Posts Tagged ‘Frederick Sommer Max Ernst

28
Jul
13

Exhibition: ‘A World of Bonds: Frederick Sommer’s Photography and Friendships’ at the National Gallery of Art, Washington

Exhibition dates: 16th June – 4th August 2013

 

Frederick Sommer. 'Moon Culmination' 1951

 

Frederick Sommer (American, 1905-1999)
Moon Culmination
1951
gelatin silver print
24.2 x 19.2cm (9 1/2 x 7 9/16 in.)
Gift of Frederick Sommer

 

 

Frederick Sommer is not as well known as others in the famous quintet (the others being Ansel Adams, Edward Weston, Minor White and Paul Strand). He is the (slightly) forgotten master. But for those that know his work, Frederick Sommer is the photographer’s photographer.

There is a visual and intellectual alchemy transmitted through his work. It is as if he was a magician, producing images out of thin air: paper cuts, smoke on glass, collage, found objects, rites, passages, cleavages, heroes, occultism (Paracelsus was a Renaissance physician, botanist, alchemist, astrologer, and general occultist). From the few photographs I have seen in the flesh his prints, like his thinking, have a volume to them that few other photographers can match. Here I must cede to the knowledge of my friend and photographer Ian Lobb who visited Sommer at his home in Prescott, Arizona.

.
“You will notice with FS prints that the only date given is the date of the negative. This is not unusual of course, but one of FS strengths is being interested in returning to a negative and print it with enthusiasm after looking at other versions for a very long time.

Another strength is a really simple strong way of working – according to Les Walkling, FS had a block of wood the same size as an 8 x 10 contact print. By placing the print on this base as he spotted, the print was always raised above his work environment and the chance of an accident was reduced. So simple – so elegant. I see this state of mind repeated – eg when he was out photographing with Siskind and he found a pile of X-rays and said that this was his work for the day.

Caponigro and Sommer are the ones that make their technical skill communicate in very unique ways. By chronology, Sommer is the first one who found that something beyond the f/64 Group vocabulary could be said. Whereas Edward Weston and Paul Strand are working at about 3/10 for their prints, Sommer is working at 9/10. He doesn’t always get there in every print but when he succeeds the results are beyond what any other classical photographer ever achieved in the physical presence of the photograph.

Venus, Jupiter and Mars was the first extended viewing of Sommer that arrived here (in Australia). It would have been at the Printed Image (bookshop) in 1981.”

Ian Lobb

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

 

 

Frederick Sommer. 'Venus, Jupiter and Mars' 1949

 

Frederick Sommer (American, 1905-1999)
Venus, Jupiter and Mars
1949
Gelatin silver print
23.8 x 19.1cm (9 3/8 x 7 1/2 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

Frederick Sommer. 'Valise d'Adam' 1949

 

Frederick Sommer (American, 1905-1999)
Valise d’Adam
1949
Gelatin silver print
23.9 x 18.9 cm (9 7/16 x 7 7/16 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

 

Against a backdrop of rusting metal, Frederick Sommer arranged a grouping of found objects. A clipboard clamp represents a head and shoulders while dirty, cracking doll’s arms and legs provide more literal context, defining the object as a human body. Within that fragmented body, Sommer places a complete doll with its head pointed downward, as if ready to be born.  The photograph’s French title, Valise d’Adam, or as Sommer translated it, Adam’s Traveling Case, is a sly reference to the idea that man travels through woman into the world, and perhaps, woman even carries man through life.

 

Aaron Siskind. 'Manzanillo, Mexico' 1955

 

Aaron Siskind (American, 1903-1991)
Manzanillo, Mexico
1955
Gelatin silver print
35.6 x 27.8cm (14 x 10 15/16 in.)
National Gallery of Art, Washington, René Huyghe Collection
Image courtesy of the Aaron Siskind Foundation

 

Frederick Sommer. 'Untitled' 1947

 

Frederick Sommer (American, 1905-1999)
Untitled
1947
Gelatin silver print
24.2 x 19.1cm (9 1/2 x 7 1/2 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

Frederick Sommer. 'The Anatomy of a Chicken' 1939

 

Frederick Sommer (American, 1905-1999)
The Anatomy of a Chicken
1939
Gelatin silver print mounted on paperboard
24.1 x 19cm (9 1/2 x 7 1/2 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

Frederick Sommer. 'Paracelsus' 1957

 

Frederick Sommer (American, 1905-1999)
Paracelsus
1957
Gelatin silver print
34.3 x 25.6cm (13 1/2 x 10 1/16 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

 

Paracelsus (1493/1494 – 24 September 1541), born Theophrastus von Hohenheim (full name Philippus Aureolus Theophrastus Bombastus von Hohenheim), was a Swiss physician, alchemist, lay theologian, and philosopher of the German Renaissance.

He was a pioneer in several aspects of the “medical revolution” of the Renaissance, emphasising the value of observation in combination with received wisdom. He is credited as the “father of toxicology”. Paracelsus also had a substantial impact as a prophet or diviner, his “Prognostications” being studied by Rosicrucians in the 1600s. Paracelsianism is the early modern medical movement inspired by the study of his works.

Text from the Wikipedia website

 

Frederick Sommer. 'Cut Paper' 1980

 

Frederick Sommer (American, 1905-1999)
Cut Paper
1980
gelatin silver print
24.2 x 18.7cm (9 1/2 x 7 3/8 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

 

The National Gallery of Art explores the continuities in Frederick Sommer’s varied body of work and demonstrates the influence of his friendships with fellow artists in the exhibition A World of Bonds: Frederick Sommer’s Photography and Friendships, on view in the East Building from June 16 to August 4, 2013. Drawn from the Gallery’s significant holdings, which include a major 1995 gift from the artist himself, the exhibition showcases 27 works by Sommer, Edward Weston, Max Ernst, Man Ray, Aaron Siskind, and Charles Sheeler, including three pieces on loan from other museums and private collections.

“The Gallery is privileged to display this influential body of work, which illuminates Frederick Sommer’s interactions with his fellow artists,” said Earl A. Powell III, director, National Gallery of Art. “In addition to photographs drawn from our permanent collection, we are grateful to the lenders who have assisted us in revealing the continuities in Sommer’s broad range of work, as well as The Robert Mapplethorpe Foundation for its generous support.”

 

About the exhibition

The exhibition showcases the beauty and diversity of Sommer’s striking images and places them in the context of his formative friendships with such prominent contemporaries as Edward Weston, Max Ernst, Man Ray, Charles Sheeler, and Aaron Siskind.

As an artist, Frederick Sommer notoriously defies classification. Over the span of more than 60 years, he created paintings, drawings, and photographs, as well as collages, musical scores, poetry, and theoretical texts. Today, Sommer is best known for his photography, the medium in which he produced his most inventive visual experiments and which best suited the breadth of his visual interests. These ranged from disorienting desert landscapes to surrealistic arrangements of found objects, and to abstractions that brought together drawing and photography.

“All rare things should be lent away / and I have borrowed very freely,” Sommer wrote of his art. He also asserted that “the world is not a world of cleavages, it is a world of bonds.” This exhibition examines both claims, offering a glimpse into the ways in which Sommer shared ideas with his contemporaries while simultaneously creating a body of work uniquely his own.

 

About the artist

Just as he defied the bounds of medium and genre, Sommer, who lived in the small town of Prescott, Arizona, also never fully belonged to any artistic group or movement. His work reflects both wide-ranging personal interests and a broad scope of artistic affinities with artists as divergent as the surrealists and the members of the f/64 group of West Coast photographers.

Sommer’s circle of close artist-friends and mentors helps explain his idiosyncratic sensibilities. This circle included the photographer Edward Weston, whose precise attention to the details of the natural world inspired Sommer’s turn to photography. Equally important to Sommer, however, was his friendship with Max Ernst, the surrealist whose automatic painting techniques and uncanny imagery encouraged Sommer to reconfigure familiar objects into strange new creations. Aaron Siskind was yet another close friend and peer with whom Sommer shared a fascination with the abstract textures of everyday materials. Other artists represented in the exhibition who influenced Sommer’s approach to photographing assemblages and his exploration of photographic abstraction include Man Ray and Charles Sheeler.

Text from the National Gallery of Art website

 

Frederick Sommer. 'Coyotes' 1945

 

Frederick Sommer (American, 1905-1999)
Coyotes
1945
Gelatin silver print mounted on paperboard
19 x 24.2cm (7 1/2 x 9 1/2 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

John Cato. 'Man tracks #9R' from the 'Mantracks' series 1978-83

 

John Cato
Man tracks #9R
from the Mantracks series 1978-83
Gelatin silver photograph
42.9 x 35.2cm

 

Frederick Sommer. 'Ondine' 1950

 

Frederick Sommer (American, 1905-1999)
Ondine
1950
Gelatin silver print mounted on paperboard
19.2 x 24.3cm (7 9/16 x 9 9/16 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

 

The nymph Ondine was an immortal water spirit who became human after falling in love for a man, marrying him, and having a baby. In one of the versions of the tale, when she caught her husband sleeping with another woman, she cursed him to remain awake in order to control his own breathing.

 

Frederick Sommer. 'Taylor, Arizona' 1945

 

Frederick Sommer (American, 1905-1999)
Taylor, Arizona
1945
Gelatin silver print
19.2 x 24.2cm (7 9/16 x 9 1/2 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

Frederick Sommer. 'Max Ernst' 1946

 

Frederick Sommer (American, 1905-1999)
Max Ernst
1946
Gelatin silver print
19.05 x 24.13cm (7 1/2 x 9 1/2 in.)
Collection of Susan and Peter MacGill
Frederick & Frances Sommer Foundation

 

Frederick Sommer. 'Untitled' 1947

 

Frederick Sommer (American, 1905-1999)
Untitled
1947
Gelatin silver print
19 x 24cm (7 1/2 x 9 7/16 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

Frederick Sommer. 'Coyotes' 1941

 

Frederick Sommer (American, 1905-1999)
Coyotes
1941
Gelatin silver print
19.1 x 24.1cm (7 1/2 x 9 1/2 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

Les Walkling (Australia born 1953) 'Flypaper' 1980

 

Les Walkling (Australia, b. 1953)
Flypaper
1980
Gelatin silver photograph
19.1 x 24.3cm
Gift of the Philip Morris Arts Grant 1982
© Les Walkling

 

Frederick Sommer. 'Lacryma' 1992

 

Frederick Sommer (American, 1905-1999)
Lacryma
1992
Collage of photomechanical reproductions of lithographic, relief and intaglio prints on
heavyweight wove paper
36 x 42.4 cm (14 3/16 x 16 11/16 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

Lacryma, alternative form of lacrima – a tear (drop of liquid from crying)

 

Frederick Sommer. 'Drawing' 1948

 

Frederick Sommer (American, 1905-1999)
Drawing
1948
Tempera on black wove paper
30.4 x 46.9 cm (11 15/16 x 18 7/16 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

Frederick Sommer. 'The Queen of Sheba' 1992

 

Frederick Sommer (American, 1905-1999)
The Queen of Sheba
1992
Collage of photomechanical reproductions of relief and intaglio prints on heavyweight wove
paper
21.8 x 31.8cm (8 9/16 x 12 1/2 in.)
National Gallery of Art, Washington, Gift of Frederick Sommer

 

Fiona Hall. 'Envy, Seven Deadly Sins' 1985

 

Fiona Hall (Australian, b. 1953)
Envy, Seven Deadly Sins
1985
Polaroid photograph
61 × 50.8cm
© Fiona Hall

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Monday – Saturday 1000am – 5.00pm
Sunday 11.00am – 6.00pm

National Gallery of Art website

Frederick Sommer website

LIKE ART BLART ON FACEBOOK

Back to top

28
Apr
13

Exhibition: ‘Faking It: Manipulated Photography Before Photoshop’ at The National Gallery of Art, Washington

Exhibition dates: 17th February – 5th May 2013

 

Unknown photographer (American). 'He Lost His Head' Nd

 

Unknown photographer (American)
He Lost His Head
Nd

 

 

Further images from this impressive exhibition devoted to the art of photographic manipulation before the advent of digital imagery from its second stop, at The National Gallery of Art, Washington.

Marcus

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

 

Edward Steichen. 
'The Pond - Moonrise' 1904

 

Edward Steichen (American, 1879-1973)

The Pond – Moonrise
1904
Platinum print with applied colour
 image
39.7 x 48.2cm (15 5/8 x 19 in.)
Lent by The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933
© The Metropolitan Museum of Art/ Permission Estate of Edward Steichen. All rights reserved

 

 

Using a painstaking technique of multiple printing, Steichen achieved prints of such painterly seductiveness they have never been equaled. This view of a pond in the woods at Mamaroneck, New York is subtly coloured as Whistler’s Nocturnes, and like them, is a tone poem of twilight, in-distinction, and suggestiveness. Commenting on such pictures in 1910, Charles Caffin wrote in Camera Work: “It is in the penumbra, between the clear visibility of things and their total extinction into darkness, when the concreteness of appearances becomes merged in half-realised, half-baffled vision, that spirit seems to disengage itself from matter to envelop it with a mystery of soul-suggestion.”

Text from the Metropolitan Museum of Art website

 

Henry Peach Robinson (British, 1830-1901) 'She Never Told Her Love' 1857

 

Henry Peach Robinson (British, 1830-1901)
She Never Told Her Love
1857
Albumen silver print from glass negative
18 x 23.2cm (7 1/16 x 9 1/8in.)
Gilman Collection, Purchase, Jennifer and Joseph Duke Gift, 2005

 

 

Consumed by the passion of unrequited love, a young woman lies suspended in the dark space of her unrealised dreams in Henry Peach Robinson’s illustration of the Shakespearean verse “She never told her love, / But let concealment, like a worm i’ the bud, / Feed on her damask cheek” (Twelfth Night II,iv,111-13). Although this picture was exhibited by Robinson as a discrete work, it also served as a study for the central figure in his most famous photograph, Fading Away, of 1858.

Purportedly showing a young consumptive surrounded by family in her final moments, Fading Away was hotly debated for years. On the one hand, Robinson was criticised for the presumed indelicacy of having invaded the death chamber at the most private of moments. On the other, those who recognised the scene as having been staged and who understood that Robinson had created the picture through combination printing (a technique that utilised several negatives to create a single printed image) accused him of dishonestly using a medium whose chief virtue was its truthfulness.

Text from the Metropolitan Museum of Art website

 

Frederick Sommer. 'Max Ernst' 1946

 

Frederick Sommer (American, 1905-1999)
Max Ernst
1946
Gelatin silver print
19.2 x 23.97cm (7 9/16 x 9 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© Frederick and Frances Sommer Foundation

 

Wm. Notman & Son, Montreal, Eugène L'Africain, William Notman. 'Red Cap Snow Shoe Club, Halifax, Nova Scotia' c. 1888

 

Wm. Notman & Son, Montreal, Eugène L’Africain, William Notman
Red Cap Snow Shoe Club, Halifax, Nova Scotia
c. 1888
Collage of albumen prints with applied media
71.1 x 83.8cm (28 x 33 in.)
McCord Museum, Montreal

 

 

Notman established his first photography studio in Montreal in 1856 and relentlessly expanded his operations over the next two decades. At its peak, his company had twenty-four branches throughout Canada and New England, making it the most successful photographic enterprise in North America at the time. Notman specialised in composite portraits of large groups, including sporting clubs, trade associations, family gatherings, clergymen, and college graduates, some featuring more than four hundred figures. Each figure in a group was photographed separately in the studio then printed at the proper scale and pasted onto a painted background, as in this portrait of a Nova Scotia snowshoe club. The entire collage was then re-photographed. The final, relatively seamless tableau could then be printed and sold in a variety of sizes and formats.

Text from the Metropolitan Museum of Art website

 

 

The National Gallery of Art presents the first major exhibition devoted to the art of photographic manipulation before the advent of digital imagery. Faking It: Manipulated Photography before Photoshop will be on view in the West Building’s Ground Floor galleries from February 17 through May 5, 2013, following its debut at the Metropolitan Museum of Art (from October 11, 2012, through January 27, 2013). In June it travels to the Museum of Fine Arts, Houston.

“Following in its tradition of exhibiting and collecting the finest examples of photography, the Gallery is pleased to present some 200 photographs from the 1840s through the 1980s demonstrating the medium’s complicated relationship to truth in representation,” said Earl A. Powell III, director, National Gallery of Art. “We are grateful to the many lenders, both public and private, who have generously shared works from their collections – especially the Metropolitan Museum of Art, the largest lender and the organiser of this fascinating exhibition.”

 

The Exhibition

This is the first major exhibition devoted to the history of manipulated photography before the digital age. While the widespread use of Adobe® Photoshop® software has brought about an increased awareness of the degree to which photographs can be doctored, photographers – including such major artists as Gustave Le Gray, Edward Steichen, Weegee, and Richard Avedon – have been fabricating, modifying, and otherwise manipulating camera images since the medium was first invented. This exhibition demonstrates that today’s digitally manipulated images are part of a continuum that extends back to photography’s first decades. Through visually captivating pictures created in the service of art, politics, news, entertainment, and commerce, Faking It not only traces the medium’s complex and changing relationship to visual truth, but also significantly revises our understanding of photographic history.

Organised thematically, the exhibition begins with some of the earliest instances of photographic manipulation – those attempting to compensate for the new medium’s technical limitations. In the 19th century, many photographers hand tinted portraits to make them appear more vivid and lifelike. Others composed large group portraits by photographing individuals separately in the studio and creating a collage by pasting them onto painted backgrounds depicting outdoor scenes. As the art and craft of photography grew increasingly sophisticated, photographers devised a staggering array of techniques with which to manipulate their images, including combination printing, photomontage, overpainting, ink and airbrush retouching, sandwiched negatives, multiple exposures, and other darkroom magic.

The exhibition presents a superb selection of manually altered photographs created under the mantle of art, including 19th-century genre scenes composed of multiple negatives, stunning Pictorialist landscapes from the turn of the 19th century, and the pre-digital dreamscapes of surrealist photographers in the 1920s and 1930s. A section of doctored images made for political or ideological ends includes faked composite photographs of the 1871 Paris Commune massacres, anti-Nazi photomontages by John Heartfield, and falsified images from Stalin-era Soviet Russia. The show also explores popular uses of photographic manipulation such as spirit photography, tall-tale and fantasy postcards, advertising and fashion spreads, and doctored news images.

The final section features the work of contemporary artists – including Duane Michals, Jerry Uelsmann, and Yves Klein – who have reclaimed earlier techniques of image manipulation to creatively question photography’s presumed objectivity. By tracing the history of photographic manipulation from the 1840s to the present, Faking It vividly demonstrates that photography is – and always has been – a medium of fabricated truths and artful lies.

Press release from the National Gallery of Art website

 

Arthur Felig - Weegee (American, born Hungary, 1899-1968) 'Times Square, New York' 1952-59

 

Arthur Felig – Weegee (American born Hungary, 1899-1968)
Times Square, New York
1952-59
Gelatin silver print
20.3 x 17.8cm (8 x 7 in.)
© International Center of Photography, Bequest of Wilma Wilcox, 1993

 

 

Famous for his gritty tabloid crime photographs, Weegee devoted the last twenty years of his life to what he called his “creative work.” He experimented prolifically with distorting lenses and comparable darkroom techniques, producing photo caricatures of politicians and Hollywood celebrities, novel variations on the man-in-the-bottle motif, and uncanny doublings and reflections, such as this striking image, which he described as “Times Square under 10 feet of water on a sunny afternoon.”

 

Kathy Grove (American, b. 1948) 'The Other Series (After Kertész)' 1989-90

 

Kathy Grove (American, b. 1948)
The Other Series (After Kertész)
1989-90
Gelatin silver print
19.7 x 15.2cm (7 3/4 x 6 in.)
Purchase, Charina Foundation Inc. Gift, 2010
© Kathy Grove

 

 

In the late 1980s Grove, an artist who supports herself as a professional photo retoucher, began seamlessly altering images of famous works of art, using bleach, dyes, and airbrush to remove the female figure from each image and leaving the rest of the scene intact. Her cunning excisions mimic the process by which art historians, echoing the culture at large, have erased the achievements of actual women while enshrining Woman as a blank screen upon which the ideas and desires of both artist and viewer are projected. If photographs are presumed to represent the truth, Grove’s pictures remind us to ask: Whose truth?

 

Unknown, American. '[Decapitated Man with Head on a Platter]' c. 1865

 

Unknown (American)
[Decapitated Man with Head on a Platter]
c.1865
Tintype with applied color
8.4 x 6cm (3 5/16 x 2 3/8 in.)
© International Center of Photography, Gift of Steven Kasher and Susan Spungen Kasher, 2008

 

Carleton E. Watkins (American, 1829-1916) 'Cape Horn, Columbia River, Oregon' 1867

 

Carleton E. Watkins (American, 1829-1916)
Cape Horn, Columbia River, Oregon
1867, printed 1880-1890
Albumen silver print from glass negatives
52.3 x 40.4cm (20 9/16 x 15 7/8 in.)
© George Eastman House, International Museum of Photography and Film, Rochester

 

 

Watkins, the consummate photographer of the American West, combined a virtuoso mastery of the difficult wet plate negative process with a rigorous sense of pictorial structure. For large-format landscape work such as Watkins produced along the Columbia River in Oregon, the physical demands were great. Since there was as yet no practical means of enlarging, Watkins’s glass negatives had to be as large as he wished the prints to be, and his camera large enough to accommodate them. Furthermore, the glass negatives had to be coated, exposed, and developed while the collodion remained tacky, requiring the photographer to transport a traveling darkroom as he explored the rugged virgin terrain of the American West. The crystalline clarity of Watkins’s remarkable “mammoth” prints is unmatched in the work of any of his contemporaries and is approached by few artists working today. (Text from the Metropolitan Museum of Art website). Here the clouds have been printed in (compare to the work on the Metropolitan Museum of Art website)

 

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

 

Dora Maar (French, 1907-1997)
Le simulateur
1936
Gelatin silver print
29.2 x 22.9cm (11 1/2 x 9 in.)
Collection of The Sack Photographic Trust for the San Francisco Museum of Modern Art

 

 

Maar’s haunting photomontages of the mid-1930s evoke a mood of oneiric ambiguity. Here, the world is turned literally upside-down: a boy bends sharply backward, echoing the curve of the vaulted ceiling on which he stands. On the print, Maar scratched out the figure’s eyes, exploiting Surrealism’s strong association of blindness with inner sight.

 

Albert Sands Southworth, Josiah Johnson Hawes. 'Seated man with Brattle Street Church seen through window' 1850s

 

Albert Sands Southworth (American, 1811-1894) and Josiah Johnson Hawes (American, 1808-1901)
Seated man with Brattle Street Church seen through window
1850s
Daguerreotype
21.6 x 16.5cm (8 1/2 x 6 1/2 in.)
The Isenburg Collection at AMC Toronto

 

J.C. Higgins and Son. 'Man in bottle' c. 1888

 

J.C. Higgins and Son (American)
Man in bottle
c. 1888
Albumen print
13.5 x 10cm (5 5/16 x 3 15/16 in.)
Lent by The Metropolitan Museum of Art, Purchase, Susan and Thomas Dunn Gift, 2011

 

Jerry N. Uelsmann. 'Untitled' 1976

 

Jerry N. Uelsmann (American, b. 1934)
Untitled
1976
Gelatin silver print
49.3 x 36cm (19 7/16 x 14 3/16 in.)
Lent by The Metropolitan Museum of Art, David Hunter McAlpin Fund, 1981
© The Metropolitan Museum of Art/ © Jerry N. Uelsmann

 

Unknown Photographer, German. 'Ein kräftiger Zusammenstoss (A Powerfull Collision)' 1914

 

Unknown Photographer (German)
Ein kräftiger Zusammenstoss (A Powerfull Collision)
1914
Gelatin silver print
8.7 x 13.7cm (3 7/16 x 5 3/8 in.)
Lent by The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2010

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Monday – Saturday 10.00am – 5.00pm
Sunday 11.00am – 6.00pm

National Gallery of Art website

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, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor 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.

Enter your email address to subscribe to this blog and receive notifications of new posts by email. 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 2,764 other followers

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

Blog Stats

  • 11,265,652 hits

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

October 2021
M T W T F S S
 123
45678910
11121314151617
18192021222324
25262728293031

Archives

Categories

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 2,764 other followers