maar' France 1948

 

Irving Penn (American, 1917-2009)
Dora Maar
France 1948
Gelatin silver print

 

Dora Maar (French, 1907-1997) 'Still life' 1941

 

Dora Maar (French, 1907-1997)
Still life
1941
Oil on canvas
© Adagp, Paris, 2019
Photo: © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP

 

Dora Maar (French, 1907-1997) 'Still Life with Jar and Cup' 1945

 

Dora Maar (French, 1907-1997)
Still Life with Jar and Cup
1945
Oil on canvas
45.5 x 50 cm
Private Collection
© Adagp, Paris, 2019
Photo: © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP

 

Dora Maar (French, 1907-1997) 'Landscape in Lubéron' 1950's

 

Dora Maar (French, 1907-1997)
Landscape in Lubéron
1950’s
Private collection of Nancy B. Negley
© Adagp © Brice Toul

 

 

Although the late works are not as significant contributions to the history of art as her Surrealist photomontages, they inform our knowledge of this Parisian artist’s accomplishments in general and beg the question: Was Dora Maar’s brilliant career cut short by the typical conflicts facing professional women in the 1930s, and even today? Or was she a victim of Picasso’s psychological abuse, which chipped away at her original confidence? Was she compromised to the point that she only wanted to please the man she loved? According to art historian John Richardson, Dora Maar sacrificed her gifts on the altar of her art god, her idol, Picasso. Based on the early Surrealist photographs we see in her retrospective, one can only wish she hadn’t taken up with Picasso, for it seems she might have achieved far more in her lifetime without him.

Beth Gersh-Nesic. “Picasso’s Weeping Woman as Artist Instead of Muse: Dora Maar’s Retrospective at Centre Pompidou,” on the Bonjour Paris website July 24, 2019 [Online] Cited 23/11/2019

 

Installation view of the exhibition 'Dora Maar' at Tate Modern, 2019

 

Installation view of the exhibition Dora Maar at Tate Modern, 2019 showing Maar’s paintings and photograms from the 1950s-1980s (see below)

 

Dora Maar (French, 1907-1997) 'Untitled' c. 1957

 

Dora Maar (French, 1907-1997)
Untitled
c. 1957
Watercolour
© Adagp, Paris 2019
Photo: © Centre Pompidou

 

Dora Maar (French, 1907 - 1997) 'Untitled' 1980s

 

Dora Maar (French, 1907-1997)
Untitled
1980s
Gelatin silver print
23.5 × 17.4 cm (9 1/4 × 6 7/8 in.)
© Dora Maar Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

Abstract photogram

 

 

The 1940s brought a series of traumas. Maar’s father left Paris for Argentina, her mother and best friend Nusch Eluard both died suddenly, her relationship with Picasso ended, and friends went into exile. The difficulty of this time is reflected in some of her work from this period.

Maar was included in many group and solo exhibitions in the 1940s and 1950s. In the mid-1940s she began to spend more time in rural surroundings of Ménerbes in the south of France. Here she regained her confidence as a painter and developed her own style of abstract landscapes. Exhibited across Europe, this work received very positive reviews.

In the 1980s, Maar returned to photography. However, she was no longer interested in photographing life on the street. Instead, Maar was interested in what she could create in the darkroom and experimented with hundreds of photograms (camera-less photographs).

Dora Maar died on July 16, 1997, at 89 years old. Throughout her life she created a vast and varied range of work, much of which was only discovered after her death. (Text from the Tate website)

Anonymous text from “Seven Things to Know: Dora Maar,” on the Tate website [Online] Cited 16/11/2019

 

Dora Maar (French, 1907-1997) 'Untitled' c. 1980

 

Dora Maar (French, 1907-1997)
Untitled
c. 1980
Gelatin silver print
23.5 × 30 cm (9 1/4 × 11 13/16 in.)
© Dora Maar Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

 

Dora Maar (French, 1907-1997) 'Untitled' 1980s

 

Dora Maar (French, 1907-1997)
Untitled
1980s
Silver Gelatin Print
9 x 6 cm
Collection Centre Pompidou, Paris. Musée national d’art moderne Centre de création industrielle
© Adagp, Paris
Photo: © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP

 

Dora Maar (French, 1907-1997) 'Untitled' c. 1980

 

Dora Maar (French, 1907-1997)
Untitled
c. 1980
Silver gelatin print
9 x 6 cm
Collection Centre Pompidou, Paris. Musée national d’art moderne Centre de création industrielle
© Adagp, Paris
Photo: © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

Opening hours:
Sunday – Thursday 10.00 – 18.00
Friday – Saturday 10.00 – 22.00

Tate Modern website

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12
Jan
20

European research tour exhibition: ‘Into the Night: Cabarets and Clubs in Modern Art’ at the Barbican Art Gallery, UK Part 2

Exhibition dates: 4th October 2019 – 19th January 2020

Visited October 2019 posted January 2020

 

Theo van Doesburg The Ciné-bal (cinema-ballroom) at Café L'Aubette, Strasbourg, designed by Theo van Doesburg 1926-28

 

Theo van Doesburg (Dutch, 1883-1931)
The Ciné-bal (cinema-ballroom) at Café L’Aubette, Strasbourg, designed by Theo van Doesburg
1926-28
Image: Collection Het Nieuwe Instituut, donation Van Moorsel, archive (code): DOES, inv.nr AB5252

 

 

Part 2 on this exceptional exhibition. Of particular interest here are:

the inspired paintings and drawings by Jeanne Mammen of Berlin nightlife which documents “the changing role of women and offer rare images of queer female desire.” Her work, associated with the New Objectivity and Symbolism movements, is incisive and sympathetic in its observation of difference and “depravity”. Her line is strong and the characterisation, assured;

Elfriede Lohse-Wächtler’s “scenes of Hamburg after dark [which] convey a raw sense of possibility through bold line, clashing colour and startling imagery.” The attitude of the hands in the painting Lissy (1931, below) balanced by the simplicity of the chair at left, and the furious line and bleeding, washes of watercolour of the men at the table at right – replete with their protruding, predatory teeth – make this a compelling image.

I think I might have found myself a new art hero.

Marcus

.
Many thankx to the Barbican Art Gallery for allowing me to publish the media photographs in the posting. All installation images are iPhone images by Dr Marcus Bunyan. Please click on the photographs for a larger version of the image.

 

 

Strasbourg L'Aubette 1928 wall text

Strasbourg L'Aubette 1928 wall text

 

Strasbourg: L’Aubette 1928 wall text
Photo: Marcus Bunyan

 

Into The Night: Cabarets And Clubs In Modern Art

 

Into the Night: Cabarets and Clubs in Modern Art
Installation view Barbican Art Gallery 4 October 2019 – 19 January 2020
© Tristan Fewings / Getty Images

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery

 

Installation views of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London
Photos: Marcus Bunyan

 

Theo van Doesburg L'Aubette: Projet de composition pour le sol du café-brasserie et du café-restaurant (L'Aubette: Design for a composition for the floor of the café-brasserie and the café-restaurant) 1927 (installation view)

 

Theo van Doesburg (Dutch, 1883-1931)
L’Aubette: Projet de composition pour le sol du café-brasserie et du café-restaurant (L’Aubette: Design for a composition for the floor of the café-brasserie and the café-restaurant) (installation view)
1927
Gouache and graphite pencil on tracing paper
Paris, Centre Pompidou – Museé national d’art moderne – Centre de création industrielle
Photo: Marcus Bunyan

 

Theo van Doesburg L'Aubette: Projet de composition pour le sol du café-brasserie et du café-restaurant (L'Aubette: Design for a composition for the floor of the café-brasserie and the café-restaurant) 1927 (installation view)

 

Theo van Doesburg (Dutch, 1883-1931)
L’Aubette: Projet de composition pour le sol du café-brasserie et du café-restaurant (L’Aubette: Design for a composition for the floor of the café-brasserie and the café-restaurant) (installation view)
1927
Gouache and graphite pencil on tracing paper
Paris, Centre Pompidou – Museé national d’art moderne – Centre de création industrielle
Photo: Marcus Bunyan

 

Theo van Doesburg. Final colour design for the screen wall of the Ciné-Dancing at L'Aubette 1927 (installation view)

 

Theo van Doesburg (Dutch, 1883-1931)
Final colour design for the screen wall of the Ciné-Dancing at L’Aubette (installation view)
1927
East India ink and paint on paper
Collection Het Nieuwe Instituut, Rotterdam. Gift Van Moorsel
Photo: Marcus Bunyan

 

 

Theo van Doesburg Ciné-Dancing wall text
Photo: Marcus Bunyan

 

Into The Night: Cabarets And Clubs In Modern Art

 

Into the Night: Cabarets and Clubs in Modern Art (downstairs gallery, room recreation)
Installation view Barbican Art Gallery 4 October 2019 – 19 January 2020
© Tristan Fewings / Getty Images

 

Downstairs gallery, room recreation

 

Sophie Taeuber-Arp. 'Aubette 63' 1927 (installation view)

 

Sophie Taeuber-Arp (Swiss, 1889-1943)
Aubette 63 (installation view)
1927
Gouache on paper
Musée d’Art Moderne et Contemporain de Strasbourg
Photo: Marcus Bunyan

 

Paris: Loïe Fuller 1890s wall text

 

Paris: Loïe Fuller 1890s wall text
Photos: Marcus Bunyan

 

Unknown, Loie Fuller, c. 1901

 

Unknown photographer (attributed to Falk Studio)
Loïe Fuller
c. 1901
Courtesy of the Library of Congress, Prints and Photographs Division, Washington, DC

 

 

Auguste and Louis Lumiere
Film Lumiere no. 765, 1 – Danse serpentine [II]
c. 1897-99
Hand-coloured 35mm film
49 secs (complete clip)
Video: Marcus Bunyan

 

Magnificent! Not Loïe Fuller but one of her many imitators. She refused to be captured on film.

 

Henri de Toulouse-Lautrec. 'Miss Loïe Fuller' 1893 (installation view)

Henri de Toulouse-Lautrec. 'Miss Loïe Fuller' 1893

Henri de Toulouse-Lautrec. 'Miss Loïe Fuller' 1893 wall text

 

Installation views of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing the work of Henri de Toulouse-Lautrec
Photos: Marcus Bunyan

 

Henri de Toulouse-Lautrec Miss Loïe Fuller 1893

 

Henri de Toulouse-Lautrec (French, 1864-1901)
Miss Loïe Fuller
1893
Bibliothèque de l’Institut National d’Histoire de l’Art, Collections Jacques Doucet
Inv. no. NUM EM TOULOUSE-LAUTREC 49 e
Courtesy Bibliothèque de l’Institut National d’Histoire de l’Art, Collections Jacques Doucet

 

Installation view showing Jules Cheret Folies Bergere La Loie Fuller lithographs

Jules Chéret. 'Fioles Bergère, La Loïe Fuller' 1893 (installation view)

 

Jules Chéret (French, 1836-1932)
Fioles Bergère, La Loïe Fuller (installation view)
1893
Lithograph
Paris, Musée des Arts Décoratifs
Photos: Marcus Bunyan

 

Jules Chéret. 'Folies Bergère, La Danse du Feu' (The Fire Dance) 1897 (installation view)

 

Jules Chéret (French, 1836-1932)
Folies Bergère, La Danse du Feu (The Fire Dance) (installation view)
1897
Lithograph
Paris, Musée des Arts Décoratifs
Photos: Marcus Bunyan

 

Paris: Chat Noir 1880s-90s

Paris: Chat Noir 1880s-90s

 

Paris: Chat Noir 1880s-90s wall text
Photos: Marcus Bunyan

 

Installation views of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

Installation views of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation views of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London
Photos: Marcus Bunyan

 

Henri Rivière (1864-1951) Poster for the performances Clairs de lune by Georges Fragerolle, L'honnête gendarme by Jean Richepin and Le treizième travail d'Hercule by Eugène Courboin (Le Chat Noir, 16 December 1896) (installation view)

 

Henri Rivière (French, 1864-1951)
Poster for the performances Clairs de lune by Georges Fragerolle, L’honnête gendarme by Jean Richepin and Le treizième travail d’Hercule by Eugène Courboin (Le Chat Noir, 16 December 1896) (installation view)
Cliché and letterpress printing in black on wove paper on linen
58.7 cm x 42.2 cm
Van Gogh Museum, Amsterdam
Photo: Marcus Bunyan

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing Henri Rivière and Henry Somm's shadow theatre

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London showing Henri Rivière and Henry Somm's shadow theatre

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London showing Henri Rivière and Henry Somm's shadow theatre

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing Henri Rivière and Henry Somm's shadow theatre

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing Henri Rivière and Henry Somm's shadow theatre

 

Installation views of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing Henri Rivière and Henry Somm’s shadow theatre and wall text
Photos: Marcus Bunyan

 

Into The Night: Cabarets And Clubs In Modern Art

Into The Night: Cabarets And Clubs In Modern Art

 

Into the Night: Cabarets and Clubs in Modern Art (downstairs gallery, room recreation)
Installation view Barbican Art Gallery 4 October 2019 – 19 January 2020
© Tristan Fewings / Getty Images

 

Downstairs gallery, room recreation

 

Adolphe-Leon Wilette. 'La Vierge verte' (The Green Virgin) c. 1881 (installation view)

 

Adolphe-Leon Wilette (French, 1857-1926)
La Vierge verte (The Green Virgin) (installation view)
c. 1881
Oil on canvas
Collection Zimmerli Art Museum at Rutgers University
Photo: Marcus Bunyan

 

 

In this oil study for a stained-glass window exhibited inside the cabaret, the black cat is held aloft in adoration under the full moon, as though part of an occult ceremony. The ‘chat’ noir’ of the cabaret’s title was celebrated throughout its design, symbolising fierce independence as well as night-time frolics. It gazes imperiously at the onlooker from Théophile-Alexandre Steinlen’s famous posters, perches on a crescent moon in Adolphe-Léon Willette’s street sign, and endangers pet goldfish in humorous cartoons.

Wall text

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London
Photo: Marcus Bunyan

 

Théophile-Alexandre Steinlen. 'Réouverture du cabaret du Chat Noir' (Reopening of the Chat Noir Cabaret) 1896 (installation view)

 

Théophile-Alexandre Steinlen (Swiss-born French, 1859-1923)
Réouverture du cabaret du Chat Noir (Reopening of the Chat Noir Cabaret) (installation view)
1896
Lithograph
Victoria and Albert Museum, London
Photo: Marcus Bunyan

 

Théophile-Alexandre Steinlen Réouverture du cabaret du Chat Noir (Reopening of the Chat Noir Cabaret) 1896

 

Théophile-Alexandre Steinlen (Swiss-born French, 1859-1923)
Réouverture du cabaret du Chat Noir (Reopening of the Chat Noir Cabaret)
1896
Victoria and Albert Museum, London
© Victoria and Albert Museum, London

 

George Auriol Théâtre du Chat Noir (Couverture aux coquelicots) (Programme for the Chat noir Theatre (Cover with Poppies)) 1890 (installation view)

 

George Auriol (French, 1863-1938)
Théâtre du Chat Noir (Couverture aux coquelicots) (Programme for the Chat noir Theatre (Cover with Poppies)) (installation view)
1890
Photomechanical print
Bibliothèque nationale de France, Paris
Photo: Marcus Bunyan

 

 

Opening 4 October 2019, Into the Night: Cabarets and Clubs in Modern Art explores the social and artistic role of cabarets, cafés and clubs around the world. Spanning the 1880s to the 1960s, the exhibition presents a dynamic and multi-faceted history of artistic production. The first major show staged on this theme, it features both famed and little-known sites of the avant-garde – these creative spaces were incubators of radical thinking, where artists could exchange provocative ideas and create new forms of artistic expression. Into the Night offers an alternative history of modern art that highlights the spirit of experimentation and collaboration between artists, performers, designers, musicians and writers such as Henri de Toulouse-Lautrec, Loïe Fuller, Josef Hoffmann, Giacomo Balla, Theo van Doesburg and Sophie Taeuber-Arp, as well as Josephine Baker, Jeanne Mammen, Aaron Douglas, Jacob Lawrence, Ramón Alva de la Canal and Ibrahim El-Salahi.

Focusing on global locations from New York to Tehran, London, Paris, Mexico City, Berlin, Vienna and Ibadan, Into the Night brings together over 350 works rarely seen in the UK, including paintings, drawings, prints, photographs, films and archival material. Liberated from the confines of social and political norms, many of the sites provided immersive, often visceral experiences, manifesting the ideals of the artists and audiences who founded and frequented them. The exhibition features full-scale recreations of specific spaces, such as the multi-coloured ceramic tiled bar of the Cabaret Fledermaus in Vienna (1907), designed by Josef Hoffmann for the Wiener Werkstätte, and the striking abstract composition of the Ciné-Dancing designed by Theo van Doesburg for L’Aubette in Strasbourg (1926-28). The exhibition will feature a soundscape created by hrm199, the studio of acclaimed artist Haroon Mirza, specifically commissioned for the show.

Jane Alison, Head of Visual Arts, Barbican, said: “Into the Night casts a spotlight on some of the most electrifying cabarets and clubs of the modern era. Whether a creative haven, intoxicating stage or liberal hangout, all were magnets for artists, designers and performers to come together, collaborate and express themselves freely. Capturing the essence of these global incubators of experimentation and cross-disciplinarity, immersive 1:1 scale interiors will take the visitor on a captivating journey of discovery.”

Into the Night begins in Paris, on the eve of the 20th century, with two thrilling and iconic locations of the avant-garde. The theatrical shadow plays of the Chat Noir in the 1880s are brought to life through original silhouettes and works that decorated the interior of the cabaret, which acted as a forum for satire and debate for figures such as founder Rodolphe Salis, artist Henri Rivière and composer Erik Satie. The captivating serpentine dances of Loïe Fuller staged at the Folies Bergère in the 1890s were trail-blazing experiments in costume, light and movement. Henri de Toulouse-Lautrec captured her performances in his extraordinary series of delicately hand-coloured lithographs, brought together for the exhibition. Visitors will encounter the immersive “Gesamtkunstwerk” (total work of art) design of the Cabaret Fledermaus (1907) in Vienna by the Wiener Werkstätte, where experimental cabaret productions were staged. The exhibition includes original documentation of Oskar Kokoschka’s exuberant puppet theatre and Gertrude Barrison’s expressionist dance.

The Cave of the Golden Calf (1912), an underground haunt in Soho epitomising decadence and hedonism, is evoked through designs for the interior by British artists Spencer Gore and Eric Gill, as well as Wyndham Lewis’s highly stylised programmes for the eclectic performance evenings – advertised at the time as encompassing “the picturesque dances of the South, its fervid melodies, Parisian wit, English humour.” In Zurich, the radical atmosphere of the Cabaret Voltaire (1916) is manifested through absurdist sound poetry and fantastical masks that deconstruct body and language, evoking the anarchic performances by Hugo Ball, Emmy Hennings and Marcel Janco. This is the birthplace of Dada, where humour, chaos and ridicule reign. Two significant clubs in Rome provide insights into the electrifying dynamism of Futurism in Italy in the 1920s. Giacomo Balla’s mesmerising Bal Tic Tac (1921) is summoned by colour-saturated designs for the club’s interior, capturing the swirling movement of dancers. Also on show are drawings and furnishings for Fortunato Depero’s spectacular inferno-inspired Cabaret del Diavolo (1922) which occupied three floors representing heaven, purgatory and hell. Depero’s flamboyant tapestry writhes with dancing demons, expressing the club’s motto “Tutti all’inferno!!! (Everyone to hell!!!)”.

A few years later, a group of artists and writers from the radical movement Estridentismo, including Ramón Alva de la Canal, Manuel Maples Arce and Germán Cueto, began to meet at the Café de Nadie (Nobody’s Café) in Mexico City, responding to volatile Post-Revolutionary change and the urban metropolis. The ¡30-30! group expressed its values by holding a major print exhibition (partially reassembled here) in a travelling circus tent open to all. Meanwhile in Strasbourg, Theo van Doesburg, Hans Arp and Sophie Taeuber-Arp worked together to create the L’Aubette (1926-28), conceived as the ultimate “deconstruction of architecture”, with bold geometric abstraction as its guiding principle. The vast building housed a cinema-ballroom, bar, tearoom, billiards room, restaurant and more, each designed as immersive environments.

After a period of restraint in Germany during the First World War, the 1920s heralded an era of liberation and the relaxation of censorship laws. Numerous clubs and bars in metropolitan cities, such as Berlin, playing host to heady cabaret revues and daring striptease; the notorious synchronised Tiller Girls are captured in Karl Hofer’s iconic portrait. Major works by often overlooked female artists such as Jeanne Mammen and Elfriede Lohse-Wächtler, as well as George Grosz, Otto Dix and Max Beckmann, capture the pulsating energy of these nightclubs and the alternative lifestyles that flourished within them during the 1920s and 1930s. During the same time in New York, the literary and jazz scenes thrived and co-mingled in the predominantly African American neighbourhood of Harlem, where black identity was re-forged and debated. Paintings and prints by Aaron Douglas and Jacob Lawrence convey the vibrant atmosphere and complex racial and sexual politics of the time, while poetry by Langston Hughes and early cinema featuring Duke Ellington shed light on the rich range of creative expression thriving within the city.

Into the Night also celebrates the lesser known but highly influential Mbari Artists and Writers Club, founded in the early 1960s in Nigeria. Focusing on two of the club’s key locations, in Ibadan and Osogbo, the exhibition explores how they were founded as laboratories for postcolonial artistic practices, providing a platform for a dazzling range of activities – including open-air dance and theatre performances, featuring ground breaking Yoruba operas by Duro Ladipo and Fela Kuti’s Afro-jazz; poetry and literature readings; experimental art workshops; and pioneering exhibitions by African and international artists such as Colette Omogbai, Ibrahim El-Salahi and Uche Okeke. Meanwhile in Tehran, Rasht 29 emerged in1966 as a creative space for avant-garde painters, poets, musicians and filmmakers to freely discuss their practice. Spontaneous performances were celebrated and works by artists like Parviz Tanavoli and Faramarz Pilaram hung in the lounge while a soundtrack including Led Zeppelin and the Beatles played constantly.

The exhibition is curated and organised by Barbican Centre, London, in collaboration with the Belvedere, Vienna.

Press release from the Barbican Art Gallery [Online] Cited 28/12/2019

 

Berlin: Weimar Nightlife 1920s-30s

Berlin: Weimar Nightlife 1920s-30s

Berlin: Weimar Nightlife 1920s-30s

 

Berlin: Weimar Nightlife 1920s-30s wall text
Photos: Marcus Bunyan

 

Rudolf Schlichter Damenkneipe (Women's Club) c. 1925

 

Rudolf Schlichter (German, 1890-1955)
Damenkneipe (Women’s Club)
c. 1925
Private collection
© Viola Roehr v. Alvensleben, Munich
Photo: akg-images

 

Rudolf Schlichter. 'Damenkneipe' (Women's Club) c. 1925 (installation view)

 

Rudolf Schlichter (German, 1890-1955)
Damenkneipe (Women’s Club) (installation view)
c. 1925
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation view with Rudolf Schlichter’s Damenkneipe (Women’s Club) c. 1925 at left, followed by work by Jeanne Mammen
Photo: Marcus Bunyan

 

Jeanne Mammen. 'Bar' c. 1930 (installation view)

 

Jeanne Mammen (German, 1890-1976)
Bar (installation view)
c. 1930
Ömer Koç Collection
Photo: Marcus Bunyan

 

Jeanne Mammen Bar c. 1930

 

Jeanne Mammen (German, 1890-1976)
Bar
c. 1930
Ömer Koç Collection
© DACS, 2019

 

Jeanne Mammen Bierseidelbetrachtung I (The Contemplative Drinkers I) c. 1929 (installation view)

Jeanne Mammen Bierseidelbetrachtung I (The Contemplative Drinkers I) c. 1929 (installation view detail)

 

Jeanne Mammen (German, 1890-1976)
Bierseidelbetrachtung I (The Contemplative Drinkers I) (installation views)
c. 1929
Watercolour and pencil on paper
Ömer Koç Collection
Photos: Marcus Bunyan

 

Jeanne Mammen. 'Untitled (Vor dem Auftritt)' (Before the Performance) c. 1928 (installation view)

Jeanne Mammen. 'Untitled (Vor dem Auftritt)' (Before the Performance) c. 1928 (installation view)

 

Jeanne Mammen (German, 1890-1976)
Untitled (Vor dem Auftritt) (Before the Performance) (installation views)
c. 1928
Jeanne Mammen Foundation at Stadtmuseum Berlin
Photos: Marcus Bunyan

 

Jeanne Mammen. 'Café Nollendorf' c. 1931 (installation view)

 

Jeanne Mammen (German, 1890-1976)
Café Nollendorf (installation view)
c. 1931
Watercolour and India ink over pencil
Private collection
Photo: Marcus Bunyan

 

 

Jeanne Mammen’s paintings and drawings of Berlin nightlife document the changing role of women and offer rare images of queer female desire. In contrast to the bitingly satirical images characteristic of George Grosz and Max Beckmann, Mammen sympathetically portrays her mostly female figures. Café Nollendorf is one of several by Mammen published in Curt Moreck’s subversive 1931 Guide to ‘Depraved’ Berlin (shown nearby). It illustrates his account of a lesbian club for ‘open-minded’ clientele. Mammen was also a successful commercial artist, recording modern fashions and mores in popular magazines.

Wall text

 

Otto Dix. 'Anita Berber' 1925 (installation view)

 

Otto Dix (German, 1891-1969)
Anita Berber (installation view)
1925
Pastel on paper
Private collection
Photo: Marcus Bunyan

 

 

Otto Dix met the 26-year-old cabaret dancer and silent film star Anita Berber in Dūsseldorf in 1925. Berber was among the most provocative performers of her time, appearing at major Berlin venues like the Wintergarten and the Apollo, as well as the political cabaret Schall und Rauch and the lesbian club Topkeller. In her notorious dance ‘Cocaine’, accompanied by Camille Saint-Saëns’ Valse mignonne (1896), Berber played a sex worker and addict, wearing a leather corset with her breast exposed. Simulating trembles of pain, she dances spasms of hallucination before collapsing on the floor. Despite her theatrical makeup, Dix’s portrait offers a more intimate side of Berber.

Wall text

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing on the left, the work of Dodo Burgner and on the right, the work of George Grosz.
Photo: Marcus Bunyan

 

 

Dodo (Dodo Burgner, German, 1927-1933)
Revue neger (Josephine Baker) (installation view)
c. 1926
Gouache over pencil on cardboard
Collection Krümmer, Hamburg
Photo: Marcus Bunyan

 

Dodo. 'The Fortune Teller', published in 'ULK' February 1929 (installation view)

Dodo. 'The Fortune Teller', published in 'ULK' February 1929 (installation view)

 

Dodo (Dodo Burgner, German, 1927-1933)
The Fortune Teller, published in ULK (installation views)
February 1929
Gouache over pencil on cardboard
Collection Krümmer, Hamburg
Photos: Marcus Bunyan

 

George Grosz. 'Schönheit, dich will ich preisen' (Beauty, Thee Will I Praise) 1923 (installation view)

George Grosz. 'Schönheit, dich will ich preisen' (Beauty, Thee Will I Praise) 1923 (installation view)

 

George Grosz (German, 1893-1959)
Schönheit, dich will ich preisen (Beauty, Thee Will I Praise) (installation views)
1923
Offset lithograph
Publisher: Malik-Verlag, Berlin
Printer: Kunstanstalt Dr. Selle & Co. A.G. Berlin
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation views of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing at left, Elfriede Lohse-Wächtler’s Ausblick im Nachtlokal (View of a Nightclub) 1930
Photo: Marcus Bunyan

 

Elfriede Lohse-Wächtler's Ausblick im Nachtlokal (View of a Nightclub) 1930 (installation view)

Elfriede Lohse-Wächtler's Ausblick im Nachtlokal (View of a Nightclub) 1930 (installation view)

 

Elfriede Lohse-Wächtler (German, 1899-1940)
Ausblick im Nachtlokal (View of a Nightclub) (installation view)
1930
Pastel on paper
Private collection, Berlin
Photos: Marcus Bunyan

 

 

Elfriede Lohse-Wächtler Ausblick im Nachtlokal (View of a Nightclub) wall text
Photo: Marcus Bunyan

 

Elfriede Lohse-Wächtler Ausblick im Nachtlokal (View of a Nightclub) 1930

 

Elfriede Lohse-Wächtler (German, 1899-1940)
Ausblick im Nachtlokal (View of a Nightclub)
1930
Private collection, Berlin

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing at left, showing at left, Elfriede Lohse-Wächtler’s Lissy (1931) and at right, Karl Hofer’s Tiller Girls (before 1927)
Photo: Marcus Bunyan

 

Elfriede Lohse-Wächtler Lissy 1931 (installation view)

Elfriede Lohse-Wächtler Lissy 1931 (installation view)

Elfriede Lohse-Wächtler Lissy 1931 (installation view)

Elfriede Lohse-Wächtler Lissy 1931 (installation view detail)

 

Elfriede Lohse-Wächtler (German, 1899-1940)
Lissy (installation views)
1931
Watercolour and pencil on paper
Private collection. Courtesy Städel Museum, Frankfurt
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing at left, Karl Hofer’s Tiller Girls
(before 1927)
Photo: Marcus Bunyan

 

Karl Hofer. 'Tiller Girls' before 1927 (installation view)

 

Karl Hofer (German, 1878-1955)
Tiller Girls (installation view)
before 1927
Photo: Marcus Bunyan

 

Karl Hofer Tiller Girls before 1927

 

Karl Hofer (German, 1878-1955)
Tiller Girls
before 1927
Kunsthalle Emden – Stiftung Henri und Eske Nannen
© Elke Walford, Fotowerkstatt Hamburg

 

Into The Night: Cabarets And Clubs In Modern Art

 

Into the Night: Cabarets and Clubs in Modern Art
Installation view Barbican Art Gallery 4 October 2019 – 19 January 2020
© Tristan Fewings / Getty Images

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London with Erna Schmidt-Caroll’s
Chansonette (Singer) third from left
Photo: Marcus Bunyan

 

Erna Schmidt-Caroll. 'Chansonette' (Singer) c. 1928 (installation view)

Erna Schmidt-Caroll. 'Chansonette' (Singer) c. 1928 (installation view)

 

Erna Schmidt-Caroll (German, 1896-1964)
Chansonette (Singer) (installation views)
c. 1928
Private collection
© Estate Erna Schmidt-Caroll
Photos: Marcus Bunyan

 

Erna Schmidt-Caroll Chansonette (Singer) c. 1928

 

Erna Schmidt-Caroll (German, 1896-1964)
Chansonette (Singer)
c. 1928
Private collection
© Estate Erna Schmidt-Caroll

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing the work of George Grosz and Max Beckmann

 

George Grosz. 'Menschen in Cáfe' (People in a Cáfe) 1917 (installation view)

 

George Grosz (German, 1893-1959)
Menschen in Cáfe (People in a Cáfe) (installation view)
1917
Black ink and pen on paper
On loan from the Trustees of the British Museum
Photo: Marcus Bunyan

 

Max Beckmann. 'Nackttanz' (Striptease), from 'Berliner Reise' (Trip to Berlin) 1922 (installation view)

 

Max Beckmann (German, 1884-1950)
Nackttanz (Striptease), from Berliner Reise (Trip to Berlin) (installation view)
1922
Lithograph, one from a portfolio of eleven (including cover)
Publisher: J.B. Neumann, Berlin
Photo: Marcus Bunyan

 

Jeanne Mammen. 'Sie reprasentiert!' (She Represents!), published in 'Simplicissimus' vol. 32, no 47, February 1928

 

Jeanne Mammen (German, 1890-1976)
Sie reprasentiert! (She Represents!), published in Simplicissimus vol. 32, no 47, February 1928
Printed magazine
Jeanne Mammen Foundation at Stadtmuseum Berlin
Photo: Marcus Bunyan

 

Jeanne Mammen. 'Maskenball' (Masked Ball), published in 'Jugend' vol. 34, no 5, January 1929

 

Jeanne Mammen (German, 1890-1976)
Maskenball (Masked Ball), published in Jugend vol. 34, no 5, January 1929
Printed magazine
Jeanne Mammen Foundation at Stadtmuseum Berlin
Photo: Marcus Bunyan

 

Jeanne Mammen. 'Fasting' (Carnival), published in Simplicissimus vol. 34, no 46, February 1930

 

Jeanne Mammen (German, 1890-1976)
Fasting (Carnival), published in Simplicissimus vol. 34, no 46, February 1930
Printed magazine
Jeanne Mammen Foundation at Stadtmuseum Berlin
Photo: Marcus Bunyan

 

Unknown photographer 'Slide on the Razor', performance as part of the Haller Revue 'Under and Over', Berlin, 1923

 

Unknown photographer
‘Slide on the Razor’, performance as part of the Haller Revue ‘Under and Over’, Berlin, 1923
Courtesy Feral House

 

Ibadan & Osogbo Mbari Clubs 1961-66 wall text

Ibadan & Osogbo Mbari Clubs 1961-66 wall text

Ibadan & Osogbo Mbari Clubs 1961-66 wall text

 

Ibadan & Osogbo Mbari Clubs 1961-66 wall text
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Into the Night: Cabarets and Clubs in Modern Art' at the Barbican Art Gallery, London

 

Installation view of the exhibition Into the Night: Cabarets and Clubs in Modern Art at the Barbican Art Gallery, London showing at left, Twins Seven-Seven Devil’s Dog (1964) and at right, Twins Seven-Seven THE BEAUTIFUL LADY and THE FULLBODIED GENTLEMAN THAT REDUCED TO HEAD (1967)
Photo: Marcus Bunyan

 

Twins Seven-Seven. 'Devil's Dog' (1964) (installation view detail)

 

Twins Seven-Seven
Devil’s Dog (installation view detail)
1964
Ink, gouache and varnish  on paper
Iwalewahaus, Universitat Bayreuth
Photos: Marcus Bunyan

 

 

Twins Seven-Seven
THE BEAUTIFUL LADY and THE FULLBODIED GENTLEMAN THAT REDUCED TO HEAD (installation views)
1967
Gouache on paper
Iwalewahaus, Universitat Bayreuth
Photos: Marcus Bunyan