Posts Tagged ‘Baron Adolf De Meyer

16
Mar
18

Exhibition: ‘Quicksilver Brilliance: Adolf de Meyer Photographs’ at the Metropolitan Museum of Art, New York

Exhibition dates: 4th December 2017 – 18th March 2018

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Water Lilies' c. 1906, printed 1912

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Water Lilies
c. 1906, printed 1912
Platinum print
26.1 x 35.2 cm (10 1/4 x 13 7/8 in.)
Alfred Stieglitz Collection, 1933

 

 

The critic Charles H. Caffin described this photograph by de Meyer as “a veritable dream of loveliness.” It is one of several floral still life de Meyer made in London around 1906-9, when he was in close contact with Alvin Langdon Coburn, a fellow photographer and member of the Linked Ring. Both men were inspired by the Belgian writer Maurice Maeterlinck’s 1906 book The Intelligence of Flowers, a mystical musing on the vitality of plant life. De Meyer exhibited several of his flower studies, including this platinum print, at Stieglitz’s influential Photo-Secession galleries in New York in 1909. The image also appeared as a photogravure in an issue of Stieglitz’s art and photography journal Camera Work.

 

 

While the “facts of Baron Adolf de Meyer’s early life have been obscured by contradictory accounts from various sources (including himself); he was born in Paris or Germany, spent his childhood in both France and Germany, and entered the international photographic community in 1894-1895,” by circa 1897-1900 he had assumed the title of “Baron.”

“In editions dating from 1898 until 1913, Whitaker’s Peerage stated that de Meyer’s title had been granted in 1897 by Frederick Augustus III of Saxony, though another source states “the photographer inherited it from his grandfather in the 1890s”. Some sources state that no evidence of this nobiliary creation, however, has been found.” (Wikipedia) He then married Donna Olga Caracciolo in 1899, “reputedly the illegitimate daughter of the British king Edward VII, who enjoyed a privileged position within the fashionable international set surrounding the monarch.” The marriage was one of convenience, since he was homosexual and she was bisexual or lesbian, but it was based on a perfect understanding and companionship between two people. As de Meyer observed in an unpublished biography, “Marriage based too much on love and unrestrained passion has rarely a chance to be lasting, whilst perfect understanding and companionship, on the contrary, generally make the most durable union.”

Meyer “gained recognition as a leading figure of Pictorialism and a member of the photographic society known as the Linked Ring Brotherhood in London. Alfred Stieglitz exhibited de Meyer’s work in his Little Galleries of the Photo-Secession and published his images as photogravures in his influential journal Camera Work.” In the early 20th century, he was famed for his photographic portraits and was the preeminent fashion photographer of the day; he was also the first official fashion photographer for the American magazine Vogue, appointed to that position in 1913-14 until 1921. In 1922 de Meyer accepted an offer to become the Harper’s Bazaar chief photographer in Paris, spending the next 16 years there until he was forced out, his romantic style out of fashion with the modernist taste of the day.

I state these facts only to illustrate the idea that here was a “gay” of dubious lineage (reportedly born in Paris and educated in Dresden, Adolphus Meyer was the son of a German Jewish father and Scottish mother) who rose to associate with and photograph the upper echelons of society. He made it, and he made it good. His photographs of the well to do, film stars and fashion models are undoubtedly beautiful and his control of light magnificent, but they seem to me to be, well… constructed confections. His photographs of the elite and the fashion that they wore possess an ethereal beauty, de Meyer’s shimmering control of light adding to the photographs sense of enacted fantasy played out in the form of timeless classical elegance.

But there is that lingering doubt that these photographs were both his job and his entré (along with the connections and money of his wife) into high society. Look, for example, at the self-portrait of de Meyer in this posting. In the 1900 self-portrait in India when he was 32 and on his honeymoon, we see a coiffed, almost androgynous man who in his pose is as stiff as a board – his body contorted in the strangest way, the right hand gripping the arm of the cane chair, the left splayed and braced, ramrod straight against the seat and the feet crossed in the most unnatural manner. No matter the beautiful light and attractive setting, this is the image that this man wants to portray to the world, this is a man who thinks he has arrived. It is an affectation. And in the portrait of the aristocrat and patron of the avant-garde, Count Etienne de Beaumont (c. 1923, below), this is how he sees himself, as part of that elite. Because in the end, he was. But there is little feeling to any of his portrait work: style, surface, light, form and “the look” reign supreme. Only when he is so overwhelmed by stardust, such as in the brilliant photographs of Josephine Baker and her scintillating personality, does the mask of affection drop away.

Of more interest to me are his early photographs of Japan where you feel he has some personal investment in the work. The “tactile elegance of his early work” was influenced by “Japanese aesthetics, as well as the influence of the painter James McNeill Whistler, a key figure of the Aesthetic movement.” The photograph View Through the Window of a Garden, Japan (1900, below) is an absolute cracker, as are the Japanese influenced Water Lilies (c. 1906, below) and The Shadows on the Wall (Chrysanthemums) (1906, below). In her review of the exhibition on the Collector Daily website, Loring Knoblauch states, “While De Meyer’s scenes from Japan, his travel photos of his wife Olga at the Acropolis and in St. Moritz, and his experiments with autochromes in the early 1900s are also included in this eclectic sampler, these rarities aren’t particularly compelling or noteworthy, aside from their supporting role in filling out a broader picture of the artist and his life.” Aren’t particularly compelling! I beg to differ.

I don’t know how people look at photographs and interpret them so differently to how I see them. Perhaps I just feel the music, I see these photographs as if I were taking them, as a personal investment in their previsualisation. While I get very little from de Meyer’s fashion photographs I get a whole lot of pleasure and delight from his transcendent earlier work. I most certainly feel their energy. You only have to look at the reflection of the water lilies. Need I say more.

Marcus

.
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.

 

A member of the “international set” in fin-de-siècle Europe, Baron Adolf de Meyer (1868-1946) was also a pioneering photographer, known for creating works that transformed reality into a beautiful fantasy. Quicksilver Brilliance will be the first museum exhibition devoted to the artist in more than 20 years and the first ever at The Met. Some 40 works, drawn entirely from The Met collection, will demonstrate the impressive breadth of his career.

The exhibition will include dazzling portraits of well-known figures of his time: the American socialite Rita de Acosta Lydig; art patron and designer Count Étienne de Beaumont; aristocrat and society hostess Lady Ottoline Morrell; and celebrated entertainer Josephine Baker, among others. A highlight of the presentation will be an exceptional book – one of only seven known copies – documenting Nijinsky’s scandalous 1912 ballet L’Après-midi d’un faune. This rare album represents de Meyer’s great success in capturing the movement and choreography of dance, a breakthrough in the history of photography. Also on view will be the artist’s early snapshots made in Japan, experiments with colour processes, and inventive fashion photographs.

  • 13 platinum prints, 1900, 1906, 1907, 1912, 1917
  • 2 photogravures, 1908, 1912
  • 2 carbon prints, 1900, 1925-1926
  • 1 autochrome in lightbox (facsimile), 1908
  • 4 gelatin silver prints, 1912, 1923, 1925, 1928
  • 1 set of 9 gelatin silver prints (framed together), 1890s-1910
  • 1 trichrome carbro print, 1929
  • 6 collotypes, 1914 (with full collotype book showing 1 image in nearby vitrine, 1914)
  • 4 magazine spreads (in bound volumes of Vogue and Harper’s Bazaar, 1913, 1919, 1927, in vitrine)

 

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) '[Nude Models Posing for a Painting Class]' 1890s

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
[Nude Models Posing for a Painting Class]
1890s
Gelatin silver print
Gift of Lunn Gallery, 1980

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) '[Adolf de Meyer Photographing Olga in a Garden]' 1890s

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
[Adolf de Meyer Photographing Olga in a Garden]
1890s
Gelatin silver print
Gift of Lunn Gallery, 1980

 

 

Like many Pictorialist photographers, de Meyer became interested in the camera through collecting and making snapshots of family and close friends. Olga de Meyer (née Caracciolo) was his companion and muse until her death in 1931. Rumoured to be the illegitimate daughter of the British king Edward VII, she enjoyed a privileged position within the fashionable international set surrounding the monarch. De Meyer made numerous portraits of Olga throughout their famously chic and eccentric life together (in 1916 the couple changed their names to Gayne and Mharah on the advice of an astrologer).

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) '[Self-Portrait in India]' 1900

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
[Self-Portrait in India]
1900
Platinum print
14.8 x 19.8 cm. (5 13/16 x 7 13/16 in.)
Gift of Isaac Lagnado, 1995

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) '[Self-Portrait in India]' (detail) 1900

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
[Self-Portrait in India] (detail)
1900
Platinum print
14.8 x 19.8 cm. (5 13/16 x 7 13/16 in.)
Gift of Isaac Lagnado, 1995

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) '[Amida Buddah, Japan]' 1900

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
[Amida Buddah, Japan]
1900
Platinum print
19.2 x 14.3 cm. (7 9/16 x 5 5/8 in.)
Purchase, Mrs. Jackson Burke Gift, 1981

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Ueno Tōshō-gū, Tokyo, Japan' 1900

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Ueno Tōshō-gū, Tokyo, Japan
1900
Platinum print
14.5 x 19.8 cm. (5 11/16 x 7 13/16 in.)
Purchase, Mrs. Jackson Burke Gift, 1981

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Olga de Meyer, Japan' 1900

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Olga de Meyer, Japan
1900
Platinum print
19.3 x 15.1 cm. (7 5/8 x 5 15/16 in.)
Purchase, Mrs. Jackson Burke Gift, 1981

 

 

Framed by the gridded panels of a sliding screen door, Olga de Meyer pauses from her reading to look languidly at the camera. De Meyer made this affectionate photograph of his new wife while on their honeymoon to Japan. The composition suggests his interest in Japanese aesthetics, as well as the influence of the painter James McNeill Whistler, a key figure of the Aesthetic movement. In its rebellion against Victorian morals, the movement sought inspiration from outside the European tradition. De Meyer’s travels in Japan – as well as China, Ceylon, India, North Africa, Turkey, and Spain – nourished Orientalist fictions, and gave rise to the subjects and compositions of many of his photographs.

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) '[View Through the Window of a Garden, Japan]' 1900

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
[View Through the Window of a Garden, Japan]
1900
Platinum print
13.8 x 20.3 cm. (5 7/16 x 8 in.)
Purchase, Mrs. Jackson Burke Gift, 1981

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'The Shadows on the Wall (Chrysanthemums)' 1906

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
The Shadows on the Wall (Chrysanthemums)
1906
Platinum print
34.7 x 26.7 cm (13 11/16 x 10 1/2 in.)
Alfred Stieglitz Collection, 1933

 

 

Focusing his camera not on a still life per se, but on its evanescent trace, de Meyer creates a composition that approaches abstraction. He later applied a similar handling of light and shadow to enhance the drama of his fashion photographs. Here, the shadow of a vase of flowers cast onto the wall has the effect of a Japanese lacquered screen.

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'The Silver Cap' c. 1909, printed 1912

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
The Silver Cap
c. 1909, printed 1912
Gelatin silver print
45.7 x 27.6 cm. (18 x 10 7/8 in.)
Alfred Stieglitz Collection, 1933

 

 

Born in Paris, Baron Adolf de Meyer settled in London in 1896. With his wife, Donna Olga Caraciollo, he joined the elegant set surrounding the Prince of Wales, later Edward VII, Olga’s godfather. They entertained lavishly, including concerts and small fancy-dress balls, which gave de Meyer a chance to devise marvellous costumes for Olga. Likely inspired by the de Meyers’ involvement with the Ballets Russes and time spent at their villa on the Bosporus, this dress features Ottoman elements such as the full skirt and decorative trimmings yet conforms to the Western fitted waistline – a fine example of the 1910s fashion trend of exoticism.

 

 

A member of the “international set” in fin-de-siècle Europe, Baron Adolf de Meyer (1868-1946) was also a pioneering art, portrait, and fashion photographer, known for creating images that transformed reality into a beautiful fantasy. The “quicksilver brilliance” that characterised de Meyer’s art led fellow photographer Cecil Beaton to dub him the “Debussy of the Camera.” Opening December 4 at The Metropolitan Museum of Art,

Quicksilver Brilliance: Adolf de Meyer Photographs will be the first museum exhibition devoted to the artist in more than 20 years and the first ever at The Met. Some 40 works, drawn entirely from The Met collection, will reveal the impressive breadth of his career.

The exhibition will include dazzling portraits of well-known figures of his time: the American socialite Rita de Acosta Lydig; art patron and designer Count Étienne de Beaumont; aristocrat and society hostess Lady Ottoline Morrell; and celebrated entertainer Josephine Baker, among others. A highlight of the presentation will be an exceptional book – one of only seven known copies – documenting Nijinsky’s scandalous 1912 ballet L’Après-Midi d’un Faune. This rare album represents de Meyer’s great success in capturing the choreography of dance, a breakthrough in the history of photography. Also on view will be the artist’s early snapshots made in Japan, experiments with colour processes, and inventive fashion photographs.

Born in Paris and educated in Germany, de Meyer was of obscure aristocratic German-Jewish and Scottish ancestry. He and his wife, Olga Caracciolo, goddaughter of Edward VII, were at the center of London’s café society.

After starting in photography as an amateur, de Meyer gained recognition as a leading figure of Pictorialism and a member of the photographic society known as the Linked Ring Brotherhood in London. Alfred Stieglitz exhibited de Meyer’s work in his Little Galleries of the Photo-Secession and published his images as photogravures in his influential journal Camera Work. At the outbreak of World War I, de Meyer settled in the United States and applied his distinctive pictorial style to fashion imagery, helping to define the genre during the interwar period.

The exhibition was organized by Beth Saunders, Assistant Curator in The Met’s Department of Photographs.

Press release from the Metropolitan Museum of Art

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Tamara Karsavina' c. 1908

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Tamara Karsavina
c. 1908
Autochrome
9 x 11.9 cm (3.5 x 4.6 in.)
Gilman Collection, Purchase, Harriette and Noel Levine Gift, 2005

 

 

De Meyer enthusiastically embraced the autochrome process at its inception in 1907, writing to Stieglitz the following year that his work in black and white no longer satisfied him. An ardent admirer of Diaghilev’s Ballets Russes, de Meyer created this image of Tamara Karasavina (1885-1978), a leading dancer and partner to Nijinksy, during one of the company’s visits to England. The photographer chose a background of bellflowers and arranged a brocaded shawl to enhance the exotic elegance of the dancer.

The autochrome, which retains in its minuscule prisms the particular luminosity of a misty English day in summer, was thought to represent the Marchioness of Ripon in her garden at Coombe, Surrey. An early patron of de Meyer, Lady Ripon was also a staunch supporter of Diaghilev, bringing the Ballets Russes to London in 1911. She frequently entertained Karasavina and Nijinsky at Coombe, where they danced for Alexandra, the queen consort, and de Meyer dedicated to her his album documenting Nijinsky’s production of L’Après-midi d’un faune. A companion image to this autochrome is in the collection of the Victoria and Albert Museum in London.

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) '[Lady Ottoline Morrell]' c. 1912

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
[Lady Ottoline Morrell]
c. 1912
Platinum print
23.5 x 17.4 cm (9 1/4 x 6 7/8 in.)
Gilman Collection, Purchase, Harriette and Noel Levine Gift, 2005

 

 

Adolph de Meyer’s portrait of Lady Ottoline Morrell, eccentric hostess to Bloomsbury, is a stunning summation of the character of this aristocratic lady who aspired to live “on the same plane as poetry and as music.” Rebelling against the narrow values of her class, Lady Ottoline Cavendish Bentinck (1873-1938) married Philip Morrell, a lawyer and liberal Member of Parliament, and surrounded herself in London and on their estate at Garsington with a large circle of friends, including Bertrand Russell, W. B. Yeats, D. H. Lawrence, T. S. Eliot, Katherine Mansfield, Lytton Strachey, Virginia Woolf, Aldous Huxley, and E. M. Forster. Tall, wearing fantastic, scented, vaguely Elizabethan clothes, Lady Ottoline made an unforgettable impression. With her dyed red hair, patrician nose, and jutting jaw, she could look, according to Lord David Cecil, at one and the same moment beautiful and grotesque. Henry James saw her as “some gorgeous heraldic creature – a Gryphon perhaps or a Dragon Volant.”

De Meyer made several portraits of Lady Ottoline. None went as far as this one in conjuring up the sitter’s flamboyant persona, capturing, through dramatic lighting and Pre-Raphaelite design, her untamed, baroque quality. “Her long, pale face, that she carried lifted up, somewhat in the Rossetti fashion, seemed almost drugged, as if a strange mass of thoughts coiled in the darkness within her.” D. H. Lawrence’s inspired description of the character based on Lady Ottoline in “Women in Love” finds a vivid counterpart in the photographer’s art.

 

Baron Adolf De Meyer (American, born France, 1868-1946) 'The Cup' c. 1910

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
The Cup
c. 1910
Gum bichromate print

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Olga de Meyer' c. 1912

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Olga de Meyer
c. 1912
Platinum print
22.4 x 16.4 cm (8 13/16 x 6 7/16 in.)
Gift of Paul F. Walter, 2009

 

 

Renowned for her beauty and style, de Meyer’s spouse was, in a sense, his first fashion model. Here, dramatic backlighting emphasises her sinuous form, enshrouded in shimmering fabric and fur. Her gaze conveys a haughty bemusement that elevates the tableau from costume play to regal sophistication.

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) '[Dance Study]' c. 1912

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
[Dance Study]
c. 1912
Platinum print
32.7 x 43.5 cm (12 7/8 x 17 1/8 in.)
Alfred Stieglitz Collection, 1933

 

 

De Meyer photographed the dancer Nijinsky and other members of Diaghilev’s troupe when “L’Après-midi d’un Faun” was presented in Paris in 1912. It has been suggested that this photograph, the only nude by de Meyer, has some connection to the Russian ballet, but if so, it remains mysterious. It has been suggested that this photograph, the only nude by de Meyer, has some connection to the Ballets Russes, but the nature of that link remains mysterious. The image vibrates with an uneasy erotic tension, a product of the figure’s exposed torso, startled body language, and disguised identity.

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Le Prelude à l'Après-Midi d'un Faune' 1914

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Le Prelude à l’Après-Midi d’un Faune
1914
Collotypes
Album: 15 1/4 x 11 5/8
Gilman Collection, Museum Purchase, 2005

 

 

In 1912 de Meyer made a remarkable series of photographs related to the Ballets Russes production L’après-midi d’un faune (Afternoon of a Faun). The avant-garde dance was choreographed by famed Russian performer Vaslav Nijinsky, set to a score by Claude Debussy, and inspired by a poem by Symbolist writer Stéphane Mallarmé. It follows a young faun distracted from his flute-playing by bathing nymphs who seduce and taunt him, leaving behind a scarf with which he allays his desire. When the ballet premiered in Paris on May 29, 1912, the overtly sexual climactic scene and unconventional choreography scandalised audiences. Nijinsky based the angular movements and frieze-like staging on Greek vase paintings, but Ballets Russes founder Sergei Diaghilev also likened them to Cubism.

Thirty of de Meyer’s photographs of the ballet were published as collotypes (photomechanical ink prints) in a 1914 edition of one thousand luxurious handcrafted books. Only seven copies are known today. Using alternately complex and fragmentary compositions, de Meyer’s images generate a rhythm of gesture and form. The thin Japanese papers offer a tactile echo of the diaphanous costumes (designed by artist Léon Bakst), and the heavily manipulated negatives enshroud the angular figures in a dreamlike haze. An object of desire, the book itself embodies the spirit of Nijinsky’s ballet.

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Nijinsky [Plate from Le Prelude à l'Après-Midi d'un Faune]' 1912

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Nijinsky [Plate from Le Prelude à l’Après-Midi d’un Faune]
1912

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Nijinsky [Plate from Le Prelude à l'Après-Midi d'un Faune]' 1914

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Nijinsky [Plate from Le Prelude à l’Après-Midi d’un Faune]
1914

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) '[Image from "Prelude à l'Après-Midi d'un faune"]' 1914

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
[Image from “Prelude à l’Après-Midi d’un faune”]
1914
Platinum print
4 3/16 × 7 1/16 in. (10.6 × 17.9 cm)
Gilman Collection, Purchase, Mrs. Walter Annenberg and The Annenberg Foundation Gift, 2005

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Rita de Acosta Lydig' 1917

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Rita de Acosta Lydig
1917
Platinum print
41.5 x 30.9 cm. (16 5/16 x 12 3/16 in.)
Gift of Mercedes de Acosta, 1952

 

 

De Meyer’s portrait of the socialite, art patron, “shoe queen,” and suffragette Rita de Acosta Lydig is striking in its simplicity of tone and contour. The image, which appeared in Vogue in 1917, resonates with the classical elegance epitomised in the paintings of society portraitists John Singer Sargent and Giovanni Boldini, who also depicted this so-called alabaster lady.

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Portrait of the Marchesa Casati' 1912

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Portrait of the Marchesa Casati
1912
Plate from Camera Work No. XL August 1912

 

 

Luisa, Marchesa Casati Stampa di Soncino (23 January 1881 – 1 June 1957), also known as Luisa Casati, was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe. …

A celebrity, the Marchesa was famed for eccentricities that dominated and delighted European society for nearly three decades. The beautiful and extravagant hostess to the Ballets Russes was something of a legend among her contemporaries. She astonished society by parading with a pair of leashed cheetahs and wearing live snakes as jewellery. (Wikipedia)

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Study for Vogue [Jan 1-1918, Betty Lee, Vogue, page 41]' 1918-21

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Study for Vogue [Jan 1-1918, Betty Lee, Vogue, page 41]
1918-21
Gelatin silver print

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Dolores' 1921

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Dolores
1921
Gelatin silver print

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Etienne de Beaumont [Count Etienne de Beaumont (French, 1883-1956)]' c. 1923

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Etienne de Beaumont [Count Etienne de Beaumont (French, 1883-1956)]
c. 1923
Gelatin silver print
23.7 x 18.6 cm (9 5/16 x 7 5/16 in.)
Gift of Paul F. Walter, 2009

 

 

An aristocrat and patron of the avant-garde, Count Etienne de Beaumont cuts a dashing figure here, posed in one of the grand salons of his hôtel (grand townhouse) in Paris’s rue Masseran. The count hosted a series of legendary masquerade balls at his residence during the interwar period, attended by avant-garde artists such as Jean Cocteau, Pablo Picasso, and Man Ray. De Meyer described these parties, which he and Olga often attended, as “fêtes of unsurpassed magnificence” in a 1923 article for Harper’s Bazaar.

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Portrait of Josephine Baker' 1925

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Portrait of Josephine Baker
1925

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California) 'Josephine Baker' 1925-26

 

Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)
Josephine Baker
1925-26
Direct carbon print
45.2 x 29.5 cm (17 13/16 x 11 5/8 in.)
Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987

 

 

The Saint Louis, Missouri-born Josephine Baker arrived in Paris in 1925 and quickly made a sensation as part of the all-black Revue Nègre, a musical entertainment that capitalised on the French craze for American Jazz. Famously donning a banana skirt for her danse sauvage, Baker crafted performances that astutely deployed the stereotypes white Europeans associated with blackness, recouping them as instruments of her own empowerment and success. Baker shines amid the glittering backdrop and soft focus of de Meyer’s photograph, creating an iconic image of stardom.

 

Gertrude Käsebier. 'Baron Adolf de Meyer' 1903

 

Gertrude Käsebier
Baron Adolf de Meyer
1903
Platinum print
13 3/8 x 10″ (34 x 25.5 cm)
Museum of Modern Art, Gift of Miss Mina Turner

 

Gertrude Käsebier. 'Baron Adolf de Meyer (Leaning Against Tree)' 1903

 

Gertrude Käsebier
Baron Adolph de Meyer (Leaning Against Tree)
1903
Platinum photograph
8.5 x 6.5 in.

 

Sarah Choate Sears (American, 1858-1935) 'A Mexican [Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)]' 1905

 

Sarah Choate Sears (American, 1858-1935)
A Mexican [Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California)]
1905
Platinum print
24.2 x 18.7 cm. (9 1/2 x 7 3/8 in.)
Alfred Stieglitz Collection, 1933

 

 

With his brow arched beneath a tilted hat and hand elegantly grasping a stark white scarf, de Meyer dons a mysterious alter ego. Like de Meyer, Sears was involved with the two major groups devoted to art photography: the Photo-Secession and the Linked Ring Brotherhood. The two artists may have met through a mutual friend, the photographer F. Holland Day, who included their work in his exhibition “New School of American Photography,” on view in London in 1900 and Paris the following year. The title for this portrait follows a Photo-Secession tradition of withholding the sitter’s name when exhibiting publicly.

Sarah Choate Sears (1858-1935) was an American art collector, art patron, cultural entrepreneur, artist and photographer. …

About 1890 she began exploring photography, and soon she was participating in local salons. She joined the Boston Camera Club in 1892, and her beautiful portraits and still lifes attracted the attention of fellow Boston photographer F. Holland Day. Soon her work was gaining international attention. …

In 1899 she was given a one-woman show at the Boston Camera Club, and in 1900 she had several prints in Frances Benjamin Johnson’s famous exhibition in Paris. … In 1907, two of her photographs were published in Camera Work, but by that time she had lost much of her interest in photography. (Wikipedia)

 

 

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

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

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

22
Aug
12

Exhibition: ‘Portraits of Renown: Photography and the Cult of Celebrity’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 3rd April – 26th August 2012

.
On the Nature of Photography

.

“To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work “the mirror with a memory” as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth.”

.
Newhall, Beaumont (ed.). The History of Photography. Boston: Little, Brown, and Co., 1982, p.281.

.

“Carol Jerrems and I taught at the same secondary school in the 1970’s. In a classroom that was unused at that time, I remember having my portrait taken by her. She held her Pentax to her eye. Carols’ portraits all seemed to have been made where the posing of her subjects was balanced by an incisive naturalness (for want of a better description). As a challenge to myself I tried to look “natural”, but kept in my consciousness that I was having my portrait taken. Minutes passed and neither she nor her camera moved at all.

Then the idea slipped from my mind for just a moment, and I was straightaway bought back by the sound of the shutter. What had changed in my face? – probably nothing, or 1 mm of muscle movement. Had she seen it through the shutter? Or something else – I don’t know.”

.
Australian artist Ian Lobb on being photographed by the late Carol Jerrems.

.

.
There is always something that you can’t quite put your finger on in an outstanding portrait, some ineffable other that takes the portrait into another space entirely. I still haven’t worked it out but my thoughts are this: forget about the pose of the person. It would seem to me to be both a self conscious awareness by the sitter of the camera and yet at the same time a knowing transcendence of the visibility of the camera itself. In great portrait photography it is almost as though the conversation between the photographer and the person being photographed elides the camera entirely. Minor White, in his three great mantras, the Three Canons, observes:

.
Be still with yourself

Until the object of your attention
Affirms your presence
.

Let the Subject generate its own Composition
.

When the image mirrors the man
And the man mirrors the subject
Something might take over

.

Freed from the tyranny of the visual facts something else emerges.

Celebrities know only too well how to “work” the camera but the most profound portraits, even of celebrities, are in those moments when the photographer sees something else in the person being photographed, some unrecognised other that emerges from the shadows – a look, a twist of the head, the poignancy of the mouth, the vibrancy of the dancer Josephine Baker, the sturdiness of the gaze of Walt Whitman with hands in pockets, the presence of the hands (no, not the gaze!) of Picasso. I remember taking a black and white portrait of my partner Paul holding a wooden finial like a baby among some trees, a most beautiful, revealing photograph. He couldn’t bear to look at it, for it stripped him naked before the lens and showed a side of himself that he had never seen before: vulnerable, youthful, beautiful.

Why do great portrait photographers make so many great portraits? Why can’t this skill be shared or taught? Why can’t Herb Ritts (for example) make a portrait that goes beyond a caricature? Why is it that what can be taught is so banal that it has no value?

In photography, maybe we edit out what is expected and then it seems that photography does something that goes beyond language; it goes beyond function that can be described as a part of speech, metonym or metaphor. When this something else takes over I think it is truly “unrecognised” in the best portraits – and it is fantastic and wonderful.

This is the ultimate understanding of perception and vision – when spirit takes over – the ability to see it in the mind, through the viewfinder and be able to reveal it in the physicality of the print. This, I believe, is the reality of photography itself in its absolute essential form – and here I am deliberately forgetting about post-photography, post-modernism, modernism, pictorialism, ism, ism – and getting down to why I really like photography: the BEYOND the visualisation of a world, the transcendence of time and space that leads, in great photographs, to a recognition of the discontinuous nature of life but in the end, to its ultimate persistence.

This is as close as I have got so far…

.
Dr Marcus Bunyan
August 2012

.
Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image.

.

.

.

Marie Cosindas (American, born 1925)
Andy Warhol
1966
Dye color diffusion [Polaroid ®] print
11.4 x 8.9 cm
The J. Paul Getty Museum, Los Angeles
© Marie Cosindas

.

.

Marie Cosindas (American, born 1925)
Yves St Laurent
1968
Dye color diffusion [Polaroid ®] print
11.4 x 8.9 cm
The J. Paul Getty Museum, Los Angeles
© Marie Cosindas

.

.

Andy Warhol (American, 1928 – 1987)
Grace Jones
1984
Polaroid Polacolor print
9.5 x 7.3 cm
The J. Paul Getty Museum, Los Angeles
© 2011 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

.

.

Portraits of Renown surveys some of the visual strategies used by photographers to picture famous individuals from the 1840s to the year 2000. “This exhibition offers a brief visual history of famous people in photographs, drawn entirely from the Museum’s rich holdings in this genre,” says Paul Martineau, curator of the exhibition and associate curator of photographs at the J. Paul Getty Museum. “It also provides a broad historical context for the work in the concurrent exhibition ‘Herb Ritts: L.A. Style’, which includes a selection of Ritts’s best celebrity portraits.”

Photography’s remarkable propensity to shape identities has made it the leading vehicle for representing the famous. Soon after photography was invented in the 1830s, it was used to capture the likenesses and accomplishments of great men and women, gradually supplanting other forms of commemoration. In the twentieth century, the proliferation of photography and the transformative power of fame have helped to accelerate the desire for photographs of celebrities in magazines, newspapers, advertisements, and on the Internet. The exhibition is arranged chronologically to help make visible some of the overarching technical and stylistic developments in photography from the first decade of its invention to the end of the twentieth century.

A wide range of historical figures are portrayed in Portraits of Renown. A photograph by Alexander Gardner of President Lincoln documents his visit to the battlefield of Antietam during the Civil War. Captured by Nadar, a portrait of Alexander Dumas, best known for his novels The Count of Monte Cristo and The Three Musketeers, shows the author with an energetic expression, illustrating the lively personality that made his writing so popular. Baron Adolf De Meyer’s portrait of Josephine Baker, an American performer who became an international sensation at the Folies Bergère in Paris, showcases her comedic charm, a trait that proved central to her popularity as a performer. An iconic portrait of the silent screen actress, Gloria Swanson, created by Edward Steichen for Vanity Fair reveals both the intensity of its sitter and the skill of the artist. A picture of Pablo Picasso by his friend Man Ray portrays the master of Cubism with a penetrating gaze.

Yves St. Laurent, Andy Warhol, and Grace Jones are among the contemporary figures included in the exhibition. Fashion designer Yves St. Laurent was photographed by Marie Cosindas using instant color film by Polaroid. The photograph, made the year his first boutique in New York opened, graced the walls of the store for ten years. A Cosindas portrait of Andy Warhol shows the artist wearing dark sunglasses, which partially conceal his face. Warhol, who was fascinated by celebrity, delighted in posing public personalities like Grace Jones for his camera.”

Press release from the J. Paul Getty Museum website

.

.

Man Ray (American, 1890 – 1976)
Pablo Picasso
1934
Gelatin silver print
25.2 x 20 cm
The J. Paul Getty Museum, Los Angeles
© Man Ray Trust ARS-ADAGP

.

.

Baron Adolf De Meyer (American, born France, 1868 – 1946)
Portrait of Josephine Baker
1925
Collotype print
39.1 x 39.7 cm
The J. Paul Getty Museum, Los Angeles

.

.

Mathew B. Brady (American, about 1823 – 1896)
Walt Whitman
about 1870
Albumen silver print
14.6 x 10.3 cm
The J. Paul Getty Museum, Los Angeles

.

.

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 – 5.30pm
Saturday 10 – 9pm
Sunday 10 – 9pm
Monday closed

The J. Paul Getty Museum website

LIKE ART BLART ON FACEBOOK

Back to top

17
Jan
11

Exhibition: ‘In Focus: Still Life’ at The J. Paul Getty Museum, Los Angeles

Exhibition dates: 14th September 2010 – 23rd January 2011

.

Many thankx to The J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on some of the photographs for a larger version of the image.

.

.

.

Armand-Pierre Séguier (French, 1803 – 1876)
‘Still Life with Plaster Casts’
1839 – 1842
Daguerreotype 8 x 6 in.
Accession No. 2002.41
Object Credit: The J. Paul Getty Museum, Los Angeles

.


.

Baron Adolf De Meyer (American, 1868 – 1949)
‘Glass and Shadows’
1905
Photogravure
Image: 8 3/4 x 6 9/16 in.
Accession No. 84.XP.463.22
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

Charles Aubry (French, 1811 – 1877)
[An Arrangement of Tobacco Leaves and Grass]
about 1864
Albumen silver print
Image: 47 x 37.3 cm (18 1/2 x 14 11/16 in.)
Accession No. 84.XP.394
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

The J. Paul Getty Museum presents In Focus: Still Life, a survey of some of the innovative ways photographers have explored and refreshed this traditional genre, on view at the Getty Center in the Center for Photographs from September 14, 2010 – January 23, 2011.

“Still life photography has served as both a conventional and an experimental form during periods of significant aesthetic and technological change,” said Paul Martineau, assistant curator, Department of Photographs, the J. Paul Getty Museum, and curator of the exhibition. “One of our goals for the exhibition was to show how still life photographs can be both traditional and surprising.”

With its roots in antiquity, the term “still life” is derived from the Dutch word stilleven, coined during the 17th century, when painted examples enjoyed immense popularity throughout Europe. The impetus for a new term came as artists created compositions of increasing complexity, bringing together a greater variety of objects to communicate allegorical meanings. Still life featured prominently in the early experiments of the pioneers of the photographic medium and, more than 170 years later, it continues to be a significant motif for contemporary photographers.

Drawn exclusively from the Museum’s collection, the exhibition includes photographs by Charles Aubry, Henry Bailey, Hans Bellmer, Jo Ann Callis, Sharon Core, Baron Adolf De Meyer, Walker Evans, Roger Fenton, Frederick H. Hollyer, Heinrich Kühn, Sigmar Polke, Man Ray, Albert Renger-Patzsch, Paul Outerbridge, Louis-Rémy Robert, Baron Armand-Pierre Séguier, Paul Strand, Josef Sudek, and Thomas R. Williams.

The exhibition is arranged chronologically and includes a broad range of photographic processes, from daguerreotypes and albumen silver prints made in the 19th century to gelatin silver prints, and cibachrome prints made in the 20th century, to digital prints from the 21st century.

Newly acquired works will be on display for the first time: Still Life with Triangle and Red Eraser (1985) by American Irving Penn, Lorikeet with Green Cloth (2006) by Australian Marian Drew, and Blow Up: Untitled 15 (2007) by Israeli Ori Gersht (Gersht loosely based his Blow Up series on traditional floral still life paintings. His arrangements of flowers are frozen and then detonated. The explosion is captured using synchronized digital cameras, with the fragmentary detritus caught in remarkable detail. 

This diptych (pair) belies the notion of still life as something motionless as it explores the relationships among painting and photography, art and science, and creation and destruction.)

For Bowl with Sugar Cubes, photographer André Kertész created a still life out of a simple bowl, spoon, and sugar cubes, demonstrating the photographer’s interest in the compositional possibilities of layering basic geometric forms on top of one another – three rectangles in a circle (sugar cubes and bowl) and a circle in a square (bowl and the cropped printing paper). A visual sophistication is achieved through his adroit use of simple objects and dramatic lighting.

Other selections from In Focus: Still Life include Edward Weston’s Bananas and Orange, which depicts a symmetrical fan of bananas punctuated by one oddly shaped orange, and Frederick Sommer’s The Anatomy of a Chicken, which uses the discarded parts of a chicken to create a visual commentary. Influenced by Surrealism, Sommer embraced unexpected juxtapositions and literary allusions to express his intellectual and philosophical ideas. In Anatomy of a Chicken, a severed head, three sunken eyes, and eviscerated organs glisten on a white board. Evoking biblical imagery, medieval grotesques, and heraldic emblems, Sommer calls on the viewer to consider the endless cycle of birth and death, the cruel reality of the food chain, and man’s role in this violence.

In Focus: Still Life will be the seventh installation of the ongoing In Focus series of exhibitions, thematic presentations of photographs from the Getty’s permanent collection. Previous exhibitions focused on The Nude, The Landscape, The Portrait, Making a Scene (staged photographs), The Worker, and most recently, Tasteful Pictures.”

Press release from The J. Paul Getty Museum website

.

.

Man Ray (Emmanuel Radnitzky) (American, 1890 – 1976)
‘Dead Leaf’
1942
Gelatin silver print
Image: 9 1/2 x 7 13/16 in.
Accession No. 84.XM.1000.55
© Man Ray Trust ARS-ADAGP
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

Paul Strand (American, 1890 – 1976)
[Black Bottle]
negative about 1919; print 1923 – 1939
Gelatin silver, on Cykora paper print
Image (trimmed to mount): 32.7 x 24.8 cm (12 7/8 x 9 3/4 in.)
Sheet: 34.4 x 27.1 cm (13 9/16 x 10 11/16 in.)
Mount (irregular): 35.1 x 27.8 cm (13 13/16 x 10 15/16 in.)
Accession No. 86.XM.686.5.1
Copyright: © Aperture Foundation
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

Irving Penn
‘Still Life with Triangle and Red Eraser, New York, 1985’
dye-bleach print
Image: 22¾ x 18 1/8in. (57.8 x 46cm.)
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

Frederick Sommer (American, born Italy, 1905 – 1999)
‘The Anatomy of a Chicken’
1939
Gelatin silver print
Image: 24.1 x 19.1 cm (9 1/2 x 7 1/2 in.)
Accession No. 94.XM.37.96
© Frederick and Frances Sommer Foundation
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

“Still life derives from the Dutch word stilleven, coined in the 17th century when paintings of objects enjoyed immense popularity throughout Europe. The impetus for this term came as artists created compositions of greater complexity, bringing together a wider variety of objects to communicate allegorical meanings.

Still life has come to serve, like landscape or portraiture, as a category within art. Although it typically refers to depictions of inanimate things, because it incorporates a vast array of influences from different cultures and periods in history, it has always resisted precise definition.

This exhibition presents some of the innovative ways photographers have explored and refreshed this traditional genre. During the 19th century, still life photographs tended to resemble still life paintings, with similar subjects and arrangements. Beginning in the 20th century, still life photographs have mirrored the subjects and styles that have more broadly concerned photographers in their time.

.

A New Medium

Still life featured prominently in the experiments of photography inventors Jacques-Louis-Mandé Daguerre and William Henry Fox Talbot. They did this in part, for practical reasons: the exceptionally long exposure times of their processes precluded the use of living models.

In the late 1830s, Baron Armand-Pierre Séguier, a close associate of Daguerre, created this elegant daguerreotype that features small-scale copies of famous sculptures in the Louvre and Uffizi museum collections.

In the mid-1800s, Charles Aubry was an accomplished practitioner of still-life photography who came to the medium by way of his professional interest in applied arts and industrial design. After working as a pattern designer for carpets, fabrics, and wallpapers, he formed a company to manufacture plaster casts and make photographs of plants and flowers.

Aubrey’s detailed prints of natural forms – like this close-up of plants on a lace-covered background – were intended to replace lithographs traditionally used by students of industrial design.

.

Photography as Art

By the first decade of the 20th century, art photographers like Baron Adolf de Meyer employed soft-focus lenses and painterly darkroom techniques to make photographs that resembled drawings and prints. The vogue at the time was to produce images that reflected a handcrafted approach, while asserting photography as an art medium in its own right.

Here, De Meyer photographed an arrangement of objects through a scrim. The pattern of thin, woven fabric softens the backlit objects and helps replicate the subtle tonal effects prized in etchings and aquatints.

.

Modernism

Several decades into the twentieth-century, the American artist Man Ray emerged as a pioneer of two European art movements, Dada and Surrealism, in which the element of surprise figured prominently. This image seems both unusual for Man Ray in its apparent straight-forward approach, but also typical in its somewhat dark emotional tone.

By selecting a dead leaf with a claw-like appearance and photographing it against a wood-grain board, Man Ray updated the concept of memento mori (“remember that you must die”), a motif popular in centuries-old still-life paintings.

.

New Directions

In that same vein, the best contemporary still-life photographs recall past styles of art while containing a paradox relevant to today. Contemporary photographer Sharon Core became known for re-creations of painter Wayne Thiebaud’s pop-art dessert tableaux. Her series of still-life compositions, inspired by the 18th-century American painter Raphaelle Peale, followed.

For this series, entitled “Early American,” Core studied the compositional structure of his paintings, replicated the mood of the lighting, and when she couldn’t find the right vegetables and flowers, grew her own from heirloom seeds.

The stilled lives of objects have served so well as both experimental and conventional forms in the past, that still life may well be the anchor that allows photographers to explore new and yet unimagined depths.”

Text from the J. Paul Getty Museum website

.

.

Ori Gersht (Israeli, 1967 – )
‘Blow Up: Untitled 15’
2007
Digital chromogenic prints
Accession No. 2009.46
© Ori Gersht
Purchased with funds provided by the Photographs Council of the J. Paul Getty Museum
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

Edward Weston (American, 1886 – 1958)
‘Bananas and Orange’
April 1927
Gelatin silver print
Image: 18.9 x 23.7 cm (7 7/16 x 9 5/16 in.)
Accession No. 84.XM.860.4
© 1981 Arizona Board of Regents, Center for Creative Photography
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

André Kertész (American, born Hungary, 1894 – 1985)
[Bowl with Sugar Cubes]
1928
Gelatin silver print
Image: 16.7 x 16.4 cm (6 9/16 x 6 1/2 in.)
Accession No. 84.XM.193.46
© Estate of André Kertész
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

Sharon Core (American)
‘Early American – Still Life with Steak’
2008
Chromogenic print
Image: 17 3/16 x 23 7/16 in.
Accession No. 2009.78
© Sharon Core
Purchased with funds provided by the Photographs Council of the J. Paul Getty Museum
Object Credit: The J. Paul Getty Museum, Los Angeles

.

.

Marian Drew (Australian, born 1960)
‘Lorikeet with Green Cloth’
2006
Digital pigment print
Image: 71.8 x 89.5 cm (28 1/4 x 35 1/4 in.)
Sheet: 73 x 90.2 cm (28 3/4 x 35 1/2 in.)
Accession No. 2009.44
Copyright: © Marian Drew
Object Credit: Purchased with funds provided by the Photographs Council of the J. Paul Getty Museum, Los Angeles

.

.

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 – 5.30pm
Saturday 10 – 9pm
Sunday 10 – 9pm
Monday closed

The J. Paul Getty Museum website

Bookmark and Share




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,330 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

June 2018
M T W T F S S
« May    
 123
45678910
11121314151617
18192021222324
252627282930  

Archives

Categories