Posts Tagged ‘1920s landscape photography

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

LIKE ART BLART ON FACEBOOK

Back to top

26
Jun
20

Photobook: E. O. Hoppé. ‘Picturesque Great Britain: Its Architecture and Landscape’ 1926 Part 4

June 2020

Publisher: Ernst Wasmuth A.G. / Berlin
With an Introduction by Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'York Minster' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
225: York Minster
1926

 

 

The last in my four part series on photographs which appear in E. O. Hoppé’s Picturesque Great Britain: Its Architecture and Landscape (1926).

This posting features photographs of the Lake District, Scotland and Ireland.

Today, it seems incredibly strange that Hoppé would include Dublin and all parts Ireland in the catch all “Great Britain”, especially as most of Ireland gained independence from Great Britain in 1922, after the bloody Irish War of Independence.

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image. These photographs are published under fair use conditions for educational purposes only.

 

This magnificent set of pictures displays, with all the art of genius both in selection and technical skill, the beauty of the British Isles. I know of no similar collection which could give alike to the foreigner who wonders what England is like, to the Englishman who has wandered from his native land into all the great dominions of the world, and to the man who has remained behind, that particular sense of pleasure mingled with pain which all beauty excites, and excites especially a passionate love in the vision of home.

This is an introduction to pictures of the landscapes and the works of man; these latter ennobled by the associations of time, and in some cases by time’s decay. They open vistas through which one may gaze at the history of England for a thousand years.

Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'Roman Wall' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
234: Roman Wall
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'In Westmorland Country' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
235: In Westmorland Country
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Kendal, Westmorland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
236: Kendal, Westmorland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Windemere, Westmorland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
237: Windemere, Westmorland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Newcastle, Northumberland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
238: Newcastle, Northumberland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Carter Bar, Northumberland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
239: Carter Bar, Northumberland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Dunbar, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
240: Dunbar, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Dunbar, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
241: Dunbar, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Edinburgh Castle, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
242: Edinburgh Castle, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972)'The Castle, Edinburgh, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
243: The Castle, Edinburgh, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Canongate with Tolbooth, Edinburgh, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
244: Canongate with Tolbooth, Edinburgh, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Advocates Walk, Edingburgh, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
248: The Advocates Walk, Edingburgh, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Forth Bridge, Edingburgh, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
249: Forth Bridge, Edingburgh, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Viaduct, Montrose, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
255: The Viaduct, Montrose, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Near Peebles, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
257: Near Peebles, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Harbour, Aberdeen, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
259: The Harbour, Aberdeen, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Deeside, Aberdeen, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
261: Deeside, Aberdeen, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Braemar Castle, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
262: Braemar Castle, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Devil's Elbow, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
264: Devil’s Elbow, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'On the Road to Balmoral, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
265: On the Road to Balmoral, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Highland Cattle, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
267: Highland Cattle, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Loch Lomond, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
268: Loch Lomond, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'A Scottish Sunset' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
269: A Scottish Sunset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Scottish Highlands' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
272: The Scottish Highlands
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The College Green, Dublin, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
273: The College Green, Dublin, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Loch Tulla, Argyllshire, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
274: Loch Tulla, Argyllshire, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Dumbarton, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
275: Dumbarton, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Glasgow, Lanarkshire, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
276: Glasgow, Lanarkshire, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Christchurch, Dublin, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
277: Christchurch, Dublin, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Christchurch, Dublin, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
278: Christchurch, Dublin, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Custom's House, Dublin, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
279: The Custom’s House, Dublin, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Spittal of Glenshee, Scotland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
280: Spittal of Glenshee, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Powerscourt, Enniskerry, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
281: Powerscourt, Enniskerry, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Lambay Castle, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
283: Lambay Castle, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Luccan, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
284: Luccan, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Glendalough Lake, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
287: Glendalough Lake, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Glendalough, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
289: Glendalough, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Carrick-on-Suir, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
291: Carrick-on-Suir, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Carrick-on-Suir, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
292: Carrick-on-Suir, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Middle Lake, Killarney, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
293: The Middle Lake, Killarney, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cathedral, Cork, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
296: The Cathedral, Cork, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Memorial Church, Cork, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
297: The Memorial Church, Cork, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Lower Lake, Killarney, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
299: The Lower Lake, Killarney, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The River Shannon, Limerick, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
301: The River Shannon, Limerick, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Limerick, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
302: Limerick, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cathedral, Limerick, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
303: The Cathedral, Limerick, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Scalp Mountains, Ireland' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
304: The Scalp Mountains, Ireland
1926

 

 

LIKE ART BLART ON FACEBOOK

Back to top

12
Jun
20

Photobook: E. O. Hoppé. ‘Picturesque Great Britain: Its Architecture and Landscape’ 1926 Part 3

June 2020

Publisher: Ernst Wasmuth A.G. / Berlin
With an Introduction by Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'Market Cross, Castlecoombe, Wiltshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
145: Market Cross, Castlecoombe, Wiltshire
1926

 

 

Part 3 of my humungous posting on photographs from E.O. Hoppé’s book Picturesque Great Britain: Its Architecture and Landscape 1926.

I found a little more information about Hoppé’s process:

“He travelled across many countries including Great Britain, Germany, Czechoslovakia, the United States, India, Africa, Australia and New Zealand for projects such as the Orbis Terrarum book series for the Berlin-based publishing company Ernst Wasmuth Verlag, and devoted months, often a year or more, of his careful, meticulous attention to each of these countries in order to, as he himself once wrote, eventually select from 5000 negatives 300 images that could together with a text for the respective country, represent the selected topic and be published.”

Over a year in time, taken from 5000 negatives, to select 300 images. This means that Hoppé was working on a ratio of using about 6% of all the photographs of a subject that he took. From my personal experience I always work on 10% of what I take being “good” images, with about 5% actually being usable in a series, sequence or body of work.

As in the earlier postings, we can again see many of his compositional devices at work: double vanishing points (189: Norwich Cathedral, Norfolk), occlusion of foreground looking at subject in distance (186: Castle Rising, Norfolk; 199: Hop Poles & Oast Houses, Kent), superb use of “near far” (185: The Harbour, Kings Lynn, Norfolk; 190: The Broads at Wrexham, Norfolk), modernity and the geometric construction of the image plane (169: Caius Cambridge, Cambridge), strong elements holding up one side of the image and leading the eye into the subject (156: Pangbourne, Berkshire; 183: Walberswick, Suffolk); and wonderful use of light and chiaroscuro to picture atmosphere and emotion in the archaic and modern (218: The Canal, Manchester, Lancashire; 219: Warehouses, Manchester, Lancashire; 221: Steelworks, Sheffield, Yorkshire; 227: Evening, York).

Boy, would I like to see the ones he rejected!

Marcus

.
Please click on the photographs for a larger version of the image. These photographs are published under fair use conditions for educational purposes only.

 

This magnificent set of pictures displays, with all the art of genius both in selection and technical skill, the beauty of the British Isles. I know of no similar collection which could give alike to the foreigner who wonders what England is like, to the Englishman who has wandered from his native land into all the great dominions of the world, and to the man who has remained behind, that particular sense of pleasure mingled with pain which all beauty excites, and excites especially a passionate love in the vision of home.

This is an introduction to pictures of the landscapes and the works of man; these latter ennobled by the associations of time, and in some cases by time’s decay. They open vistas through which one may gaze at the history of England for a thousand years.

Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'At Hatfield, Hertfordshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
147: At Hatfield, Hertfordshire
1926

 

 

Emil Otto Hoppé (born 1878 in Munich, died 1972 in England) was an exciting and mysterious phenomenon. During his lifetime, especially in the 1910s, 20s, 30s and 40s, he was one of the most famous photographers in the world and a highly-respected portrait photographer in London, with a large house and studio in South Kensington (Millais House, which had 27 rooms on four floors and had previously been inhabited by the renowned Victorian painter John Everett Millais) as well as a clientele comprising the most important politicians, businessmen, artists, dancers, poets, writers, philosophers and of course the English nobility, including Queen Mary and King George V. For many years he was a dedicated travel photographer. He travelled across many countries including Great Britain, Germany, Czechoslovakia, the United States, India, Africa, Australia and New Zealand for projects such as the Orbis Terrarum book series for the Berlin-based publishing company Ernst Wasmuth Verlag, and devoted months, often a year or more, of his careful, meticulous attention to each of these countries in order to, as he himself once wrote, eventually select from 5000 negatives 300 images that could together with a text for the respective country, represent the selected topic and be published. “Romantic America”, “Picturesque Great Britain: The Architecture and the Landscape”, “Romantik der Kleinstadt”, “The Fifth Continent” [Australia] and “Deutsche Arbeit” are the titles of just some of the 20 books he published in his lifetime. …

The first task in the development of the history of photography was to build as simple a framework as possible and to gain a recognisable, nameable overview of the key movements. The work of Emil Otto Hoppé perhaps simply did not to fit in; instead his diversity and attitude must have been unsettling. On the one hand, he threw quite a modern look on the people, villages, landscapes and especially industries. At the same time he was for long periods wont to print his pictures in more tonal and soft-focus ways. His black-and-white pictures are often characterised by a particularly dense and colourful tonality, while his portraits (and other genres) are often soft and almost a little out-of-focus. He himself describes printing his portraits as follows in his autobiography “Hundred Thousand Exposures: The Success of a Photographer” from 1945: “I use a soft-focus lens in the enlarger. I begin the exposure with the smallest stop considered advisable. During the exposure the iris diaphragm is slowly opened and closed. The effect is calculated by dividing the estimated exposure by the smallest stop used in the process and closing the iris diaphragm for fractions of the period which are approximately 1/5, 1/20, 3/4 (…) The final effect is a roundness which I have not found it possible to obtain by another method.” …

In a speech delivered by E.O. Hoppé to the Royal Photography Society in 1946, he addressed some of these issues himself. For example: “The function of the camera here would be to make a simple, straightforward picture, which probably would not be accepted by any Salon of Photography. No tricks of exposure, angle or printing would have a place.” […] “The search for the most effective angle is the prime task of the photographer, and his success will largely be judged by his success in that search. The harm comes when he does not look for the most effective angle but for the most bizarre and peculiar.” […] “I see no reason to think a man a better artist because he ignores public taste, despises supply and demand and has dirty finger-nails.” […] “Similarly, I cannot agree with the intellectual snobbishness which declares that a man who wears a clean shirt and has a bank account is necessarily a tradesman and cannot be an artist.” His line of argument seems to address some reasons why his work was for a long time forgotten vis-à-vis a romantic image of the artist and the search for an approach that could be precisely isolated and named.

Anonymous. “Emil Otto Hoppé: Unveiling a Secret Industrial Photographs, 1912-1937,” on the Urs Stahel website January 2015 [Online] Cited 18 May 2020

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Spires of Oxford, Oxfordshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
148: The Spires of Oxford, Oxfordshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cloisters, New College, Oxford' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
150: The Cloisters, New College, Oxford
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Pangbourne, Berkshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
156: Pangbourne, Berkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'West Hagbourne, Berkshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
157: West Hagbourne, Berkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Trinity Gates, Cambridge' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
164: Trinity Gates, Cambridge
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Caius Cambridge, Cambridge' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
169: Caius Cambridge, Cambridge
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Old Inn & Hostelry, Cambridge' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
171: Old Inn & Hostelry, Cambridge
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Haddenham, Cambridgeshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
172: Haddenham, Cambridgeshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Housetops, Cathedral Close, Ely, Cambridgeshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
175: Housetops, Cathedral Close, Ely, Cambridgeshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Ely Cathedral, Cambridgeshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
177: Ely Cathedral, Cambridgeshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Ely Cathedral, Cambridgeshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
178: Ely Cathedral, Cambridgeshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Fine Specimens of Ancient Domestic Architecture, Plastered Houses at Ipswich, Suffolk' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
181: Fine Specimens of Ancient Domestic Architecture, Plastered Houses at Ipswich, Suffolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Near Walberswick, Suffolk' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
182: Near Walberswick, Suffolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Walberswick, Suffolk' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
183: Walberswick, Suffolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Market House, Wymondham, Norfolk' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
184: Market House, Wymondham, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Harbour, Kings Lynn, Norfolk' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
185: The Harbour, Kings Lynn, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Castle Rising, Norfolk' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
186: Castle Rising, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Cottage at Southery, Norfolk' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
187: Cottage at Southery, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Norwich Cathedral, Norfolk' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
189: Norwich Cathedral, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Broads at Wrexham, Norfolk' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
190: The Broads at Wrexham, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'An Essex Landscape' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
193: An Essex Landscape
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Beeleigh Abbey, Essex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
195: Beeleigh Abbey, Essex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Plastered House, Safron Walden, Essex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
196: Plastered House, Safron Walden, Essex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Friars, Aylesford, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
198: The Friars, Aylesford, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Hop Poles & Oast Houses, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
199: Hop Poles & Oast Houses, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Staplehurst, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
200: Staplehurst, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Allington Castle, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
201: Allington Castle, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Allington Castle, Maidstone, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
202: Allington Castle, Maidstone, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Allington Castle, Maidstone, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
203: Allington Castle, Maidstone, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Old Smithy, Penhurst, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
205: The Old Smithy, Penhurst, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Penhurst, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
207: Penhurst, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Cobham Hall, Gravesend, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
208: Cobham Hall, Gravesend, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Canterbury Cathedral, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
211: Canterbury Cathedral, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Weavers, Cantebury, Kent' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
213: The Weavers, Cantebury, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Tideswell Cathedral, Derbyshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
215: Tideswell Cathedral, Derbyshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Canal, Manchester, Lancashire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
218: The Canal, Manchester, Lancashire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Warehouses, Manchester, Lancashire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
219: Warehouses, Manchester, Lancashire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Steelworks, Sheffield, Yorkshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
221: Steelworks, Sheffield, Yorkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Steelworks, Sheffield, Yorkshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
222: Steelworks, Sheffield, Yorkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Bolton Abbey, Yorkshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
224: Bolton Abbey, Yorkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Evening, York' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
227: Evening, York
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Galilee Chapel, Durham Cathedral' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
228: Galilee Chapel, Durham Cathedral
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Durham Cathedral, Durham' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
229: Durham Cathedral, Durham
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'In Durham Cathedral' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
231: In Durham Cathedral
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cloisters, Durham Cathedral' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
232: The Cloisters, Durham Cathedral
1926

 

 

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,685 other followers

If you would like to unsubscribe from the email list please email Marcus at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

September 2020
M T W T F S S
 123456
78910111213
14151617181920
21222324252627
282930  

Archives

Categories