Archive for the 'portrait' Category

28
Aug
20

Photographs: ‘Early French aviator glass slides’ c. 1913-14

August 2020

 

Unknown photographer. 'Untitled [Early French aviators]' c. 1913-14 (detail)

 

Unknown photographer (French)
Untitled [Early French aviators] (detail)
c. 1913-14
Glass plate

 

 

Those daring young men in their war machines

I have always been fascinated with flight, and aeroplanes. When I was seventeen, I tried to enrol in the RAF as a fighter pilot, hence my own interest in the subject artistically over the last 10 years.

These fabulous and rare French large format glass slides were for sale on Ebay many moons ago, illustrated as negative images only. They fetched an enormous sum of money, far beyond the humble means I had at my disposal to purchase them. But I kept the negative jpg images, inverted them into positives, and I have cleaned them up as best I can. Not the best outcome, not the best quality, but better than nothing … and it means that other people can get to see them.

Taken in 1913, or possibly in 1914 the first year of the Great War – there are no guns present on the bomber, but this is not unusual for the early part of the war as can be seen in the photograph of Captain Maurice Happe in his bomber of 1915 below – I have spent a long time researching the make of the bomber and, with the help of the knowledgeable Jacques Crouille (thank you!), ascertaining the period uniforms that the men are wearing. The photographs seem to have been shot in one sitting, for the images contain the same wooden sheds, picket fence, and two bomber aircraft (one with wire wheels, one with solid wheels) of the “pusher” type, possibly a Farman MF.11 Shorthorn bomber. This means that the propellor is at the back of the aircraft pushing the plane along, instead of being placed in the front.

What I find fascinating are the attitudes of the men toward the camera, and the wonderful details present in the images. With their nonchalantly relaxed pose, arm on wing, clad in thick, buttoned flight suits trimmed at leg and neck with real fur to keep them warm up in the beyond, these daring young men stare straight at the camera. Their early leather helmets or “bone domes”, used in motor-racing and adopted by pilots as head protection, rest on the wing beside them. Some wear thick bezelled, large crowned aviation (a term coined in 1863) watches, which in the Great War were to be used to make coordinated attacks possible at a precise moment. As the men pose in front of their aircraft, what is also notable is the fragility of the machine: lashings of wood and canvas, wire wheels, and a huge amount of wire bracing, so much so it seems that the pilots are caught in a spiders web of the stuff as they stand there staring down the camera.

It must be winter, for snow and mud is on the ground, caking their short boots, knee length boots, and the wheels of the bombers. With slicked down hair, sometimes parted in the middle, sometimes paired with a moustache, the men’s waists are cinched with thick belts, their hands sheathed in leather gloves. Or. Clutching their gloves in bare hands. One handsome young man – possibly a mechanic wearing the dark blue uniform of the Chasseurs Alpins, his large beret carrying the yellow (daffodil) hunting horn insignia – is encased in the wonderfully titled “bandes molletières” (or puttees in English terminology), attire more regularly seen on infantry troops, and wears a ring on the fifth finger of his right hand. What is most amusing is the small doll attached to the front of bomber in the first photograph in the posting, like a carved figurehead on the bow of a ship (see above). A good luck charm?

These men would have needed it. Because of their slow speed (106km/h), bombers were particularly susceptible to German fighters (over 160km/h) and ground fire. No parachutes were issued to the crews of Allied “heavier-than-air” aircraft in World War 1, since it was thought that if a pilot had a parachute he would jump from the plane when hit rather than trying to save the aircraft (Wikipedia). The average life expectancy of a British Royal Flying Corp (RFC) pilot was just 18 airborne hours.

Dr Marcus Bunyan

.
These photographs are used under “fair use” conditions for the purpose of research and education. Please click on the photographs for a larger version of the image.

 

Unknown photographer. 'Untitled [Early French aviators]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviators]
c. 1913-14
Glass plate

 

Captain Maurice Happe, rear seat, commander of French squadron MF 29, seated in his Farman MF.11 Shorthorn bomber with a Captain Berthaut

 

Unknown photographer
Captain Maurice Happe, rear seat, commander of French squadron MF 29, seated in his Farman MF.11 Shorthorn bomber with a Captain Berthaut. The plane bears the insignia of the first unit, a Croix de Guerre
c. 1915
Gelatin silver print
Library of Congress

 

Italian Army Photographers 1915-1918. 'World War 1 - Italian Army: Second Battle of the Isonzo - Farman MF.11 Shorthorn light bomber of the Italian air force' between 18 July - 3 August 1915

 

Italian Army Photographers 1915-1918
World War 1 – Italian Army: Second Battle of the Isonzo – Farman MF.11 Shorthorn light bomber of the Italian air force
between 18 July – 3 August 1915
Gelatin silver print
Italian Army Historic Photogallery
CC By 2.5

 

 

Farman MF.11 Shorthorn bomber

The Maurice Farman MF.11 Shorthorn is a French aircraft developed before World War I by the Farman Aviation Works. It was used as a reconnaissance and light bomber during the early part of World War I, later being relegated to training duties. …

A pusher configuration unequal-span biplane like the earlier Farman MF.7, the MF.11 differed in lacking the forward-mounted elevator, the replacement of the biplane horizontal tail surfaces with a single surface with a pair of rudders mounted above it, and the mounting of the nacelle containing crew and engine in the gap between the two wings. The aircraft was also fitted with a machine gun for the observer, whose position was changed from the rear seat to the front in order to give a clear field of fire. …

The MF.11 served in both the British and French air services on the Western Front in the early stages of the war. As a light bomber it flew the first bombing raid of the war when on 21 December 1914 an MF.11 of the Royal Naval Air Service attacked German artillery positions around Ostend, Belgium.

The MF.11 was withdrawn from front-line service on the Western Front in 1915, but continued to be used by the French in Macedonia and the Middle East, while the British also used it in the Dardanelles, and Africa. The Australian Flying Corps (AFC), provided with the MF.11 by the British Indian Army, operated it during the Mesopotamian campaign of 1915-16.

Text from the Wikipedia website

 

 

Farman MF 11, photo reconaissance

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (detail)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

 

The winged badge worn on the vaseure, probably blue, indicates that this man is WW1 French aviation. French pilots wore kepi. This is not the case here. This man wore a beret with a badge, a horn, from the “Chasseurs Alpins”. At least in the beginning, a member of French aviation wore equipment from their first assignment. Here, probably Chasseurs Alpins. He’s not a pilot nor an officer, maybe a mechanic? Chasseurs Alpins were, and still are, elite mountain troops based in The Alps.

Jacques Crouille

 

Chasseur

Chasseur, a French term for “hunter”, is the designation given to certain regiments of French and Belgian light infantry (chasseurs à pied) or light cavalry (chasseurs à cheval) to denote troops trained for rapid action.

 

Chasseurs Alpins

The Chasseurs Alpins (English: Alpine Hunters) are the elite mountain infantry of the French Army. They are trained to operate in mountainous terrain and in urban warfare. …

France created its own mountain corps in the late 19th century in order to oppose any Italian invasion through the Alps. In 1859-70 Italy became unified, forming a powerful state. The French army saw this geopolitical change as a potential threat to their Alpine border, especially as the Italian army was already creating troops specialised in mountain warfare (the Alpini). On December 24, 1888, the first troupes de montagne (“mountain troops”) corps were created from 12 of the 31 existing Chasseurs à pied (“Hunters on Foot'”/”Foot Rifles'”) battalions.

Initially these units were named bataillons alpins de chasseurs à pied (“Alpine Battalions of Hunters on Foot”/”Alpine Foot Rifle Battalions”). Later this was shortened to bataillons de chasseurs alpins (“Battalions of Alpine Hunters”). From their establishment the chasseurs Alpins wore a plain and practical uniform designed to be suitable for mountain service. This comprised a loose-fitting dark blue jacket and blue-grey breeches, together with a large beret carrying the yellow (daffodil) hunting horn insignia of the Chasseur branch. They are believed to have been the first regular military unit to have worn this form of headdress.

Text from the Wikipedia website

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

 

Bandes molletières

The bottom photograph shows his “bandes molletières” (literally “bandages”, in English leggings or more usually puttees).

Bandes molletières is a ribbon of cloth that encloses the calves from the ankle to the knee, and which was worn by the military. It protects the leg and replaces high boots, avoiding the entry of dirt or mud when crawling, without aggravating the shortage of leather, the main raw material necessary for the manufacture of boots.

They are fast to set up (30 seconds for cross-mounting with a little training) and, when properly adjusted, their compression effect allows men to withstand long periods of standing. Nevertheless, they become sodden with water in wet ground and when it rains.

 

Puttees

Puttee, also spelled puttie, is the name, adapted from the Hindi paṭṭī, bandage (Skt. paṭṭa, strip of cloth), for a covering for the lower part of the leg from the ankle to the knee, alternatively known as: legwraps, leg bindings, winingas, or wickelbander. They consist of a long narrow piece of cloth wound tightly, and spirally round the leg, and serving to provide both support and protection. They were worn by both mounted and dismounted soldiers, generally taking the place of the leather or cloth gaiter.

Text from the Wikipedia website

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14

 

 

The winged badge worn on the vaseure, probably sand colour, says that this man is WW1 French aviation. He may be an observer / gunner as he is wearing a kepi, but not a good one. He has no wings on the collar, so he’s not an officer. The gloves and the watch may indicate he is member of the flight crew. Observer? Gunner? It’s hard to be precise as the French air force was at its beginning and uniforms came from different army corps. Aviation at that time was part of the Land Force.

Jacques Crouille

 

Kepi

The kepi is a cap with a flat circular top and a peak, or visor. Etymologically, the term is a loanword of the French képi, itself a re-spelled version of the Alemannic Käppi: a diminutive form of Kappe, meaning “cap”. In Europe, this headgear is most commonly associated with French military and police uniforms, though versions of it were widely worn by other armies during the late 19th and early 20th centuries.

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Kepi, French Air Service, Kiffin Rockwell, Lafayette Escadrille

 

Kepi, French Air Service, Kiffin Rockwell, Lafayette Escadrille

 

 

This kepi is an example of the type worn by Foreign Legion in the French Army during the First World War. This kepi was worn by Kiffin Rockwell in the French Air Service. It was not unusual for individuals that transferred to the air service to continue to use the uniform of their original service branch.

Kiffin Rockwell flew with the Lafayette Escadrille during World War I. Kiffin and his brother Paul went to France in August 1914 and joined the French Foreign Legion. Kiffin entered combat in the winter of 1915 and was severely wounded at Neuville-Saint-Vaast later that May. Following a lengthy convalescence, Kiffin obtained a transfer to the French Air Service and was one of the original members of the Escadrille Lafayette, a squadron of American pilots flying for France. Rockwell shot down his first of four German aircraft on May 18, 1916, in Alsace. On September 23, 1916, he was shot down over Verdun and buried at Luxiul. For his services to France, Rockwell was awarded the Medaille Miliataire and the Croix de Guerre with two palms.

Text and image from the National Air and Space Museum website [Online] Cited 12/03/2019

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French?)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (detail)
c. 1913-14
Glass plate

 

German pilot helmet of World War I. Dated to 1910s

 

German pilot helmet of World War I
Dated to 1910s
Hat size 57
Made of Leather, wool, cotton/linen and metal
Height: 150 mm (5.9 in); Width: 210 mm (8.2 in); Depth: 225 mm (8.8 in)
Hamburg Museum
CC3.0

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

 

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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.

 

 

 

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

 

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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31
Jul
20

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

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

 

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

 

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

 

 

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

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

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

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

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

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

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

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

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

Dr Marcus Bunyan

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

 

 

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

.
Brassaï

 

 

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

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

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

 

 

 

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

 

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

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

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

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

Press release from the Foam gallery website

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Regards, no. 155 (December 31, 1936)

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

Paris de nuit / Paris at night

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

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Voigtländer Bergheil Built in 1932

 

Voigtländer
Bergheil
Built in 1932
6.5 x 9cm negative
Green

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

Minotaure, no. 7 (June 1935)

 

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

 

 

Portraits – artists, writers and friends

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

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

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

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

 

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

 

Brassai. 'Jean Genet' 1948

 

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

 

 

Graffiti

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

 

Minotaure

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

 

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

 

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

 

Minotaure, nos. 3-4 (December 1933)

Minotaure, nos. 3-4 (December 1933)

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

Personages

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

Sleep

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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22
Jul
20

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

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

 

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

 

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

 

 

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

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

Dr Marcus Bunyan

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

 

 

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

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

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

Text from the Metropolitan Museum of Art website

 

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

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

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

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

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

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

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

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

 

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12
Jul
20

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

Exhibition dates: 7th September – 1st December 2019

Visited September 2019 posted June 2020

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

 

 

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

 

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

 

 

Old New York, new New York

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

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

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

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

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

Dr Marcus Bunyan

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

 

 

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

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

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

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

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

Opening hours
Tue – Sun, 11 – 18 h

Huis Marseille website

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07
Jul
20

European photographic research tour: Vintage August Sander photographs at Galerie Julian Sander, Cologne

Visited September 2019 posted July 2020

 

Tamara Könen of the gallery (left) and Kristina Engels from August Sander Stiftung – at Galerie Julian Sander, standing in front of August Sander's photographs

 

Tamara Könen of the gallery (left) and Kristina Engels from August Sander Stiftung – at Galerie Julian Sander, standing in front of August Sander’s photographs.

 

 

On my European photographic research tour in late 2019, I had a memorable visit to Galerie Julian Sander to see some vintage and later prints from the August Sander Archive / August Sander Stiftung with Tamara Könen from the gallery (left) and Kristina Engels from August Sander Stiftung.

It was a privilege to be able to see about 10 prints… the highlights being a stunning 1929-30 vintage landscape, a vintage carnivalesque image of the Cologne avant-garde and a later print by his son of Painter’s Wife [Helene Abelen] 1926. The vintage landscape, like the vintage prints of Sudek, possessed no true black or white, the tonal range prescribed between zones 2-8.

The use of low depth of field in the portraits was outstanding. For example the shoes of Helene are completely out of focus whereas her hands are as crisp and clear as a summer breeze. Most astonishing was the panache of the bohemians, with the outstretched arm top left… printed on matt brown toned paper with a thin gold edge.

Another vintage print that showed selective depth of field was the photograph of a man with his dog, Junglehrer (Young Teacher) 1928. The dog’s lower legs were completely out of focus (Sander tilting his large format camera) making this oh so German photograph seem so surreal!

Other prints had a thin black edge and the vintage press print landscape (c. 1920s) was printed on thin single weight paper, while the vintage photograph of the sculptor Professor Ludwig Benh shows an original Sander mount – the print mounted behind an artist cut window. All prints were enlargements from 4×5” glass negatives or German equivalent size.

Such a wonderful learning experience! Thank you to the gallery for their time and knowledge.

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image. Most photographs © Marcus Bunyan and Galerie Julian Sander

 

 

3 vintage prints, the left one with black edge floating free of the backboard; the second c .1920s of a Communist rally; and the third of an industrialist (Großindustrieller / The Industrialist, 1927)

 

3 vintage silver gelatin prints, the left one with black edge floating free of the backboard; the second c. 1920s of a Communist rally; and the third of an industrialist (Großindustrieller / The Industrialist, 1927)
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964). 'Das Siebengebirge: Blick vom Rolandsbogen' [The Siebengebirge: view from the Rolandsbogen] 1929-30 (center) and 'Untitled [Remagen Bridge on the Rhine]' c. 1930 (right)

 

August Sander (German, 1876-1964)
Das Siebengebirge: Blick vom Rolandsbogen [The Siebengebirge: view from the Rolandsbogen] 1929-30 (center) and Untitled [Remagen Bridge on the Rhine] c. 1930 (right)
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Das Siebengebirge: Blick vom Rolandsbogen' [The Siebengebirge: view from the Rolandsbogen] 1929-30

 

August Sander (German, 1876-1964)
Das Siebengebirge: Blick vom Rolandsbogen [The Siebengebirge: view from the Rolandsbogen]
1929-30
Vintage gelatin silver print
Also titled:
Siebengebirge von der linken Rheinseite gesehen [Siebengebirge seen from the left side of the Rhine]
Blick vom Rolandsbogen auf das Siebengebirge mit Drachenfels [View from Roland Arch on the Siebengebirge with Drachenfels]
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Das Siebengebirge: Blick vom Rolandsbogen' [The Siebengebirge: view from the Rolandsbogen] 1929-30

 

August Sander (German, 1876-1964)
Das Siebengebirge: Blick vom Rolandsbogen [The Siebengebirge: view from the Rolandsbogen]
1929-30
Vintage gelatin silver print
Also titled:
Siebengebirge von der linken Rheinseite gesehen [Siebengebirge seen from the left side of the Rhine]
Blick vom Rolandsbogen auf das Siebengebirge mit Drachenfels [View from Roland Arch on the Siebengebirge with Drachenfels]
Galerie Julian Sander, Cologne
Photo:
Marcus Bunyan

 

August Sander (German, 1876-1964) 'Das Siebengebirge: Blick vom Rolandsbogen' [The Siebengebirge: view from the Rolandsbogen] 1929-30

 

August Sander (German, 1876-1964)
Das Siebengebirge: Blick vom Rolandsbogen [The Siebengebirge: view from the Rolandsbogen]
1929-30
Vintage gelatin silver print

 

August Sander (German, 1876-1964) 'Untitled [Remagen Bridge on the Rhine]' c. 1930

 

August Sander (German, 1876-1964)
Untitled [Remagen Bridge on the Rhine]
c. 1930
Vintage gelatin silver press print
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Untitled [Bohemians: avant-garde of Cologne]' 1920s (left) and 'Professor Ludwig Behn' 1920s (right)

 

August Sander (German, 1876-1964)
Untitled [Bohemians: avant-garde of Cologne] 1920s (left) and Professor Ludwig Behn 1920s (right)
Vintage gelatin silver print with gold edge printed on matt warm toned paper
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Untitled [Bohemians: avant-garde of Cologne]' 1920s

 

August Sander (German, 1876-1964)
Untitled [Bohemians: avant-garde of Cologne]
1920s
Vintage gelatin silver print with gold edge printed on matt warm toned paper
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Untitled [Bohemians: avant-garde of Cologne]' 1920s

 

August Sander (German, 1876-1964)
Untitled [Bohemians: avant-garde of Cologne]
1920s
Vintage gelatin silver print with gold edge printed on matt warm toned paper
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Professor Ludwig Behn, Bildhaver, Munich' 1920s

 

August Sander (German, 1876-1964)
Professor Ludwig Behn, Bildhaver, Münich
1920s
Gelatin silver print

 

August Sander (German, 1876-1964) 'Professor Ludwig Behn, Bildhaver, Munich' 1920s (detail)

 

August Sander (German, 1876-1964)
Professor Ludwig Behn, Bildhaver, Münich
1920s
Vintage gelatin silver print with original Sander mount
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Painter's Wife [Helene Abelen]' 1926

 

August Sander (German, 1876-1964)
Painter’s Wife [Helene Abelen]
1926
Later gelatin silver print by Sander’s son
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

 

This photograph shows Helene Abelen, wife of the Cologne painter, Peter Abelen. During the 1920s August Sander befriended many Cologne artists because of his involvement with the Cologne Progressive Artists Group (Gruppe Progressiver Künstler Köln). In 1926 Sander was asked by Peter Abelen to create a portrait of his young wife. With her short, slicked-back hair, collared shirt, thin necktie and trousers, Frau Abelen is presented as a distinctly androgynous figure. Her masculine garb and haircut, as well as the cigarette held between her teeth, signal a defiance of traditional gender roles. Staring determinedly out at the viewer Helene Abelen’s animated expression is unusual for a Sander portrait and falls somewhere between bravado and agitation.

This portrait reflects the so-called ‘new woman’ of the Weimar Republic. The concept of the ‘new woman’ dates from before the First World War but became firmly rooted during it when women were mobilised in the workforce. Within Germany this created considerable anxiety about women’s roles, particularly in relation to the family. In 1928, on the tenth anniversary of the end of the war, the Münchner Illustrierte Presse showed on its cover a photograph of a young woman, with short hair and skirt, astride a motorcycle with a lit cigarette in hand, with the heading, ‘Only ten years – a different world’. Like this magazine image, Sander’s portrait of Helene Abelen reflected a consciousness about the blurring of gender roles in the wake of the ‘new woman’.

Painter’s Wife represents an anomaly in Sander’s work. For the most part, his depictions of women show them as wives and mothers, as the soul of the home and the family. Contrary to appearances, this portrait should not be taken to represent an unqualified vision of female independence. The costume Helene Abelen is wearing was created for her by Peter Abelen and the haircut she sports was also his choice. Her daughter later commented of this work: ‘This was the creation of my father. He wanted her to look like this. He always did our dresses’ (quoted in Greenberg 2000, p. 121).

Matthew Macaulay
November 2011

Text from the Tate website [Online] Cited 24/06/2020

 

August Sander (German, 1876-1964) 'Junglehrer' (Young Teacher) 1928

 

August Sander (German, 1876-1964)
Junglehrer (Young Teacher)
1928
Vintage gelatin silver print with black edge
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

August Sander (German, 1876-1964) 'Junglehrer' (Young Teacher) 1928

 

August Sander (German, 1876-1964)
Junglehrer (Young Teacher)
1928
Vintage gelatin silver print with black edge
Galerie Julian Sander, Cologne
Photo: Marcus Bunyan

 

 

Galerie Julian Sander
Cäcilienstr. 48
50667 Cologne
Germany
Phone: +49 (0) 221 170 50 70

Opening hours:
Tuesday – Friday 12.00 – 18.00

Galerie Julian Sander website

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19
Jun
20

Exhibition: ‘Masculinities: Liberation through Photography’ at the Barbican Art Gallery, London

Exhibition dates: 20th February – 17th May 2020? Coronavirus

Participating artists: Bas Jan Ader, Laurie Anderson, Kenneth Anger, Knut Åsdam, Richard Avedon, Aneta Bartos, Richard Billingham, Cassils, Sam Contis, John Coplans, Jeremy Deller, Rienke Dijkstra, George Dureau, Thomas Dworzak, Hans Eijkelboom, Fouad Elkoury, Rotimi Fani-Kayode, Hal Fischer, Samuel Fosso, Anna Fox, Masahisa Fukase, Sunil Gupta, Peter Hujar, Liz Johnson Artur, Isaac Julien, Kiluanji Kia Henda, Karen Knorr, Deana Lawson, Hilary Lloyd, Robert Mapplethrope, Peter Marlow, Ana Mendieta, Anenette Messager, Duane Michals, Tracey Moffat, Andrew Moisey, Richard Mosse, Adi Nes, Catherine Opie, Elle Pérez, Herb Ritts, Kalen Na’il Roach, Collier Schorr, Paul Mpagi Sepuya, Clarie Strand, Michael Subotzky, Larry Sultan, Hank Willis Thomas, Wolfgang Tillmans, Piotr Uklański, Andy Warhol, Karlheinz Weinberger, Marianne Wex, David Wojnarowicz, Akram Zaatari.

 

 

Sunil Gupta (Indian, b. 1953) 'Untitled #22' 1976

 

Sunil Gupta (Indian, b. 1953)
Untitled #22
1976
From the series Christopher Street
Courtesy the artist and Hales Gallery
© Sunil Gupta. All Rights Reserved, DACS 2019

 

 

As a writer Berger recognised that experience – whether it be personal, historical or aesthetic – will never conform to theories and systems. To read him today is to accept his failures and detours as a unique willingness to take risks.

.
John MacDonald. “John Berger,” in the Sydney Morning Herald, 6 June, 2020

 

 

D-Construction: deliberate masculinities in a discontinuous world

.
Reviewers of this exhibition (see quotations below) have noted the preponderance of images of “traditional masculinity” – defined as “idealised, dominant (and) heterosexual” – and the paucity of images that show men as working, intelligent, sensitive human beings, “that men ever earned a living, cooked a meal or read a book… scarcely anything about the heart or intellect. Men are represented here almost entirely in terms of their bodies, sexuality or supposed type.” I need make no further comment. What I will say is that I believe the title of the exhibition to be a misnomer: a person cannot be “liberated” through photography, for photography is only a tool of a personal liberation. Liberation comes through an internal struggle of acceptance (thence liberation), one that is foremost FELT (for example, the double life one leads before you acknowledge that you are gay; or experiencing discrimination aimed at others and by proxy, yourself) and SEEN (the bashing of a mother as seen by a small child). Photographs picture the outcomes of this struggle for liberation, are a tool of that process not, I would argue, liberation itself.

What I can say is that I believe in masculinities, plural. Fluid, shifting, challenging, loving, working, intimate, spiritual masculinities that challenge normalcy and hegemonic masculinity, which is defined as “a practice that legitimises men’s dominant position in society and justifies the subordination of the common male population and women, and other marginalised ways of being a man.”

What I don’t believe in is masculinities, plural, that seek to fit into this [dis]continuous world (for we are born and then die) through the stability of their outward appearance, conforming to theories and systems – personal, historical or aesthetic – without reference to subversion, small intimacies, the toil of work, love and the passion of sexual bodies. In other words, masculinities that are not afraid to push the boundaries of being and becoming. To take risks, to experience, to feel.

While I was overjoyed at the “YES” vote on gay marriage that took place in December 2017 in Australia because I felt it was a victory for love, and equality… another part of me rejected as anathema the concept of a gay person buying into a historically patriarchal, heterosexual and monogamous institution such as marriage – too honour and obey. This is an untenable concept for a person who wants to be liberated. Coming out as I did in 1975, only 6 short years after the Stonewall Riots, the last thing I EVER wanted to be, was to be the same as a “straight” person. I was different. I fought for my difference and still believe in it.

Of course, in 2020 it’s another world. Today we all mix in together. But there is still something about “masculinities”, which in some varieties, have a sense of privilege and entitlement. Of power and control over others; of violence towards women, trans, other men and anyone who threatens their little ego, who leaves them, or jilts them. Their jealousy, their ego, bruised – they are so insecure, so insular, that they can only see their own world, their own minuscule problems (but massive in their eyes), and enforce their will on others.

My advice to “masculinities’, in fact any human being, is to go out, get yourself informed, experience, accept, and be the person that nobody thinks you can be. Be a human being. Examine your inner self, look at your dark side, your other side, your empathetic side, and try and understand the journey that you are on. Then, and only then, you might begin on that great path of personal enlightenment, that golden path on which there is no turning back.

Below I discuss some of these ideas with my good friend Nicholas Henderson, curator and archivist at the Australian Lesbian and Gay Archives.

 

 

Dr Marcus Bunyan

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

 

Masculinities: Liberation through Photography is a major group exhibition that explores how masculinity is experienced, performed, coded and socially constructed as expressed and documented through photography and film from the 1960s to the present day.

Through the medium of film and photography, this major exhibition considers how masculinity has been coded, performed, and socially constructed from the 1960s to the present day. Examining depictions of masculinity from behind the lens, the Barbican brings together the work of over 50 international artists, photographers and filmmakers including Laurie Anderson, Sunil Gupta, Rotimi Fani-Kayode, Isaac Julien and Catherine Opie.

In the wake of #MeToo the image of masculinity has come into sharper focus, with ideas of toxic and fragile masculinity permeating today’s society. This exhibition charts the often complex and sometimes contradictory representations of masculinities, and how they have developed and evolved over time. Touching on themes including power, patriarchy, queer identity, female perceptions of men, hypermasculine stereotypes, tenderness and the family, the exhibition shows how central photography and film have been to the way masculinities are imagined and understood in contemporary culture.

 

 

In fact, while there are a few gender-fluid figures here, they’re vastly outnumbered by manifestations of “traditional masculinity” – defined as “idealised, dominant (and) heterosexual”. Lebanese militiamen (in Fouad Elkoury’s perky full-length portraits from 1980), US marines (in Wolfgang Tillmans’ epic montage Soldiers – The Nineties), Taliban fighters, SS generals, Israel Defence Force grunts, footballers, cowboys and bullfighters fairly spring out of the walls from every direction. And what’s evident from the outset isn’t so much their diversity, as a unifying demeanour: a threatening intentness that comes wherever men are asked to perform their masculinity, but also a childlike vulnerability.  …

Masculinity, the viewer is made to feel, criminalises men (Mikhael Subotzky’s images of South African gangsters on morgue slabs); isolates them (Larry Sultan’s poignant image of his elderly father practising his golf swing in his sitting room); renders them stupid (Richard Billingham’s excruciating, but now classic photo essay on his alcoholic father, ‘Ray’s a Laugh’). To be a man, it seems, is to be condemned to endlessly act out archetypal “masculine” behaviour, whether you’re an elderly drunk in a Birmingham high-rise or the elite American students taking part in the shouting competition staged by Irish photographer Richard Mosse.

.
Mark Hudson. “Does the Barbican’s Masculinities exhibition have important things to say about men?” on the Independent website Friday 21 February 2020 [Online] Cited 03/03/2020

 

There is not much here about work – unless you count the wall of Hollywood actors playing Nazis. You would never think, from this show, that men ever earned a living, cooked a meal or read a book (though there is a sententious vitrine of ‘Men Only’ magazines). Beyond the exceptions given, there is scarcely anything about the heart or intellect. Men are represented here almost entirely in terms of their bodies, sexuality or supposed type.

.
Laura Cumming. “Masculinities: Liberation Through Photography review – men as types,” on the Guardian website Sun 23 Feb 2020 [Online] Cited 03/03/2020

 

“The body can be taken as a reflection of the self because it can and should be treated as something to be worked upon … in order to produce it as a commodity. Overweight, slovenliness and even unfashionability, for example, are now moral disorders,” notes Don Slater

“The state of the body is seen as a reflection of the state of its owner, who is responsible for it and could refashion it. The body can be taken as a reflection of the self because it can and should be treated as something to be worked upon, and generally worked upon using commodities, for example intensively regulated, self-disciplined, scrutinized through diets, fitness regimes, fashion, self-help books and advice, in order to produce it as a commodity. Overweight, slovenliness, and even unfashionability, for example, are now moral disorders; even acute illnesses such as cancer reflect the inadequacy of the self and indeed of its consumption. One gets ill because one has consumed the wrong (unnatural) things and failed to consume the correct (‘natural’) ones: self, body, goods and environment constitute a system of moral choice.”

.
Slater, Don. Consumer Culture and Modernity. London: Polity Press, 1997, p. 92.

 

 

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

 

Installation view of Masculinities: Liberation through Photography at Barbican Art Gallery on February 19, 2020 in London, England showing John Coplans’ work Self-portrait, Frieze No 2, Four Panels 1994
Photo: Tristan Fewings/Getty Images for Barbican Art Gallery

 

John Coplans (British, emigrated America 1960, 1920-2003) 'Self-portrait, Frieze No 2, Four Panels' 1994

 

John Coplans (British, emigrated America 1960, 1920-2003)
Self-portrait, Frieze No 2, Four Panels
1994
Tate
Presented by the American Fund for the Tate Gallery 2001
Photograph: © John Coplans Trust

 

 

Masculinities: Liberation through Photography

 

Plan of the 'Masculinities: Liberation through Photography' exhibition spaces

 

Plan of the Masculinities: Liberation through Photography exhibition spaces

 

 

Introduction

Masculinities: Liberation through Photography explores the diverse ways masculinity has been experienced, performed, coded and socially constructed in photography and film from the 1960s to the present day.

Simone de Beauvoir’s famous declaration that ‘one is not born a woman, but rather becomes one’ provides a helpful springboard for considering what it means to be a male in today’s world, as well as the place of photography and film in shaping masculinity. What we have thought of as ‘masculine’ has changed considerably throughout history and within different cultures. The traditional social dominance of the male has determined a gender hierarchy which continues to underpin societies around the world.

In Europe and North America, the characteristics and power dynamics of the dominant masculine figure – historically defined by physical size and strength, assertiveness and aggression – though still pervasive today, began to be challenged and transformed in the 1960s. Amid a climate of sexual revolution, struggle for civil rights and raised class consciousness, the growth of the gay rights movement, the period’s counterculture and opposition to the Vietnam War, large sections of society argued for a loosening of the straitjacket of narrow gender definitions.

Set against the backdrop of the #MeToo movement, when manhood is under increasing scrutiny and terms such as ‘toxic’ and ‘fragile’ masculinity fill endless column inches, an investigation of this expansive subject is particularly timely, especially given current global politics characterised by male world leaders shaping their image as ‘strong’ men.

Touching on queer identity, race, power and patriarchy, men as seen by women, stereotypes of dominant masculinity as well as the family, the exhibition presents masculinity in all its myriad forms, rife with contradictions and complexities. Embracing the idea of multiple ‘masculinities’ and rejecting the notion of a singular ‘ideal man’, the exhibition argues for an understanding of masculinity liberated from societal expectations and gender norms.

 

Room 1-4

Disrupting the Archetype

Over the last six decades, artists have consistently sought to destabilise the narrow definitions of gender that determine our social structures in order to encourage new ways of thinking about identity, gender and sexuality. ‘Disrupting the Archetype’ explores the representation of conventional and at times clichéd masculine subjects such as soldiers, cowboys, athletes, bullfighters, body builders and wrestlers. By reconfiguring the representation of traditional masculinity – loosely defined as an idealised, dominant heterosexual masculinity – the artists presented here challenge our ideas of these hypermasculine stereotypes.

Across different cultures and spaces, the military has been central to the construction of masculine identities – which has been explored through the work of Wolfgang Tillmans (below) and Adi Nes (below) among others, while Collier Schorr (below) and Sam Contis’s powerful works (below) address the dominant and enduring representation of the lone cowboy. Athleticism, often perceived as a proxy for strength which is associated with masculinity, is called into question by Catherine Opie’s and Rineke Dijkstra’s tender portraits (below). The male body, a cornerstone for artists such as John Coplans (above), Robert Mapplethorpe and Cassils (below), is meanwhile exposed as a fleshy canvas, constantly in flux.

Historically, the non-western male body has undergone a complex process of subjectification through the Western gaze – invariably presented as either warlike or sexually charged. Viewed against this context, the work of Fouad Elkoury and Akram Zaatari, as well as the found photographs of Taliban fighters that Thomas Dworzak discovered in Afghanistan (below), can be read as deconstructing the Orientalist gaze.

 

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

 

Installation view of Masculinities: Liberation through Photography at Barbican Art Gallery on February 19, 2020 in London, England showing a detail from Wolfgang Tillmans’ epic montage Soldiers – The Nineties
Photo: Tristan Fewings/Getty Images for Barbican Art Gallery

 

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

 

Installation view of Masculinities: Liberation through Photography at Barbican Art Gallery on February 19, 2020 in London, England showing a detail from trans masculine artist Cassils’ series Time Lapse, 2011
Photo: Tristan Fewings/Getty Images for Barbican Art Gallery

 

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

 

Installation view of Masculinities: Liberation through Photography at Barbican Art Gallery on February 19, 2020 in London, England showing at left a detail from trans masculine artist Cassils’ series Time Lapse, 2011, and at right the work of Rineke Dijkstra
Photo: Tristan Fewings/Getty Images for Barbican Art Gallery

 

Rineke Dijkstra. 'Montemor, Portugal, May 1, 1994' 1994

 

Rineke Dijkstra (Dutch, b. 1959)
Montemor, Portugal, May 1, 1994
1994
Chromogenic print
90 x 72 cm
© Rineke Dijkstra

 

Rineke Dijkstra (Dutch, b. 1959) 'Vila Franca de Xira, Portugal, May 8, 1994' 1994

 

Rineke Dijkstra (Dutch, b. 1959)
Vila Franca de Xira, Portugal, May 8, 1994
1994
Chromogenic print
90 x 72 cm
© Rineke Dijkstra

 

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

 

Installation views of Masculinities: Liberation through Photography at Barbican Art Gallery on February 19, 2020 in London, England showing photographs from Adi Nes’ series Soldiers, 1999
Photo: Tristan Fewings/Getty Images for Barbican Art Gallery

 

Adi Nes (Israeli, b. 1966) 'Untitled' 2000

 

Adi Nes (Israeli, b. 1966)
Untitled
2000
From the series Soldiers
Courtesy Adi Nes & Praz-Delavallade Paris, Los Angeles

 

Adi Nes (Israeli, b. 1966) 'Untitled' 1999

 

Adi Nes (Israeli, b. 1966)
Untitled
1999
From the series Soldiers
Courtesy Adi Nes & Praz-Delavallade Paris, Los Angeles

 

 

Adi Nes was born in Kiryat Gat. His parents are Jewish immigrants from Iran. He is openly gay. Nes is notable for series “Soldiers”, in which he mixes masculinity and homoerotic sexuality, depicting Israeli soldiers in a fragile way.

Nes creates cinematic images that reference war, sexuality, life, and death with the kind of stylised polish you might expect from a photographer whose images have appeared in the pages of Vogue Hommes. His partially autobiographical work is deliberate and staged in an attempt to raise questions about sexuality, masculinity and identity in Israeli culture. “The beginning point of my art is who I am,” he says. “Since I’m a man and I’m an Israeli, I deal with issues of identity with ‘Israeli-ness’ and masculinity, but my photographs are multi-layered.”

“The challenge of the photographer is to catch the viewer for more than one second in front of the picture,” says Nes, explaining his provocative images. “If you catch the viewer in front of the picture, it can touch the viewer.”

Anonymous text “Adi Nes on masculinity, sexuality and war,” from the Phaidon website 2012 [Online] Cited 07/03/2020

 

Thomas Dworzak (Germany, b. 1972) 'Taliban portraits' 2002

Thomas Dworzak (Germany, b. 1972) 'Taliban portraits' 2002

 

Thomas Dworzak (Germany, b. 1972)
Taliban portraits
2002
Kandahar, Afghanistan

 

 

While covering the US invasion of Afghanistan in 2001, Magnum photographer Thomas Dworzak came across a handful of photo studios in Kandahar which despite the Taliban’s ban on photography had been authorised to remain open, for the sole purpose of taking identity photos. Complicating the conventional image of the hypermasculine soldier, the colour portraits Dworzak found in the back rooms of these studios depict Taliban fighters variously posing in front of scenic backdrops, holding hands, using guns or flowers as props or enveloped in a halo of vibrant colours, their eyes heavily made up with black kohl. These stylised photographs directly contradict the public image of the soldier in this overwhelmingly male-dominated patriarchal society.

 

Sam Contis (American, b. 1982) 'Untitled (Neck)' 2015

 

Sam Contis (American, b. 1982)
Untitled (Neck)
2015
© Sam Contis

 

'Masculinities: Liberation through Photography' catalogue cover

 

Masculinities: Liberation through Photography catalogue cover

 

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

 

Installation view of Masculinities: Liberation through Photography at Barbican Art Gallery on February 19, 2020 in London, England showing photographs from Catherine Opie’s series High School Football, 2007-2009
Photo: Tristan Fewings/Getty Images for Barbican Art Gallery

 

Catherine Opie (American, b. 1961) 'Stephen' 2009

 

Catherine Opie (American, b. 1961)
Stephen
2009
From the series High School Football, 2007-2009
Courtesy Regen Projects, Los Angeles, and Thomas Dane Gallery, London
© Catherine Opie

 

Catherine Opie (American, b. 1961) 'Rusty' 2008

 

Catherine Opie (American, b. 1961)
Rusty
2008
From the series High School Football, 2007-2009
Courtesy Regen Projects, Los Angeles and Thomas Dane Gallery, London
© Catherine Opie

 

Catherine Opie (American, b. 1961) 'Football Landscape #17 (Waianae vs. Leilehua, Waianae, HI)' 2009

 

Catherine Opie (American, b. 1961)
Football Landscape #17 (Waianae vs. Leilehua, Waianae, HI)
2009
From the series High School Football, 2007-2009
Courtesy Regen Projects, Los Angeles, and Thomas Dane Gallery, London
© Catherine Opie

 

 

Kenneth Anger (American, b. 1927)
Kustom Kar Kommandos
1965
3 mins 22 secs

 

Collier Schorr (American, b. 1963) 'Americans #3' 2012

 

Collier Schorr (American, b. 1963)
Americans #3
2012
© Collier Schorr, courtesy 303 Gallery, New York

 

 

Room 5-6

Male Order: Power, Patriarchy and Space

‘Male Order’ invites the viewer to reflect on the construction of male power, gender and class. The artists gathered here have all variously attempted to expose and subvert how certain types of masculine behaviour have created inequalities both between and within gender identities. Two ambitious, multi-part works, Richard Avedon’s The Family, 1976, and Karen Knorr’s Gentlemen, 1981-83, focus on typically besuited white men who occupy the corridors of power, while foregrounding the historic exclusion not only of women but also of other marginalised masculinities.

Male-only organisations, such as the military, private members’ clubs and college fraternities, have often served as an arena for the performance of ‘toxic’ masculinity, as chronicled in Andrew Moisey’s The American Fraternity: An Illustrated Ritual Manual, 2018. This startling book charts the misdemeanours of fraternity members alongside an indexical image bank of US Presidents, alongside leaders of government and industry who have belonged at one time or another to these fraternities. Richard Mosse’s film, Fraternity, 2007, takes a different tack by painting a portrait of male rage that is both playful and alarming.

 

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

 

Installation view of Masculinities: Liberation through Photography at Barbican Art Gallery on February 19, 2020 in London, England showing photographs from Richard Avedon’s series The Family (1976)
Photo: Tristan Fewings/Getty Images for Barbican Art Gallery

 

 

Early  in 1976, with both the post-Watergate political atmosphere and the approaching bicentennial celebration in mind, Rolling Stone asked Richard Avedon to cover the presidential primaries and the campaign trail. Avedon counter-proposed a grander idea – he had always wanted to photograph the men and women he believed to have constituted political, media and corporate elite of the United States.

For the next several months, Avedon traversed the country from migrant grape fields of California to NFL headquarters in Park Avenue and returned with an amazing portfolio of soldiers, spooks, potentates, and ambassadors that was too late for the bicentennial but published in Rolling Stone’s Oct. 21, 1976, just in time for the November elections.

Sixty-nine black-and-white portraits … were in Avedon’s signature style – formal, intimate, bold, and minimalistic. Appearing in them are President Ford and his three immediate successors – Carter, Reagan, and Bush. Other familiars of the American polity such as Kennedys and Rockefellers are here, and as are giants who held up the nation’s Fourth Pillar during that challenging decade: A. M. Rosenthal of the New York Times who decided to publish the Pentagon Papers, and Katharine Graham who led Woodward and Bernstein at Washington Post.

Alex Selwyn-Holmes. “The Family, 1976; Richard Avedon” on the Iconphotos website May 18, 2012 [Online] Cited 03/03/2020

 

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

 

Installation views of Masculinities: Liberation through Photography at Barbican Art Gallery on February 19, 2020 in London, England showing photographs from Karen Knorr’s series Gentlemen, 1981-83
Photo: Tristan Fewings/Getty Images for Barbican Art Gallery

 

Karen Knorr (American, born Germany 1954) 'Newspapers are no longer ironed, Coins no longer boiled So far have Standards fallen' 1981-83

 

Karen Knorr (American, born Germany 1954)
Newspapers are no longer ironed, Coins no longer boiled So far have Standards fallen
1981-83
From the series Gentlemen
Tate: Gift Eric and Louise Franck London Collection 2013
© Karen Knorr

 

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

Installation view of 'Masculinities: Liberation through Photography' at Barbican Art Gallery on February 19, 2020 in London, England

 

Installation view of Masculinities: Liberation through Photography at Barbican Art Gallery on February 19, 2020 in London, England showing Piotr Uklanski’s Untitled (The Nazis), 1998, a collage of actors dressed as Nazis, courtesy of Massimo De Carlo
Photo: Tristan Fewings/Getty Images for Barbican Art Gallery

 

 

Room 7-8

Too Close to Home: Family and Fatherhood

Since its invention photography has been a powerful vehicle for the construction and documentation of family narratives. In contrast to the conventions of the traditional family portrait, the artists gathered here deliberately set out to record the ‘messiness’ of life, reflecting on misogyny, violence, sexuality, mortality, intimacy and unfolding family dramas, presenting a more complex and not always comfortable vision of fatherhood and masculinity.

Loss and the ageing male figure are central to the work of both Masahisa Fukase and Larry Sultan (both below). Their respective projects marked a new departure in the way men photographed each other, serving as a commentary on how old age engenders a loss of masculinity. An examination of everyday life, Richard Billingham’s tender yet bleak portraits of his father, as chronicled in Ray’s a Laugh, cast a brutally honest eye on his alcoholic father Ray against a backdrop of social decline (below).

Anna Fox’s disturbing autobiographical work undermines expectations of the traditional family album while revealing the mechanics of paternalistic power. Meanwhile, the father-daughter relationship is brought into sharp focus in Aneta Bartos’s sexually charged series Family Portrait which unsettles traditional family boundaries (below).

 

Masahisa Fukase (Japan, 1934-2012) 'Masahisa and Sukezo' 1972

 

Masahisa Fukase (Japan, 1934-2012)
Masahisa and Sukezo
1972
From the series Family, 1971-90
© Masahisa Fukase Archives