Posts Tagged ‘German artist

10
Jul
22

Exhibition: ‘Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek’ at the Museum für Fotografie, Berlin

Exhibition dates: 25th March – 28th August, 2022

Curators: Ludger Derenthal, Head of the Photography Collection of the Kunstbibliothek, and Ralph Goertz, IKS – Institut für Kun-stdokumentation

A special exhibition of the Kunstbibliothek – Staatliche Museen zu Berlin and the IKS – Institut für Kunstdokumentation

 

 

Candida Höfer (German, b. 1944) 'Liverpool IIA' 1968

 

Candida Höfer (German, b. 1944)
Liverpool IIA
1968
Gelatin silver print
35.5 x 35.5cm

 

 

Twist of life

I am always fascinated by the journey that artists travel with their practice: where, when and why they started (what was their jumping off point, or point of departure): what were their concerns when they first started making art, what was the path they took, and how did they are arrive at their mature style.

With its blend of old and new – historical photographs by other artists that relate to the German artist Candida Höfer’s mature practice, and photographs from zoological gardens and hitherto little-known series from Höfer’s early work (such as photographs from her Liverpool series) that are archaeological evidence on the path to her current photographs – this intelligently curated and beautifully displayed exhibition investigates the narrative trajectory of discovery that any artist worth their salt takes during the development of their practice.

In Höfer’s art, her earliest photographs are classic black and white socio-documentary, urban landscape images that seek to map out the relationship between human and city, the topographical lay of the land if you like. For example, Höfer’s intensely personal views of Liverpool are full of fractures and half-seen occurrences in the urban landscape, observed with swift assurance by an inquiring mind, caught on the run. A woman peers in the window of a shop (Liverpool IIA, 1968 above), people queue to board a bus (Liverpool VII, 1968 below), men chat in a dingy bar (Liverpool VI, 1968 below), and a man is caught mid-stride legging it across the road while others what not so patiently at a bus stop (Liverpool XXII, 1968 below). Moving closer to the same bus stop (the same buildings in the background), Höfer captures a man standing looking for his bus in the middle of the street oblivious of the photographer (Liverpool III, 1968 below). This documentation of a fractured society continues in her series Türken in Deutschland (Turks in Germany)(1972-1979).

“Images of Turks at work or leisure in the parks, homes, markets, shops, and bars of 1970s West German cities populate Candida Höfer’s large, multiformat series entitled Türken in Deutschland (Turks in Germany, 1972-79). Höfer’s interactions with minority subjects in these images – by turns genial, jarring, and solemn – illuminate the complicated social and cultural milieu of 1970s West Germany… in Türken in Deutschland, Höfer explores the presence of Turkish migrants in 1970s Germany and how that presence was alternately erased and revealed in relationships with the dominant German culture…

Höfer’s Türken in Deutschland defies neat categorization: the images do not gawk at squalid living conditions or exotic cultural practices, or even feature dramatic expressions of emotion that might make particular images appear to symbolize larger issues. Instead, they express the frankness and intimacy of family snapshots, as well as an interest in new aesthetic mediums of the postwar avant-garde.”1

.
While both bodies of work predate Höfer’s “participation in Bernd and Hilla Becher’s groundbreaking photography course at the Kunstakademie”2, Türken in Deutschland by four years, there are already hints of her later mature style in photographs such as Kino Weidengasse Köln I (1977, below) with its cool frontality and observational, emotional reticence. But what Höfer’s early work possesses – and what I like so much and what has been lost in her mature practice – is that subtle, ironic, twist of life, twist of the knife (point of view) in which the artist focuses on the story and experiences of people living their life in the city.

Höfer is justly famous for her impartial, immaculate and still, large-scale interior views of architectural buildings – the artist frequently focusing “on places that preserve and order knowledge and culture… interested in how humans influence architecture through their culture,” working with light and space to capture the atmosphere and aura of a space through a “consistently calm and questioning archival gaze” – but what happened to the people in these people-less places, what happened to the sideways glance at life that initially inspired the artist, that propelled her forward into the world, that now no longer exists in the cold void of the building. Do I feel the aura of the space as the artist wishes, or do I miss the rupture, the wound, the punctum of dis/order that is the essence of fragmented memory, the essentialness of pattern/randomness.

Dr Marcus Bunyan

 

  1. Amy A. DaPonte. “Candida Höfer’s Türken in Deutschland as “Counter-publicity”,” in Art Journal 75, no. 4 (Winter 2016) published online January 6, 2017 [Online] Cited 10/07/2022
  2. “In fact, Bernd Becher invited Höfer to join his course after seeing the Türken in Deutschland slide show at the spring 1976 student exhibition at the Kunstakademie. The common desire of scholars to see this project as a slavish pursuit of the Bechers’ methods is clear in Astrid Ihle’s writings. Ihle describes black-and-white prints from the Türken in Deutschland series as primarily occupied with photographing “the order of things” – that is, with the “detached, cool view of an ethnologist” that defines the Bechers’ photographic “objectivity.” Ihle thus bends history to make a cohesive set of pictures taken in 1974, 1975, and 1976 examples of a method Höfer would encounter after starting the Bechers’ first photography course in fall 1976. Ihle, “Photography as Contemporary Document: Comments on the Conceptions of the Documentary in Germany after 1945,” in Art of Two Germanys: Cold War Cultures, ed. Stephanie Barron and Sabine Eckmann, exh. cat. (New York: Abrams, 2009), 186-205.”
    Footnote 7 in Amy A. DaPonte. “Candida Höfer’s Türken in Deutschland as “Counter-publicity”,” in Art Journal 75, no. 4 (Winter 2016) published online January 6, 2017 [Online] Cited 10/07/2022

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

 

 

Candida Höfer explores built spaces in her photography. Her world-famous interiors focus on libraries, museums, restaurants, theatres, and other public spaces, allowing us to experience architecture in a new way. In comparison with photographic interiors from the Kunst-bibliothek’s Photography Collection, which is over 150 years old, a dialogue develops between applied photography and artistic work.

With approximately 90 works, the exhibition at Berlin’s Museum für Fotografie opens up a broad cross-section of Candida Höfer’s photographs from 1980 to the immediate present. The long tradition of her architectural photographs, however, also extends deep into the classical canon of this field of work. In dialogue with pendants and counter-images from the Kunstbibliothek’s Photography Collection, Höfer’s particular approach to her pictorial motifs is revealed in a particularly impressive way.

 

Communicative function of constructed spaces

Spaces with communicative functions are paradoxically shown without the people frequenting them: Candida Höfer demonstrates the qualities or deficiencies of the spaces that enable human exchange in terms of the architecture itself, in terms of the atmosphere she specifically captures in each case, in terms of the perspective and the framing she chooses. She does not focus on the thematic groups serially; the respective locations determine the image format as well as the size of the prints. Yet the compilation of the groups offers a variety of possibilities for comparison that impressively confirm the photographer’s longstanding and sustained interest in the specific locations.

 

Images in dialogue

Some thematic groups exemplify the visually stimulating dialogue of the images: Facades, windows and doors open and close the view into or out of rooms. The dialogue between the pictures unfolds in a particularly attractive way in the photographs of Berlin’s Museumsinsel. While the razor-sharp, large-format contact prints by the Königlich Preußische Messbildanstalt still show the monumental staircase with Wilhelm von Kaulbach’s frescoes, Ryuji Miyamoto in 2000 captures the transitory state of the still ruinous building before the start of interior construction, and Candida Höfer in 2009 shows its completion.

Previously unpublished are Höfer’s colour photographs from her Liverpool series of 1968, from which a thread of development can be drawn to her images of the guest rooms in cafés, hotels, spas, and waiting rooms after 1980. They are brought into conversation with the more journalistically conceived street scenes of Willy Römer and Bernard Larsson, Dirk Alvermann’s images of Spanish bar scenes from around 1960, and Helga Paris’s photographs of Berlin pubs from the mid-1970s from the Photography Collection.

 

The photographer Candida Höfer

Candida Höfer (b. 1944) has devoted herself ever more and more intensively to architectural photography since her studies with Bernd and Hilla Becher at the Düsseldorf Art Academy towards the end of the 1970s. She has concentrated on this important genre without, however, acting on behalf of architects and art historians as photographers of earlier generations did. She sees her work as artistic photography, and photographing interiors was self-determinedly chosen by her as her main field of activity. She herself set the framework for it: “I photograph in public and semi-public spaces from different eras. This are spaces that are accessible to everyone, places of encounter, communication, knowledge, relaxation, recreation. They are spas, hotels, waiting rooms, museums, libraries, universities, banks, churches and, since a few years, zoological gardens.”

Text from the Museum für Fotografie website Nd [Online] Cited 07/07/2022

 

 

Candida Höfer (German, b. 1944) 'Liverpool XXII' 1968

 

Candida Höfer (German, b. 1944)
Liverpool XXII
1968
Gelatin silver print
35.5 x 35.5cm

 

Candida Höfer (German, b. 1944) 'Liverpool III' 1968

 

Candida Höfer (German, b. 1944)
Liverpool III
1968
Gelatin silver print
35.5 x 35.5cm

 

Candida Höfer (German, b. 1944) 'Liverpool VI' 1968

 

Candida Höfer (German, b. 1944)
Liverpool VI
1968
Gelatin silver print
35.5 x 35.5cm

 

Candida Höfer (German, b. 1944) 'Liverpool VII' 1968

 

Candida Höfer (German, b. 1944)
Liverpool VII
1968
Gelatin silver print
35.5 x 35.5cm

 

Candida Höfer (German, b. 1944) 'Liverpool VIII' 1968

 

Candida Höfer (German, b. 1944)
Liverpool VIII
1968
Gelatin silver print
35.5 x 35.5cm

 

Candida Höfer (German, b. 1944) 'Liverpool XXVII' 1968

 

Candida Höfer (German, b. 1944)
Liverpool XXVII
1968
Gelatin silver print
35.5 x 35.5cm

 

Candida Höfer (German, b. 1944) 'Weidengasse Köln' 1975

 

Candida Höfer (German, b. 1944)
Weidengasse Köln
1975
From the Türken in Deutschland (Turks in Germany) series (1972-1979)
Gelatin silver print
36.7 x 42.6cm

 

Candida Höfer (German, b. 1944) 'Weidengasse Köln IV' 1978

 

Candida Höfer (German, b. 1944)
Weidengasse Köln IV
1978
From the Türken in Deutschland (Turks in Germany) series (1972-1979)
Gelatin silver print
36.2 x 44.1cm

 

Candida Höfer (German, b. 1944) 'Kino Weidengasse Köln I' 1977

 

Candida Höfer (German, b. 1944)
Kino Weidengasse Köln I
1977
From the Türken in Deutschland (Turks in Germany) series (1972-1979)
Gelatin silver print
43.2 x 36.9cm

 

Installation view of the exhibition 'Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek' at the Museum für Fotografie, Berlin

 

Installation view of the exhibition Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek at the Museum für Fotografie, Berlin showing at left, Architectural Record Shoe shop, Milwaukee (c. 1910, below); showing at centre back, Candida Höfer’s Bolschoi Teatr Moskwa II (2017, below); at third right, Reiner Leist’s September 24, 1996 (1996, below); and at second right, Florence Henri’s Parisian Window (1929, below)

 

Architectural Record. 'Shoe shop, Milwaukee' c. 1910

 

Architectural Record
Shoe shop, Milwaukee
c. 1910
Gelatin silver paper
18.3 x 22.8 cm

 

Candida Höfer (German, b. 1944) 'Beinecke Rare Book and Manuscript Library New Haven CT I' 2002

 

Candida Höfer (German, b. 1944)
Beinecke Rare Book and Manuscript Library New Haven CT I
2002
Colour paper
155 x 189cm

 

 

Above all Candida Höfer is famous for her large-scale interior views of libraries devoid of people… The artist frequently focuses on places that preserve and order knowledge and culture. Apart from libraries she also worked on museums or operas. She is interested in how humans influence architecture through their culture. Her photos are always determined by a cool sobriety. This is what they have in common with the photographs of the Bechers. However, Höfer always works with the light and the space present in each situation. She strives to capture the atmosphere and aura of a space.

Anonymous text from the Becher Class at the Städel Museum website [Online] Cited 27/12/2021

 

Reiner Leist (German-American, b. 1964) 'September 24, 1996' 1996

 

Reiner Leist (German-American, b. 1964)
September 24, 1996
1996
Gelatin silver paper
161.5 x 121.5cm

 

 Florence Henri (French born America, 1893-1982) 'Parisian Window' 1929

 

Florence Henri (French born America, 1893-1982)
Parisian Window
1929
Gelatin silver paper
37.3 x 27.5cm

 

Samuel Bourne (British, 1834-1912) 'Temple, Mount Abu, Rajasthan' c. 1875

 

Samuel Bourne (British, 1834-1912)
Temple, Mount Abu, Rajasthan
c. 1875
Albumen print
22.4 x 28.1cm

 

Fratelli Alinari (founded 1852) 'Statue Gallery, Vatican Museums' c. 1880

 

Fratelli Alinari (founded 1852)
Statue Gallery, Vatican Museums
c. 1880
Albumen print
32 x 41.6cm

This photograph is not in the exhibition, but two others from the series are… unfortunately no reproductions of those are available.

 

Eugène Atget (French, 1857-1927) '3 rue de L'Arbalète, Paris' 1901

 

Eugène Atget (French, 1857-1927)
3 rue de L’Arbalète, Paris
1901
Albumen print
21.7 x 17.4cm

 

Eugène Atget (French, 1857-1927) 'Boutique empire, 21 rue du Faubourg-Saint-Honoré, Paris' 1902

 

Eugène Atget (French, 1857-1927)
Boutique empire, 21 rue du Faubourg-Saint-Honoré, Paris
1902
Albumen print
21.8 x 17.6cm

 

Frederick Henry Evans (British, 1853-1943) 'An Open Door (Ely Cathedral)' c. 1903

 

Frederick Henry Evans (British, 1853-1943)
An Open Door (Ely Cathedral)
c. 1903
Platinum print
25.8 x 17.4cm

 

Frederick Henry Evans (British, 1853-1943) 'Westminster Abbey, London' 1911

 

Frederick Henry Evans (British, 1853-1943)
Westminster Abbey, London
1911
Platinum print
24.3 x 18.7cm

 

Bruno Reiffenstein (Austrian, 1869-1951) 'Villa colony' Wien-Grinzing c. 1913

 

Bruno Reiffenstein (Austrian, 1869-1951)
Villa colony
Wien-Grinzing c. 1913
Gelatin silver paper
16.2 x 21.7cm

This photograph is not in the exhibition, but two others from the series are… unfortunately no reproductions of those are available.

 

Candida Höfer (German, b. 1944) 'Kurmittelhaus Wenningstedt I' 1979

 

Candida Höfer (German, b. 1944)
Kurmittelhaus Wenningstedt I
1979
Colour paper
40 x 52.4cm

 

Dirk Alvermann (German, 1937-2013) 'Street café, Spain' 1957-1962

 

Dirk Alvermann (German, 1937-2013)
Street café, Spain
1957-1962
Gelatin silver paper
20.3 x 28.5cm

 

Candida Höfer (German, b. 1944) 'Wartesaal Düsseldorf III' 1981

 

Candida Höfer (German, b. 1944)
Wartesaal Düsseldorf III
1981
Colour paper
40 x 49.3cm

 

Candida Höfer (German, b. 1944) 'Cafe Seeterasse Bad Salzuflen III' 1981

 

Candida Höfer (German, b. 1944)
Cafe Seeterasse Bad Salzuflen III
1981
Colour paper
39.8 x 50.3cm

 

Samuel Bourne (British, 1834-1912) 'Inside view, Dilwara Temple, Mount Abu' 1870-1880

 

Samuel Bourne (British, 1834-1912)
Inside view, Dilwara Temple, Mount Abu
1870-1880
Albumen print
© Staatliche Museen zu Berlin, Kunstbibliothek

 

Candida Höfer (German, b. 1944) 'Museum A. Koenig Bonn IV' 1985

 

Candida Höfer (German, b. 1944)
Museum A. Koenig Bonn IV
1985
Colour paper
63 x 81cm

 

Candida Höfer (German, b. 1944) 'Institut für Versicherungsrecht der Universität zu Köln I' (Institute for Insurance Law at the University of Cologne I) 1989

 

Candida Höfer (German, b. 1944)
Institut für Versicherungsrecht der Universität zu Köln I
Institute for Insurance Law at the University of Cologne I
1989
Colour paper
63 x 81cm

 

Installation view of the exhibition 'Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek' at the Museum für Fotografie, Berlin

Installation view of the exhibition 'Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek' at the Museum für Fotografie, Berlin

 

Installation views of the exhibition Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek at the Museum für Fotografie, Berlin showing photographs from Höfer’s Zoologischer Gärten series
© IKS-Medienarchiv

 

Candida Höfer (German, b. 1944) 'Zoologischer Garten London III' 1992

 

Candida Höfer (German, b. 1944)
Zoologischer Garten London III
1992
Colour paper
50 x 66.5cm

 

Unknown photographer 'Hagenbecks Tierpark, Hamburg' 1906

 

Unknown photographer
Hagenbecks Tierpark, Hamburg
1906
Gelatine dry plate reprint
12.9 x 17.9cm

 

Candida Höfer (German, b. 1944) 'Zoologischer Garten Paris II' 1997

 

Candida Höfer (German, b. 1944)
Zoologischer Garten Paris II
1997
Colour paper
48 x 60cm

 

Candida Höfer (German, b. 1944) 'Zoologischer Garten Hannover IV' 1997

 

Candida Höfer (German, b. 1944)
Zoologischer Garten Hannover IV
1997
Colour paper
50 x 60cm

 

 

Candida Höfer explores built spaces in her photography. Her world-famous interiors focus on libraries, museums, restaurants, theatres, and other public spaces, allowing us to experience architecture in a new way. In comparison with photographic interiors from the Kunst-bibliothek’s Photography Collection, which is over 150 years old, a dialogue develops between applied photography and artistic work. The total of around 200 works – which also include photographs from zoological gardens and hitherto little-known series from Höfer’s early work, as well as their rarely or never before shown counterparts from the Photography Collection – invite visitors to take a new look at Höfer’s work and the Photography Collection, but also at the medium of photography itself.

Candida Höfer (b. 1944) has devoted herself ever more and more intensively to architectural photography since her studies with Bernd and Hilla Becher at the Düsseldorf Art Academy towards the end of the 1970s. She has concentrated on this important genre without, however, acting on be-half of architects and art historians as photographers of earlier generations did. She sees her work as artistic photography, and photographing interiors was self-determinedly chosen by her as her main field of activity. She herself set the framework for it: “I photograph in public and semi-public spaces from different eras. This are spaces that are accessible to everyone, places of encounter, communication, knowledge, relaxation, recreation. They are spas, hotels, waiting rooms, museums, libraries, universities, banks, churches and, since a few years, zoological gardens.”

This list does not claim to be exhaustive; it refers above all to the communicative functions of the spaces, which, however, are paradoxically shown without the people frequenting them: Candida Höfer demonstrates the qualities or deficiencies of the spaces that enable human exchange in terms of the architecture itself, in terms of the atmosphere she specifically captures in each case, in terms of the perspective and the framing she chooses. She does not focus on the thematic groups serially; the respective locations determine the image format as well as the size of the prints. Yet the compilation of the groups offers a variety of possibilities for comparison that impressively confirm the photographer’s longstanding and sustained interest in the specific locations.

With approximately 90 works, the exhibition at Berlin’s Museum für Fotografie opens up a broad cross-section of Candida Höfer’s photographs from 1980 to the immediate present. The long tradition of her architectural photographs, however, also extends deep into the classical canon of this field of work. In dialogue with pendants and counter-images from the Kunstbibliothek’s Photography Collection, Höfer’s particular approach to her pictorial motifs is revealed in a particularly impressive way.

For the Photography Collection, architectural photographs formed the basis of its collecting activities. Designed as an exemplary collection, it was intended to convey to a broad public the special structural qualities of cur-rent and historical architecture as precisely and vividly as possible in photographic images in large quantities. The names of the photographers are not known in most cases of the many tens of thousands of prints in the collection. However, inventories and image comparisons have made it possible to identify groups of works by important representatives of the field, such as Eugène Atget, Frank Cousins, Samuel Bourne, Fratelli Alinari, Max Krajewsky, Emil Leitner, Felix Alexander Oppenheim, Albert Renger-Patzsch and Karl Hugo Schmölz. In recent years, archives of the Schinkel and Stüler photographer Hillert Ibbeken, the Munich architectural photographer Sigrid Neubert and the Stuttgart industrial photographer Ludwig Windstosser have been added. The Museum für Fotografie dedicated comprehensive retrospectives to the latter two.

Some thematic groups exemplify the visually stimulating dialogue of the images: Facades, windows and doors open and close the view into or out of rooms. Candida Höfer presents the theme in an exemplary manner with two photographs of the Dutch embassy in Berlin. These are joined by a window picture of the classical avant-garde by Florence Henri or the large-format view from a high-rise onto the landscape of buildings of southern Manhattan by Reiner Leist from 1996. The dialogue between the pictures unfolds in a particularly attractive way in the photographs of Berlin’s Museumsinsel. While the razor-sharp, large-format contact prints by the Königlich Preußische Messbildanstalt still show the monumental stair-case with Wilhelm von Kaulbach’s frescoes, Ryuji Miyamoto in 2000 captures the transitory state of the still ruinous building before the start of interior construction, and Candida Höfer in 2009 shows its completion. Previously unpublished are Höfer’s colour photographs from her Liverpool series of 1968, from which a thread of development can be drawn to her images of the guest rooms in cafés, hotels, spas, and waiting rooms after 1980. They are brought into conversation with the more journalistically conceived street scenes of Willy Römer and Bernard Larsson, Dirk Alvermann’s images of Spanish bar scenes from around 1960, and Helga Paris’s photographs of Berlin pubs from the mid-1970s from the Photography Collection.

Press release from the Museum für Fotografie

 

Candida Höfer (German, b. 1944) 'Rodin Museum Philadelphia II' 2000

 

Candida Höfer (German, b. 1944)
Rodin Museum Philadelphia II
2000
Colour paper
88 x 88cm

 

Installation view of the exhibition 'Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek' at the Museum für Fotografie, Berlin

 

Installation view of the exhibition Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek at the Museum für Fotografie, Berlin showing at right, Höfer’s Teylers Museum Harlem II (2003, below)
© IKS-Medienarchiv

 

Candida Höfer (German, b. 1944) 'Teylers Museum Haarlem II' 2003

 

Candida Höfer (German, b. 1944)
Teylers Museum Haarlem II
2003
Colour paper
186.3 x 155cm

 

Candida Höfer (German, b. 1944) 'Van Abbemuseum Eindhoven V' 2003

 

Candida Höfer (German, b. 1944)
Van Abbemuseum Eindhoven V
2003
Colour paper
103.5 x 87.7cm

 

Eugène Atget (French, 1857-1927) 'Hôtel du Marquis de Lagrange, 4 et 6 rue de Braque, Paris' 1901

 

Eugène Atget (French, 1857-1927)
Hôtel du Marquis de Lagrange, 4 et 6 rue de Braque, Paris
1901
Albumen print
21.4 x 16.2cm

 

Candida Höfer (German, b. 1944) 'Van Abbemuseum Eindhoven VI' 2003

 

Candida Höfer (German, b. 1944)
Van Abbemuseum Eindhoven VI
2003
Colour paper
103.5 x 87.7cm

 

Unknown photographer (Ernst Wasmuth Verlag) '12 rue de Turin, Brussels' 1899

 

Unknown photographer (Ernst Wasmuth Verlag)
12 rue de Turin, Brussels
1899
Albumen print
24.5 x 33.7cm

 

Sigrid Neubert (German, 1927-2018) 'Inner space, BMW Museum, Munich' 1972-1973

 

Sigrid Neubert (German, 1927-2018)
Inner space, BMW Museum, Munich
1972-1973
Gelatin silver paper
22.1 x 15.9cm

 

Candida Höfer (German, b. 1944) 'Palacio de Monserrat Sintra I' 2006

 

Candida Höfer (German, b. 1944)
Palacio de Monserrat Sintra I
2006
Colour paper
254.4 x 205cm

 

Installation view of the exhibition 'Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek' at the Museum für Fotografie, Berlin

 

Installation view of the exhibition Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek at the Museum für Fotografie, Berlin showing at left, Höfer’s Batalha Monastery I (2006); and at second left, Palacio de Monserrat Sintra I (2006, above)
© IKS-Medienarchiv

 

Königlich Preußische Messbildanstalt (Royal Prussian Metrology Institute) 'Stair case, Berlin' c. 1890

 

Königlich Preußische Messbildanstalt (Royal Prussian Metrology Institute)
Stair case, Berlin
c. 1890
Gelatin silver paper
38.5 x 38.6cm

 

Candida Höfer (German, b. 1944) 'Rossiskaya gosudarstvennaya biblioteka Moskwa II' (Russian State Library Moscow II) 2017

 

Candida Höfer (German, b. 1944)
Rossiskaya gosudarstvennaya biblioteka Moskwa II
Russian State Library Moscow II
2017
Colour paper
184 x 216.5cm

 

Installation view of the exhibition 'Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek' at the Museum für Fotografie, Berlin

 

Installation view of the exhibition Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek at the Museum für Fotografie, Berlin showing at centre, Höfer’s Bolshoi Teatr Moskwa II (2017, below)
© IKS-Medienarchiv

 

Installation view of the exhibition 'Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek' at the Museum für Fotografie, Berlin

Installation view of the exhibition 'Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek' at the Museum für Fotografie, Berlin

 

Installation view of the exhibition Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek at the Museum für Fotografie, Berlin showing at centre, Höfer’s Bolshoi Teatr Moskwa II (2017, below); and at right, Höfer’s Malkasten Düsseldorf I (2011)
© IKS-Medienarchiv

 

Albert Vennemann (1885-1965) 'Auditorium, Capitol cinema, Berlin' 1926

 

Albert Vennemann (1885-1965)
Auditorium, Capitol cinema, Berlin
1926
Gelatin silver print
© Staatliche Museen zu Berlin, Kunstbibliothek

 

Hillert Ibbeken (German, 1935-2021) 'Rotunda, Altes Museum, Berlin' 1999

 

Hillert Ibbeken (German, 1935-2021)
Rotunda, Altes Museum, Berlin
1999
Gelatin silver paper
23.9 x 30.3cm

 

Hillert Ibbeken (German, 1935-2021) 'Rotunda, Altes Museum, Berlin' 1998

 

Hillert Ibbeken (German, 1935-2021)
Rotunda, Altes Museum, Berlin
1998
Gelatin silver paper
23.9 x 30.3cm

 

Hillert Ibbeken (German, 1935-2021) 'Rotunda, Altes Museum, Berlin' 1998

 

Hillert Ibbeken (German, 1935-2021)
Rotunda, Altes Museum, Berlin
1998
Gelatin silver paper
30.3 x 23.9cm

 

Candida Höfer (German, b. 1944) 'Bolshoi Teatr Moskwa II' 2017

 

Candida Höfer (German, b. 1944)
Bolshoi Teatr Moskwa II
2017
Colour paper
180 x 261cm

 

Installation view of the exhibition 'Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek' at the Museum für Fotografie, Berlin

 

Installation view of the exhibition Image and Space. Candida Höfer in Dialogue with the Photography Collection of the Kunstbibliothek at the Museum für Fotografie, Berlin showing at left, Höfer’s Neues Museum Berlin XL (2009)
© IKS-Medienarchiv

 

Candida Höfer, Portrait, © IKS-Medienarchiv

 

Candida Höfer, Portrait, © IKS-Medienarchiv

 

 

Museum für Fotografie
Jebensstraße 2, 10623 Berlin

Opening hours:
Tuesday + Wednesday 11am – 7pm
Thursday 11am – 8pm
Friday – Sunday 11am – 7pm

Museum für Fotografie website

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07
Nov
21

Exhibition: ‘In Lady Barclay’s Salon – Art and Photography around 1900’ at Moderna Museet, Stockholm

Exhibition dates: 19th June 2021 – 9th January 2022

Curator: Anna Tellgren

Artists represented in the exhibition: Anna Boberg, Helmer Bäckström, Julia Margaret Cameron, Uno Falkengren, Gustaf Fjæstad, Ferdinand Flodin, Henry B. Goodwin, John Hertzberg, Gösta Hübinette, Eugène Jansson, Nicola Perscheid and Ture Sellman.

 

 

Otto. 'Girl in Chair' c. 1892

 

Otto
Girl in Chair
c. 1892
Reproduction photo: Prallan Allsten/Moderna Museet

 

 

Apologies, a short text today… my lower back is not very good and I am not feeling that well.

Another “niche” exhibition that Art Blart likes to promote, one that fills a gap in our greater knowledge of world art and artists. But why the distinction in the title of the exhibition between art and photography? That old chestnut rears its ugly head again… why not just ‘art around 1900’?

My particular favourites in the posting are the muscular yet translucent Anna Boberg painting A Quiet Evening. Study from North Norway (Nd); the gossamer wispiness and beauty of Ferdinand Flodin’s Portrait of a young lady (1922); and the velvety softness and light of Ture Sellman’s Untitled landscape (c. 1915).

I have added detail of the artists and sitters where possible and information on early photographic processes.

Enjoy!

Dr Marcus Bunyan

.
Many thankx to the Moderna Museet for allowing me to publish the photographs and the text in the posting. Please click on the photographs for a larger version of the image.

 

Moderna Museet highlights Pictorialism – a movement in photography that arose around 1900. The exhibition In Lady Barclay’s Salon – Art and Photography Around 1900 also includes paintings from the same period, treating visitors to a selection of nearly 300 works from the collections of Moderna Museet and Nationalmuseum.

This exhibition is based on the rich collections of Moderna Museet and Nationalmuseum, with art and photography dating from the late 1800s to the First World War. During this period, pictorialism was a style that many prominent photographers worked in; it was inspired by impressionism, symbolism and naturalism.

Pictorialism was the first international art photography movement, with many active practitioners throughout Europe and the USA. Sweden was on the periphery of this movement, but the style became popular here too among several influential amateur and professional photographers. This was a pivotal period in painting, where the younger artists who went abroad and were inspired by a freer approach broke with the more conservative academic painters. This exhibition will highlight works by famous photographers and painters from the years around the turn of the century.

Dark haired, almond eyed, and irresistibly charming, Lady Sarita Enriqueta Barclay was an influential figure of Stockholm’s Pictorialism movement. Captivated by the experimental nature of Swedish art during the fin de siècle, she hosted elaborate viewings and events, and was photographed often. Known for diffused light, sepia tones, and romanticism, the impressionistic photographs of the era capture a cultural moment in Swedish history.

 

 

 

 

Look into Lady Barclays Salon: Live curator talk

Look into Lady Barclay’s salon and discover Pictorialism, the first art photo stream. Many prominent photographers worked in the style that prevailed from the 1890s and a few decades onwards. Anna Tellgren, curator and Karin Malmquist, program curator, talk about Pictorialism and some of the approximately 300 paintings and photographs that you can see in the exhibition “In Lady Barclays Salon”.

 

August Strindberg. 'Underlandet' (The Wonderland) 1894

 

August Strindberg (Swedish, 1849-1912)
Underlandet (The Wonderland)
1894
Oil on cardboard
72.5cm (28.5 in) x 52cm (20.4 in)
Nationalmuseum (Stockholm)

 

 

Johan August Strindberg

Johan August Strindberg (22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg’s career spanned four decades, during which time he wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the “father” of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. …

Strindberg, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process.

Strindberg’s paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art.

Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis.

Text from the Wikipedia website

 

Joseph Mallard William Turner (British, 1775-1851) 'A View of Deal' Nd

 

Joseph Mallard William Turner (British, 1775-1851)
A View of Deal
Nd
Oil on paper on panel
32 x 24cm (12.6 x 9.6 inches)
Nationalmuseum (Stockholm)

 

 

The years from 1890 to the first World War were a golden era for the arts in Sweden. This exhibition presents beautiful Pictorialist photographs and selected paintings from this period. The more than 300 works from the rich collections of Moderna Museet and Nationalmuseum give us an insight into art at the time.
In Lady Barclay’s Salon, we imagine a meeting between photographers and painters, their friends and the public. Lady Sarita Enriqueta Barclay (1891-1985) was married to a British diplomat, and they both lived in Stockholm for a few years around 1921. She was portrayed several times in the studio of the photographer Henry B. Goodwin. We can assume that she was prominent in the city’s social life and went to previews, dinners and other events.

This exhibition is an opportunity to see a selection of some 300 works by famous photographers and painters in the Moderna Museet and Nationalmuseum collections, including Anna Boberg, Helmer Bäckström, Julia Margaret Cameron, Uno Falkengren, Gustaf Fjæstad, Ferdinand Flodin, Henry B. Goodwin, John Hertzberg, Gösta Hübinette, Eugène Jansson, Nicola Perscheid and Ture Sellman.

 

Around the end of the previous century

In the years around 1900, a number of colourful personalities emerged in literature, music, art and architecture, and patrons such as Prince Eugen and Ernest Thiel were building major art collections. The Art and Industry Exhibition in Stockholm in 1897 and the Baltic Exhibition in Malmö in 1914 had sections for art and photography.

The exhibition “In Lady Barclay’s Salon” gives a picture of the visual culture at the time. It features mainly Swedish material, with a few international highlights. The works date from the late-19th century to 1930, a period when Pictorialism was emerging in photography. The style was inspired by impressionism, symbolism and naturalism, and there were lively debates on how to make photography more artistic.

Unlike the increasing number of amateur and professional photographers – who had gained access to the medium thanks to technological progress – the Pictorialists emphasised craftsmanship. Their images are characterised by soft focus and with colours ranging from brown, earthy tones to strong reds and blues. They worked with a variety of processes with the purpose of creating or “painting” on light-sensitive paper. This was the first international art photography movement, and it had many prominent practitioners throughout Europe and the USA.

 

A pivotal time for painting

This was a pivotal period in painting, when the younger artists who travelled abroad and were inspired by a freer approach broke with the more conservative academic painters. The French painter Paul Gauguin and the Pont-Aven school had a strong influence on Swedish artists who adopted symbolist or synthetist approaches. Images were reproduced and distributed more widely in books, posters and magazines, making it easier to share ideas. No longer was it necessary to visit other countries to see the latest art, but Paris was still a mecca for art students. Towards the end of the century, however, Paris was rivalled by Berlin, Munich, Dresden and Hamburg. Copenhagen, with its international relations and exhibitions, also offered a natural meeting place for Swedes.

Text from the Moderna Museet website

 

Ferdinand Flodin (Swedish, 1863-1935) 'View from My Window over Skeppsholmen, Stockholm' 1929

 

Ferdinand Flodin (Swedish, 1863-1935)
View from My Window over Skeppsholmen, Stockholm
1929
Bromoil print mounted on board
Moderna Museet
Reproduction photo: Prallan Allsten/Moderna Museet

 

Eugène Jansson (Swedish, 1862-1915) 'Hornsgatan nattetid' (Hornsgatan at night) 1902

 

Eugène Jansson (Swedish, 1862-1915)
Hornsgatan nattetid (Hornsgatan at night)
1902
Oil on canvas
152cm (59.8 in) x 182cm (71.6 in)
National Museum (Stockholm)

 

 

Moderna Museet highlights Pictorialism – a movement in photography that arose around 1900. The exhibition In Lady Barclay’s Salon – Art and Photography Around 1900 also includes paintings from the same period, treating visitors to a selection of nearly 300 works from the collections of Moderna Museet and Nationalmuseum.

Lady Sarita Enriqueta Barclay (1891-1985) became a prominent figure on the Stockholm arts scene after her husband, a British diplomat, had been posted to Stockholm. Lady Barclay frequently hosted cultural gatherings and events in the five years following the end of the First World War when she lived here. The photographer Henry B. Goodwin (1878-1931) portrayed Lady Barclay on several occasions, and his pictures show her as a stylish woman with a cosmopolitan air – an emblem of Sweden’s flourishing arts scene at the time.

In the years around 1900, a number of colourful personalities emerged in literature, music, art and architecture, and patrons such as Prince Eugen and Ernest Thiel were building major art collections. The Art and Industry Exhibition in Stockholm in 1897, and the Baltic Exhibition in Malmö in 1914, included separate sections for art and photography.

The exhibition In Lady Barclay’s Salon gives a picture of the visual culture at the time, and consists mainly of Swedish material, with a few international highlights. The works date from the late-19th century to 1930, a period when Pictorialism was emerging in photography. The style embraced inspiration from impressionist, symbolist and naturalism, and there was a lively debate on how to make photography more artistic. Unlike the increasing number of amateur and professional photographers – who had gained access to the medium thanks to technological progress – the Pictorialists emphasised craftsmanship. Their images are characterised by soft focus and with colours ranging from brown, earthy tones to strong reds and blues. They worked with a variety of processes with the purpose of creating or “painting” on light-sensitive paper.

Painting also moved into a new phase around 1900. While the older members of the artist federation Konstnärsförbundet, founded in 1886, maintained their dominance, a younger generation was beginning to step in at the turn of the century. The French artist Paul Gauguin and the Pont-Aven school had a strong influence on Swedish artists who adopted symbolist or synthetist approaches. Ideas could be shared more easily with mass-produced images in books, posters and magazines.

In Lady Barclay’s Salon presents a fictive encounter between photographers and painters, their friends and the audience. The exhibition features some 300 works from the collections of Moderna Museet and Nationalmuseum, including works by Anna Boberg, Helmer Bäckström, Julia Margaret Cameron, Uno Falkengren, Gustaf Fjæstad, Ferdinand Flodin, Henry B. Goodwin, John Hertzberg, Gösta Hübinette, Eugène Jansson, Nicola Perscheid and Ture Sellman.

“This is an opportunity to discover a less well-known part in the history of photography, where the artistic aspects of the medium were discussed fervently, and where there are many intriguing links to painting at the time,” says the exhibition’s curator, Anna Tellgren. “The exhibition highlights both famous and unknown photographers and artists who were practising around 1900, and reveals some fantastic visual treasures from our collection.”

Press release from Moderna Museet

 

Prince Eugen, Duke of Närke (Swedish, 1865-1947) 'Tidig vintermorgon' (Early winter morning) 1906-1907

 

Prince Eugen, Duke of Närke (Swedish, 1865-1947)
Tidig vintermorgon (Early winter morning)
1906-1907
Oil on canvas
77cm (30.3 in) x 89cm (35 in)
Nationalmuseum (Stockholm)

 

 

Prince Eugen

After finishing high school, Prince Eugen studied art history at Uppsala University. Although supported by his parents, Prince Eugen did not make the decision to pursue a career in painting easily, not least because of his royal status. He was very open-minded and interested in the radical tendencies of the 1880s. The Duke became one of the era’s most prominent landscape painters. He was first trained in painting by Hans Gude and Wilhelm von Gegerfelt.

Between 1887 and 1889, he studied in Paris under Léon Bonnat, Alfred Philippe Roll, Henri Gervex and Pierre Puvis de Chavannes. Puvis de Chavannes’s classical simplicity had the greatest influence on Prince Eugen’s work. The Duke devoted himself entirely to landscape painting. He was mainly interested in the lake Mälaren, the countryside of Stockholm (such as Tyresö, where he spent his summers), Västergötland (most notably Örgården, another summer residence) and Skåne (especially Österlen).

Text from the Wikipedia website

 

Henry B. Goodwin (Swedish born Germany, 1878-1931) 'Bragevägen Stockholm's loveliest street' 1917

 

Henry B. Goodwin (Swedish born Germany, 1878-1931)
Bragevägen Stockholm’s loveliest street
1917
Reproduction photo: Prallan Allsten/Moderna Museet

 

 

About the exhibition In Lady Barclay’s Salon

The exhibition “In Lady Barclay’s Salon – Art and Photography around 1900” highlights the period from 1890 and up to the First World War. It was a golden age for the arts in Sweden. A number of noteworthy figures appear within the fields of literature, music, art and architecture. Among them are Verner von Heidenstam, Ellen Key, Selma Lagerlöf and August Strindberg.

Art patrons Prince Eugen and Ernest Thiel acquired large art collections, that can still be admired in their respective homes: Waldermarsudde and Thielska Galleriet on Djurgården. Both buildings were designed by the architect Ferdinand Boberg, who included Renaissance, oriental and late Jugend style elements.

The renowned artist Eva Bonnier was another important figure. Better communications in the form of railways and telephone networks contributed to the development of cities, and a growing, export-oriented industry in Sweden. The 1897 Art and Industry Exposition in Stockholm and, a few years later, the 1914 Baltic Exhibition in Malmö, were manifestations of this progressive outlook. Both included sections that showed art and photography.

It was a time of Scandinavianism, and many Nordic collaborations and groups were formed. The women’s movement gained momentum, and in 1919 women were finally given the right to vote. For the first time, after a long struggle, they were able to cast their vote in the 1921 lower house election – exactly one hundred years ago.

 

Pictorialism developed as a photographic movement

This exhibition offers a glimpse of visual culture from this period by means of some 300 works from the rich collections of Moderna Museet and National museum. While most of these are Swedish in origin, there are some international examples.

The works span a period from the late 19th century to 1930. During this period, Pictorialism developed as a distinct movement that took a different direction from amateur and professional photography. Technical advances, the arrival of roll film for example, made photography accessible to a wider circle of practitioners. The Pictorialists, however, were interested in the craft of photography.

The style was inspired by impressionism, symbolism and naturalism, and there was a heated debate on how to develop photography as an art form. The monochrome portrait paintings of the symbolist Eugène Carrière, for example, clearly influenced art photography around 1900.

The Pictorialists’ images are characterised by soft focus and a palette that ranges from brown, earthy tones to strong reds and blues. They worked with a variety of processes such as gum bichromate, platinum and bromoil printing with the purpose of creating or “painting” on light-sensitive paper.

This was the first international art photography movement to have a large number of prominent practitioners across Europe and the United States. Clubs were formed to promote this new art photography, among them were the Wiener Camera-Club, the Photo-Club de Paris and the Photo-Secession in New York, with famous members such as Alfred Stieglitz and Edward Steichen. The works were judged in competitions and shown in galleries and museums and at international salons. The style thus spread to Belgium, Holland, Italy, Poland, Russia, Spain and the Nordic countries.

 

The artistic period

Sweden was on the periphery of this movement, but it found a following here too, with a number of talented photographers. This period is known as the “artistic period” (konstnärstiden), a term coined in an article by the keen Pictorialist Professor Helmer Bäckström. Bäckström was also an active member of Fotografiska Föreningen (the Photographic Association), a Swedish version of the clubs abroad. The association was established in 1888. Its purpose was to organise meetings and dinners where photography was discussed.

In the 1890s, the professional photographer Herman Hamnqvist was an important introducer of Pictorialism. He promoted artistic photography in his many articles and lectures. Other colourful representatives were Uno Falkengren, Ferdinand Flodin, John Hertzberg, Gösta Hübinette and Ture Sellman.

In Sweden, these new ideas were first picked up by the older generation. They were followed by a younger generation of photographers who introduced and disseminated Pictorialism. This second wave includes Henry B. Goodwin, a major figure in Sweden and the Nordic countries. Goodwin was renowned for his expressive, subdued portraits and his many Stockholm cityscapes.

He also kept up with what went on abroad; among his contacts was the well-known portrait photographer Nicola Persheid, who was active in Berlin for many years. Women photographers disappeared from the history of photography during this period. The networking that took place in clubs and associations seems to have excluded many women, even if they had their own successful studios.

 

Atmospheric style typical of the period

Around 1900, painters entered a new, exciting era. The older members of Konstnärsförbundet (the Artists’ Association), established in 1886, continued to dominate, but a new generation came to the fore around the turn of the century. The French artist Paul Gaugin and the Pont-Aven school were important influences among the Swedish artists.

Helmer Osslund was able to visit Gauguin’s studio, and he later put this experience to practice in his northern landscapes. Carl Wilhelmson was known for his many portraits with motifs from his native West Coast. He taught at the Valand art school in Gothenburg and had a major influence on many artists. Maja and Gustaf Fjæstad founded an artists’ colony by Lake Racken in Värmland where a style in line with current national romanticism tendencies developed. Several local circles or schools in a similar vein were formed across Sweden.

Other important artists at the time were Richard Bergh, Eugène Jansson, Nils Kreuger and Karl Nordström, who all represented and developed an atmospheric style typical of the period. New ideas were now rapidly disseminated via mass-produced pictures in books, volumes of prints and magazines. The artists did not always have to travel abroad in order to find inspiration. However, study trips to Paris, the current art hub, were still important, although Berlin, Munich, Dresden and Hamburg were taking over that role at the end of the 1800s. To Swedish artists, Copenhagen, with its international outlook and exhibitions, became a natural place to gather.

 

New ways of framing and cropping

Japanese art, especially colour woodcuts, which reached Europe via the impressionists were fashionable and encouraged painters and photographers to try new ways of cropping and framing their motifs. The ornamental details and undulating lines that are typical of the Jugend (Art Noveau) period also inspired many painters. Eccentrics such as Ivar Arosenius and Olof Sager-Nelson (see below) were renowned for their sensitive, almost fairy tale-like portraits.

The author August Strindberg (see above) experimented with both painting and photography, which has been studied closely in recent years. Around the turn of the last century, an intermediary generation were overshadowed by great national artists such as Bruno Liljefors, Carl Larsson and Anders Zorn. However, they became an important link to the emerging expressionism and other modernist movements that came to the fore in the first decades of the 20th century.

 

Lady Barclay’s Salon

In Lady Barclay’s Salon we have created a fictional encounter between photographers, painters, their friends and audiences. Sarita Barclay was married to a British diplomat, and the couple lived in Stockholm for a few years around 1921. During these years she attended several portrait sittings with Henry B. Goodwin. We can assume she visited exhibition openings, dinners and other society events.

Social circles do not seem to have mixed a great deal, but there is clear evidence of links between painting and photography. Portraits are a common motif, but the many landscapes, cityscapes, dancers and nudes also offer us information about and a glimpse of the past.

Text from the Moderna Museet website

 

Ferdinand Flodin (Swedish, 1863-1935) 'Greta Gustavsson Garbo' 1923

 

Ferdinand Flodin (Swedish, 1863-1935)
Greta Gustavsson Garbo
1923
Reproduction photo: Prallan Allsten/Moderna Museet

 

 

Greta Garbo

Greta Garbo (born Greta Lovisa Gustafsson 18 September 1905 – 15 April 1990) was a Swedish-American actress. She was known for her melancholic, somber persona due to her many portrayals of tragic characters in her films and for her subtle and understated performances. In 1999, the American Film Institute ranked Garbo fifth on its list of the greatest female stars of classic Hollywood cinema. She was nicknamed “The Divine” because of her whimsical attitude and her willingness to avoid the press. Garbo launched her career with a secondary role in the 1924 Swedish film The Saga of Gösta Berling.

 

James Bourn (Swedish) 'No title' 1905 

 

James Bourn (Swedish, Gothenburg)
No title
1905

 

Herrman Sylwander (Swedish, 1883-1948) 'Tora Teje in 'Inom lagens gränser'' (Tora Teje in 'Within the Limits of the Law') 1914 

 

Herrman Sylwander (Swedish, 1883-1948)
Tora Teje in ‘Inom lagens gränser’ (Tora Teje in ‘Within the Limits of the Law’)
1914

 

 

Tora Teje (17 January 1893 – 30 April 1970) was a Swedish theatre and silent film actress. She appeared in ten films between 1920 and 1939.

 

 

Photographic Processes and Materials around 1900

In 1888, Kodak launched the first roll-film hand camera. It revolutionised the market and turned photography into something everyone could enjoy. The specially constructed cameras were sent back to the factory where the pictures were processed. In 1900, Kodak introduced the popular Brownie, a classic box camera.
Another aspect of the increased interest in and use of photographs was that mass produced pictures were now easy to publish in books, volumes of prints and magazines. One example is photogravure, but there were many other processes. The Pictorialists used various processing methods and materials, some of which were closer to printmaking and painting, and they avoided regular photographic materials. The craft of making photographs was important, which was in line with an interest in and revival of older techniques as industrialism gained momentum during the Jugend period.

Professional photographers engaged in portrait photography and took on other commissions for their customers. Among the most prominent Pictorialists, many had second jobs. The tension between, or the different preconditions for photographers who embraced a more artistic form of expression and those who were forced to earn a living from selling their photographs is relevant to this day. There were many conflicts between members of Fotografiska Föreningen (the Photographers’ Association) – which to begin with only accepted amateurs – and the industry association Svenska Fotografers Förbund (the Association of Professional Photographers). At the same time, there are many examples of contacts and collaborations between different types of photographers around the turn of the last century.

Terminology was often translated from German and English, and in older literature you often find processes described in Swedish as gummitryck (gum print), pigmenttryck (pigment print) or oljetryck (oil print). However, the process is not strictly “printing”; the images were developed on light-sensitive paper. Instead of using the most common type of photographic paper with light-sensitive coating of silver salts in gelatine or albumin, the Pictorialists worked with other light-sensitive solutions. The image was often contact printed under a negative, which resulted in a picture with the same dimensions as the negative. The Pictorialists’ images are characterised by soft focus and often a grainy, print-like texture in hues that go from earthy browns to strong reds and blues.

 

Carbon print

A pigment, potassium bichromate and gelatine emulsion on thin paper is subjected to natural light in contact with a negative. The image is formed with the help of pigment in the desired colour. After exposure, the image is transferred to a new paper. This is the original. The image stands out in clear relief and is reversed, which can be corrected by repeating the transfer process onto a new paper. The tone is often dark brown or black, but it varies depending on the type of pigment used. Factory-made paper by Bühler and Höchheimer were sensitised in alcohol. This process is called carbon print, especially when it features black pigment. It was in use between 1864 until the end of the 1930s.

 

John Hertzberg (Swedish, 1871-1935) 'No title' 1903

 

John Hertzberg (Swedish, 1871-1935)
No title
1903
Gum Bichromate Print

 

 

Gum Bichromate print

The gum bichromate process was invented in 1894. It is achieved by applying a solution of pigment, potassium bicharbonate and gum arabic to paper. The components are mixed in water and brushed on. When the coat has dried, it is light-sensitive, and the areas under the negative that are not exposed to light is stabilised. The rest is rinsed off in water. The colour range is very limited. The motif is often built up through multiple coats, erasures and applications of colour. The images are generally monochrome, reminiscent of charcoal or pastels. It is necessary to use a coarse-grained or uneven paper for the emulsion to adhere, which enhances the graphic qualities of the image. Custom-made paper for this method was marketed by Höchheimer, Bühler and Fresson.

 

Ture Sellman (Swedish, 1888-1969) 'Landskap' (Landscape) c. 1913

 

Ture Sellman (Swedish, 1888-1969)
Landskap (Landscape)
c. 1913
Pigment print mounted on board
27.5 × 21.4​cm

 

 

Oil print

An emulsion consisting of potassium bichromate and gelatine is applied to paper and exposed to light. It results in an almost invisible gelatine image in relief. The gelatine absorbs and repels greasy pigments, which can be fixed by means of a rubber roller or brush. This method gives a grainy image that resembles art prints and drawings.

 

Olof Sager-Nelson (Swedish, 1868–1896) 'Flickhuvud II' (A Girl's Head II) 1902

 

Olof Sager-Nelson (Swedish, 1868–1896)
Flickhuvud II (A Girl’s Head II)
1902
Oil on canvas
41 cm (16.1 in) x 33 cm (12.9 in)
Nationalmuseum (Stockholm)

 

Ebba-Lisa Roberg (Swedish, 1904-1993) 'No title' 1927

 

Ebba-Lisa Roberg (Swedish, 1904-1993)
No title
1927
Bromoil print

 

 

Bromoil print

Colour pigments on a silver, potassium bichromate and gelatine emulsion on paper. A silver bromide image on paper is sensitised by means of potassium bichromate with an addition of copper sulphate and potassium bromide, then fixer is added. The image is soaked in water, and a gelatine relief is produced, which can be coloured multiple times by brushing or rolling on greasy ink. The tone is determined by the pigments in the ink. A variation is achieved when the wet, tinted gelatine relief is pressed against a paper and the ink is transferred. The image is reversed with a matt finish and pressure marks from the original print. This method was used between 1907 and the 1940s.

 

Uno Falkengren (Swedish, 1889-1964) 'Nöd'. Arranged dance group with Anna Behle in the middle, Stockholm 1917

 

Uno Falkengren (Swedish, 1889-1964)
Nöd. Arranged dance group with Anna Behle in the middle, Stockholm
1917
Sepia platinum type mounted on paper
23.7 x 24.2cm

 

 

Platinum print

A paper is given a coat of a potassium chloropatinate and iron oxalate. It is then exposed to daylight through a negative. The image is developed as potassium oxalate dissolves the iron salts and transform the platinum salts to metallic platinum embedded in the paper fibres. This process offers few opportunities for manual manipulation. Platinum prints are characterised by a smooth, neutral greyscale. Platinum was relatively inexpensive before the First World War, and prepared papers were readily available. Today, platinum is used in combination with palladium. The method was used as far back as in 1873.

 

Photogravure

Colour pigment on paper. A paper base coated in potassium bichromates in gelatine are exposed to UV light in contact with a transparent positive. The gelatine coating is thereby stabilised and is then transferred face down to a copper plate. When ink is applied to the plate, it adheres to the etched areas after which the image is printed on paper in a printing press. Photogravures have a clearly defined depression from the edges of the plate, and each print is an original. Shadows are similar to charcoal pigment and highlights match the colour of the paper. This method is classified as a photomechanical print and is not in fact a true photograph. It has been used since the 1880s.

 

Nils Kreuger (Swedish, 1838-1930) 'Vårafton' (Spring evening) 1896

 

Nils Kreuger (Swedish, 1838-1930)
Vårafton (Spring evening)
1896
Oil on mahogany panel
48.5cm (19 inches) x 60.1cm (23.6 inches)
Nationalmuseum (Stockholm)

 

 

Nils Edvard Kreuger

Nils Edvard Kreuger (11 October 1858 – 11 May 1930) was a Swedish painter. He specialised in landscapes and rural scenes.

In 1874, he began his studies at the Royal Swedish Academy of Fine Arts, but was forced to discontinue them due to illness. In 1878, he was able to resume studying at the private painting school of Edvard Perséus. He then went to Paris, in 1881, and studied with Jean-Paul Laurens at the Académie Colarossi. Much of his time was spent painting en plein air in Grez-sur-Loing. As his style progressed, he showed a preference for painting at dawn or dusk, in haze or rain. His first exhibition at the Salon came in 1882.

After 1885, he was a supporter of the “Opponenterna [sv]”, a group that was opposed to the outmoded teaching methods at the Royal Academy. He was also active in creating the Konstnärsförbundet [sv] (Artists’ Union). At this time, he abandoned painting en plein air in favour of Romantic nationalism. In 1886, he married Bertha Elisabeth von Essen (1857-1932), the daughter of an army officer, and settled in Bourg-la-Reine.

In 1887, he returned to Sweden, looking for a quiet place to paint, and chose Varberg, where he worked with Richard Bergh and Karl Nordstrom to establish what came to be known as the Varbergsskolan [sv]; a term coined by Prince Eugen, himself an amateur artist. It was a reaction to the prevailing realistic style of landscape painting and may have been inspired by Bergh’s attraction to the works of Paul Gauguin. He was also influenced by Van Gogh, whose paintings were exhibited in Copenhagen in 1893.

In 1896, he moved to Stockholm, but visited Öland in the summers, where he painted cows and horses. After 1900, his palette lightened and he began adding dots to his work. He also did illustrations, designed furniture and produced some humorous paintings called the “historiska baksidor” (historic backs), showing famous rulers from behind. Between 1904 and 1905, he executed some large wall paintings at the Engelbrektsskolan [sv]. In his final years, he had problems with his eyesight, but was able to continue painting.

Text from the Wikipedia website

 

Gösta Hübinette (Swedish, 1897-1980) 'Forntida' (Ancient) 1928

 

Gösta Hübinette (Swedish, 1897-1980)
Forntida (Ancient)
1928
Gelatine Silver Print

 

 

Gelatine silver print

The most common form of black and white photography in the 20th century. A photo paper with a coating of light-sensitive silver halogens in gelatine are exposed and developed. There are many varieties of this process with different texture and glossiness, dynamic range and contrast. The result depends on the types of paper, developer and additive tones that are used.

 

Bibliography

Håkan Petersson, “Photographic materials”, Another Story. Photography from the Moderna Museet Collection, ed. Anna Tellgren, Stockholm: Moderna Museet and Göttingen: Steidl, 2011, pp. lxi-lxiii.

Pär Rittsel and Rolf Söderberg, “Konstnärstidens metoder”, Den svenska fotografins historia 1840–1940, Stockholm: Bonnier Fakta Bokförlag AB, 1983, p. 240-241.

Lena Johannesson, Den massproducerade bilden. Ur bildindustrialismens historia, Stockholm: Almqvist & Wiksell Förlag AB, 1978.

Impressionist Camera. Pictorial Photography in Europe, 1889-1918, ed. Philip Prodger, London/New York: Merrell Publishers Limited, 2006, pp. 322-324.

Text from the Moderna Museet website

 

Henry B. Goodwin (Swedish born Germany, 1878-1931) 'Carin' 1920

 

Henry B. Goodwin (Swedish born Germany, 1878-1931)
Carin
1920
Reproduction photo: Prallan Allsten/Moderna Museet

 

 

Henry B. Goodwin (Swedish born Germany, 1878-1931)

Henry B. Goodwin, born in Munich as Henry Buergel, was the most successful representative of Pictorialism. He arrived in Sweden in 1905 in order to teach German at Uppsala University. Some ten years later, in 1914, he moved to Stockholm where he opened a studio, Kamerabilder, which was popular with painters and artists.

His many superb portraits were achieved with small means: the subject is captured against a dark, neutral backdrop. His soft, smoky Stockholm cityscapes have been collected in a series of special editions, and Goodwin’s keen interest in gardening was expressed through meticulously arranged close-ups of plants.

Goodwin enjoyed a large, international network and launched the term bildmässig (pictorial) photography as an alternative to artistic photography. It was a term that came to be used frequently in the photographic debate.

Text from the Moderna Museet website

 

Julia Margaret Cameron (British, 1815-1879) 'The Mountain Nymph, Sweet Liberty' 1866

 

Julia Margaret Cameron (British, 1815-1879)
The Mountain Nymph, Sweet Liberty
1866

 

 

Julia Margaret Cameron (British, 1815-1879)

A small pioneering group of photographers in Victorian England were the first to experiment with, and who attempted to formulate, an aesthetic around artistic photography. Julia Margaret Cameron was part of this group. She left behind a wonderful collection of intimate portraits of members of her family and large circle of friends. She was an amateur, predominantly active during the 1860s and 1870s.

Cameron specialised in expressive soft-focus photographs of staged motifs borrowed from mythology, the Bible or English literature, as in her rendering of Alfred Tennyson’s famous poem “Maud” from 1855.

Cameron’s photographs evoke the Pre-Raphaelites with their penchant for the Middle Ages and Renaissance painting. She was a precursor of the photographers that a few decades later formed part of the pictorial movement.

Text from the Moderna Museet website

 

Helmer Bäckström (Swedish, 1891-1964) 'Segel till tork' (Drying sails) 1923

 

Helmer Bäckström (Swedish, 1891-1964)
Segel till tork (Drying sails)
1923

 

 

Helmer Bäckström (Swedish, 1891-1964)

Helmer Bäckström was an important member of Fotografiska Föreningen (the Photographic Association). The association, which was formed in 1888, organised meetings where photography was discussed. A library of books on photography was accumulated, but most important were the photo competitions. Bäckström was a researcher, collector, historian and photographer. In 1948, he was appointed professor of photography at the Royal Institute of Technology. Throughout his career, he wrote about early photography and technical innovations in a series of articles entitled “Samlingar till kamerans och fotografins svenska historia” (Collections of the Swedish History of Cameras and Photography). They were published in the association’s journal, “Nordisk Tidskrift för Fotografi”.

Bäckström was also a Pictorialist; studies of flora and fauna were his favourite motifs. His large collection of photographs was acquired by the Swedish state in 1965. It has been part of the Moderna Museet collection since 1971.

Text from the Moderna Museet website

 

Anna Boberg (Swedish, 1864-1935) 'Stilla afton. Studie från Nordlandet' (A Quiet Evening. Study from North Norway) Nd

 

Anna Boberg (Swedish, 1864-1935)
Stilla afton. Studie från Nordlandet (A Quiet Evening. Study from North Norway)
Nd
40.5 x 70.5cm
Nationalmuseum (Stockholm)

 

 

Anna Boberg (Swedish, 1864-1935)

Anna Scholander’s family was part of the Stockholm elite. She was well educated and moved with ease in the salons of Paris and other cities. In Paris she met Ferdinand Boberg, who was to become one of Sweden’s leading architects. They were married in 1888. The couple dedicated their lives to work and travel.

Anna Boberg was highly versatile. She designed textiles, glass and Jugend pottery – one example is the elegant peacock vase from around 1897 for Rörstrand. In 1901, she made a life-changing trip to northern Norway where she fell in love with the rocky landscape around Lofoten, which seemed to rise out of the sea. It woke in her an irresistible urge to paint.

Anna Boberg returned to this location over a period of thirty years. Contrary to her life as a society lady, she embarked on strenuous expeditions on foot and by sea, and she made oil sketches of what she saw which she later used as inspiration in her studio.

Text from the Moderna Museet website

 

Ferdinand Flodin (Swedish, 1863-1935) 'Portrait of a young lady' 1922

 

Ferdinand Flodin (Swedish, 1863-1935)
Portrait of a young lady
1922

 

 

Ferdinand Flodin (Swedish, 1863-1935)

One of the foremost portrait photographers of the period was Ferdinand Flodin. During his long career he tried all the different processes that were typical of Pictorialism, and he became a highly skilled photographer. As a young man, he travelled to the United States, and for a number of years he worked in Worcester near Boston. After his return in 1889, he opened a studio in Stockholm where he received celebrities associated with the theatre, art, politics and science.

Besides portraits, his large body of work includes a number of beautiful cityscapes in different colour tones. Flodin continued to travel; he was interested in the international scene and he knew a great deal about early photography. He went on to build a collection of historical photographs, later acquired by Helmer Bäckström. Flodin was active in Svenska Fotografers Förbund (the Swedish Association of Professional Photographers) for many years, and he regularly wrote about technical and financial matters in the association’s journal.

Text from the Moderna Museet website

 

Gösta Hübinette (Swedish, 1897-1980) 'Japanskt' c. 1925

 

Gösta Hübinette (Swedish, 1897-1980)
Japanskt
c. 1925

 

 

Gösta Hübinette (Swedish, 1897-1980)

With their more independent position and experimental approach, amateur photographers were fundamental to the development of the pictorial movement in Sweden and internationally. Gösta Hübinette was interested in art from an early age, but on his family’s advice he studied business administration, and he worked at the carpet business, Myrstedts Matthörna, until he retired. He practiced several disciplines, including painting, but he was most successful as a photographer. Hübinette was part of the circle around Henry B. Goodwin, and in the 1920s he often took part in exhibitions and the important photo competitions.

Hübinette’s photographs are testament to his proficiency in painting, drawing and printmaking. With delicate works such as “Japanskt” (c. 1925) he is also one of the Swedish photographers for whom Japanese woodcuts served as inspiration.

Text from the Moderna Museet website

 

Ture Sellman (Swedish, 1888-1969) 'No title' c. 1915

 

Ture Sellman (Swedish, 1888-1969)
No title
c. 1915

 

 

Ture Sellman (Swedish, 1888-1969)

As an architect, Ture Sellman had his own approach to photography. He was well acquainted with the compositional and technical aspects and was therefore an important figure who also gave lectures. He later became an astute critic. Sellman was among the most vociferous advocates of photography as an artistic medium. His early Bromoil prints are some of the most graphic examples of Swedish Pictorialism.

After having experimented with different artisan processes, Sellman did a complete U-turn in 1920 and became a supporter of the straight photography expression, but his interest in tonality and composition are still visible in his soft-focus photographs from the 1920s.

Sellman designed some seventy buildings, and many of his photographs are testament to his eye for architecture.

Text from the Moderna Museet website

 

Nicola Perscheid (German, 1864-1930) 'No title' c. 1920

 

Nicola Perscheid (German, 1864-1930)
No title
c. 1920

 

 

Nicola Perscheid (German, 1864-1930)

Nicola Perscheid was one of the international figures that came to have a major influence on Pictorialism in Sweden. In the autumn of 1913, he arrived in Stockholm in order to conduct what we would today call a workshop. It was enormously popular. His fame had reached Sweden partly via his former pupil, Henry B. Goodwin.

Perscheid was against retouching, which meant he spend a great deal of time on preparations. Among his portraits are many full-length and half-length photographs of distinguished men and nameless women. Especially his expansive, pared down photographs of women with their soft lines and ornamental jewellery and flowers evoke the pictorial language of symbolism, but also older painting practices.

The Perscheid lens was launched in 1920. This soft-focus lens became especially popular in Europe and Japan.

Text from the Moderna Museet website

 

Uno Falkengren (Swedish, 1889-1964) 'Nöd'. Arranged dance group with Anna Behle in the middle, Stockholm 1917

 

Uno Falkengren (Swedish, 1889-1964)
Nöd. Arranged dance group with Anna Behle in the middle, Stockholm
1917
Sepia platinum type mounted on paper
23.7 x 24.2cm

 

 

Uno Falkengren (Swedish, 1889-1964)

Uno Falkengren belonged to the inner circle around Henry B. Goodwin. Goodwin was also instrumental in allowing Falkengren to study under the distinguished German photographer Nicola Perscheid in Berlin. It was a formative period during which Falkengren developed a minimalistic, elegant style. Among his works are a number of interesting portraits of famous dancers in expressive scenes and groups.

In 1916, he was appointed head of the Nordiska Kompaniet studio. He then worked at his own studio for a few years until he moved to Berlin in 1924. Only a year later, he returned to Stockholm and gave up photography completely. On account of his homosexuality, Falkengren lived an itinerant, partly secret, life. There are elements of queer culture within Pictorialism, as practitioners were often attracted to alternative settings or artists’ communities.

Text from the Moderna Museet website

 

Anna Behle (Swedish, 1876-1966)

Anna Charlotta Behle (Stockholm, August 9, 1876 – Gothenburg, October 2, 1966) was a Swedish dancer and dance teacher. Considered a pioneer of modern dance in Sweden, she first became interested in the art after watching Isadora Duncan perform. She was born to unwed parents, and was adopted, along with her brother August, by the Granbäck family, who ensured that she had a full education. After initial studies in singing with Eugène Crosti and Emile Wartel in Paris, she studied dance with Duncan and with Emile Jacques-Dalcroze; later she would open her own school in Stockholm.

Text from the Wikipedia website

 

John Hertzberg (Swedish, 1871-1935) 'No title' 1903

 

John Hertzberg (Swedish, 1871-1935)
No title
1903
Gum Bichromate Print

 

 

John Hertzberg (1871-1935)

John Hertzberg was a technically accomplished photographer. He developed colour photography in Sweden. He was educated in Vienna and was later offered to teach at the Royal Institute of Technology where he was later senior lecturer in photography. He was thereby a key figure in photographic circles.

When Nils Strindberg’s rolls of film were discovered on Kvitøya in the Svalbard archipelago thirty years after S. A. Andrée’s failed balloon Arctic Expedition in 1897, Hertzberg was given the prestigious task of developing the exposed films. He was also editor of the journal “Nordisk Tidskrift för Fotografi” for many years and chairman of Fotografiska Föreningen.

He experimented with different techniques and groups of motifs in a style typical of the time. These include pictures of Stockholm from the water as well as compositions of clouds and shadows.

Text from the Moderna Museet website

 

Eugène Jansson (Swedish, 1862-1915) 'Hornsgatan nattetid' (Hornsgatan at night) 1902

 

Eugène Jansson (Swedish, 1862-1915)
Hornsgatan nattetid (Hornsgatan at night)
1902
Oil on canvas
152cm (59.8 in) x 182cm (71.6 in)
National Museum (Stockholm)

 

 

Eugène Jansson (Swedish, 1862-1915)

Eugène Jansson became a member of the Konstnärsförbundet association of artists in 1886. Inspired by periods spent in France, they painted plein air, impressionist landscapes. Jansson was influenced by these movements from early on. However, he soon progressed to depicting moods rather than the concrete objects he observed.

Many know him from his blue, early evening panoramas of south Stockholm, where he moved in the mid-1890s. In “Hornsgatan nattetid” (1902), everything seems to merge into a blue vision where houses, gas lights and sky form a synthesis.

When Eugène Jansson embarked on a new phase a few years into the 20th century, his motifs were athletic, sun-lit, bathing men. Many found these paintings offensive. Eugène Jansson was a homosexual man at a time when sexual activity between men was against the law.

Text from the Moderna Museet website

 

Gustaf Fjæstad (Swedish, 1868-1948) 'Vinterafton vid en älv' (Winter evening by a river) 1907

 

Gustaf Fjæstad (Swedish, 1868-1948)
Vinterafton vid en älv (Winter evening by a river)
1907
Oil on canvas
150cm (59 in) x 185cm (72.8 in)
Nationalmuseum (Stockholm)

 

 

Gustaf Fjæstad (Swedish, 1868-1948)

After having attended art school in Stockholm, Gustaf Fjæstad settled by Lake Racken in Värmland where he founded an artists’ colony. The collective had no common programme, but they supported each other and exhibited their work together. There was also an idea of not distinguishing art from craft.

Fjæstad was not only a painter, he also designed furniture and textiles. “Vinterafton vid en älv” (Winter Evening at the River Bank, 1907) is testament to Fjæstad’s interest in Japanese woodcuts. The painting communicates a strong sense of nature and existential intensity. The surface is accentuated by fields of colour and a Jugend-inspired linear pattern. The motif is a seemingly random section of the river. The trees are cropped at the top of the canvas but touch the water where the eddies evoke the growth rings of the wood.

Text from the Moderna Museet website

 

Henry B. Goodwin (Swedish born Germany, 1878-1931) 'Lady Barclay' 1921

 

Henry B. Goodwin (Swedish born Germany, 1878-1931)
Lady Barclay
1921

 

 

Lady Sarita Enriqueta Barclay (British, 1891-1985)

The portraits that Henry B. Goodwin took of Lady Barclay between 1920 and 1922 show a fashion-conscious society woman. Sarita Barclay moved to Stockholm just after the end of the First World War with her husband, Sir Colville Barclay, and their three children. Her husband was Minister to Sweden, a high-ranking British diplomat.

During the five years that Lady Barclay lived in Stockholm she hosted various events, including a dinner in conjunction with an exhibition of French art at the Liljevalchs art gallery at the initiative of Prince Eugen in 1923. Sarita was the daughter of the British sculptor Herbert Ward.

After the death of her first husband, she married Robert Vansittart, a diplomat who spoke out against Nazism before and during the Second World War.

Text from the Moderna Museet website

 

 

Moderna Museet, Stockholm

Moderna Museet is ten minutes away from Kungsträdgården, and twenty minutes from T-Centralen or Gamla Stan. Walk past Grand Hotel and Nationalmuseum on Blasieholmen, opposite the Royal Palace. After crossing the bridge to Skeppsholmen, continue up the hill. The entrance to Moderna Museet and Arkitekturmuseet is on the left-hand side.

Opening hours:
Tuesday – Sunday 11 – 18
Monday closed

Moderna Museet website

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27
Jun
21

Exhibition: ‘Friedrich Seidenstücker – Life in the City: Photographs from the 1920s to 1940s’ at the Käthe Kollwitz Museum, Cologne

Exhibition dates: 21st May – 15th August 2021

 

Friedrich Seidenstücker (German, 1882-1966) 'Family tandem' 1947

 

Friedrich Seidenstücker (German, 1882-1966)
Family tandem
1947
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

 

Recognising small diversions

A photographer I knew nothing about. Now I do.

The museum supplied me with 15 media images – hardly enough to give an overview of a life’s work – so I have supplemented them with more images, the best I could find, to give a broader idea of this artist’s work. Unfortunately, there are hardly any large photographs of his nudes or his important photographs of the destruction of Berlin directly after the war online.

An anonymous text on the The Wall Street Journal website (see below) observes that Seidenstücker’s pre- and post war photographs of Berlin “can seem a bit like moral disengagement when one recalls that the era saw the Nazis’ rise, World War II and the dismembering of Berlin itself… Even his shots of postwar rubble work hard to avoid the abyss. Kids and picnickers make the best of the ruins, napping amid the broken bricks or heaping them into playful piles.”

This is hardly true from the photographs I have seen. With a twinkle in his eye and a delicious sense of humour, Seidenstücker documents the mass and form of “the hardships and travail, but also of the longings, the small diversions, and the pleasures of life in the city.” Here is hard work and exhaustion, happiness and poverty, beauty and the ungainly. Impoverished Jewish women gather while coal porters trudge… and in the small photographs of his postwar ‘ruins’ work that I have viewed, hardly a picnicker can be observed.

Seidenstücker was a ‘Momentknipser’ (capturer of the moment) who “documents people in the social fabric of the modern metropolis with an attentive eye and keen intuition”. Which poses the question… does every photograph have to be political? Does every photograph have to be reinterpreted many years later for hidden ‘manifestations of will’ in which the artist knowingly or unknowingly made decisions about what, and who, to photograph?

Or can a photograph exist not only in the moment it was taken, but in the extension of that moment into present and future time just as it is? Can we simply accept that the artist captured what he was interested in through a process of Purpose – Aim – Goal – Valuation – Motivation – Intention, in “empathy, that is, the capacity to enter, so to speak, into the skin of others, and by means of intuitive imagination, become aware of the effects our words and acts may produce.”

Photographs are declarative, they make information known. To take a photograph of the world is not to image in reduction, in simplification – everything is political – for this act in itself is a form of interpretive fascism. Thus, we cannot prescribe a way for them to be interpreted much as we cannot prescribe a way for them to be taken.

As he strolls through the city Seidenstücker’s considered urges to action (the taking of photographs) arrive in the form of superconscious “illuminations” of everyday life. Through his intuitions and inspirations he records ostensibly incidental events and occurrences. These incidental events and occurrences, these puddle jumpers, can only be seen if the mind and will of the excursionist (those that run) are attuned and receptive, are empathetic to the wor(l)ds of others.

Dr Marcus Bunyan

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

 

 

Friedrich Seidenstücker (German, 1882-1966) 'Stettiner Bahnhof railway station' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Stettiner Bahnhof railway station
1930
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

 

“Friedrich Seidenstücker (1882-1966) is the flaneur among Berlin photographers. As a 22 year-old trained mechanical engineer, he came to the German capital where he worked as an airplane constructor with Zeppelin AG in Potsdam during the First World War. He cultivated his eye for detail in another regard as well, as a precise chronicler with the camera. At 32, he began another course of studies in sculpture, but always kept turning back to his other passion, photography, which he finally made a profession in 1930 upon signing a contract with Ullstein publishing. From then on, he worked for magazines such as Der Querschnitt (The Profile), Illustrierte Zeitung (Illustrated Newspaper), UHU, Die Neue Linie (The New Line), Die Dame (The Lady) and Die Woche (The Weekly). Above all, Seidenstücker became famous for his awareness of every day life, pictures from the Berliner zoo and nude photographs. Similar to Herbert List in Munich, Richard Peter in Dresden or Hermann Claasen in Cologne, he strikingly documented the post-war ruins of Berlin. What interested him overridingly was the unspectacular, the charm of the second glance.”

Dr Boris von Brauchitsch. “Friedrich Seidenstücker,” on the Lumas website [Online] Cited 20/06/2021

 

“Friedrich Seidenstücker (1882-1966) didn’t sell his first photograph until he was 46. Trained as a sculptor, he never lost his eye for mass and form. His photographs of Berlin daily life during the 1920s, ’30s and ’40s freeze passersby in poses either accidentally graceful or, more frequently, droll and ungainly. In Shine (1925), four women clamber out of a swimming pool; the title refers to the wet gleam of the fabric on their behinds… Seidenstücker relished confounding man and beast, as in the image of a curious rhino peering at a seemingly captive zookeeper. On a trip to Copenhagen, he snapped a man whose splay-footed waddle evokes nothing so much as a penguin – indeed, he is dragging a box of fish down the sidewalk. But the irony on display … can seem a bit like moral disengagement when one recalls that the era saw the Nazis’ rise, World War II and the dismembering of Berlin itself. ‘This entire period did not agree with me’ was Seidenstücker’s understated explanation – though during the war he sustained a Jewish friend with gifts of food. Even his shots of postwar rubble work hard to avoid the abyss. Kids and picnickers make the best of the ruins, napping amid the broken bricks or heaping them into playful piles.”

Anonymous. “Photo-Op: Zoo View,” on The Wall Street Journal website [Online] Cited 20/06/2021

 

 

Friedrich Seidenstücker (1882-1966) is one of the most important chroniclers of everyday life in Berlin during the Weimar Republic. His atmospheric photographs, mostly taken on his strolls through the city, tell of ostensibly incidental events and occurrences: of Sunday fun and everyday work, of children playing in the street and the goings-on at railway stations and in the zoo. Seidenstücker shows – often from a humorous perspective – the people and life in the metropolis. At the same time, his photographs make the hardships of big-city existence visible and, in the background, repeatedly allow the contrasts of social reality in the interwar years to shine through.

The exhibition featuring 100 works from the Ann and Jürgen Wilde Foundation, Bavarian State Painting Collections, Munich, invites you to follow Friedrich Seidenstücker on his walks through Berlin 100 years ago.

 

The art of the moment

With few exceptions, the ‘Momentknipser’ (capturer of the moment), as he called himself, found his motifs outside on the street. As visual metaphors, his famous photographs of ‘Pfützenspringerinnen’ (puddle-leapers) represent metropolitan modernity and urban life. With a portable camera and a light-sensitive lens, he instinctively documented many other scenes and figures – including small tradesmen such as porters, coachmen, and travelling salesmen, as well as nannies, rubbish collection workers, and newspaper vendors – in their daily activities, but also while waiting or resting.

 

“I am an excursionist / I’m a day tripper

Seidenstücker characterised himself thusly and set out to accompany his models to the Wannsee beach or to see the cherry blossoms in Werder. His favourite place, however, was the Berlin Zoological Garden. In his photographs taken here, it is not only the enthusiasm of the zoo visitors that becomes visible – occasionally, the observer and the observed seem to reverse their roles: Are the animals also interested in the people?

Seidenstücker’s photographs from the 1920s to the ’40s are images of everyday life, early street photography that documents people in the social fabric of the modern metropolis with an attentive eye and keen intuition. With a twinkle in his eye, he created images that give us today an idea of the hardships and travail, but also of the longings, the small diversions, and the pleasures of life in the city.

The exhibition was organised in special cooperation and with the scientific support of the Ann and Jürgen Wilde Foundation, Bavarian State Painting Collections, Munich.

Press release from Käthe Kollwitz Museum translated from the German

 

Friedrich Seidenstücker (German, 1882-1966) 'Puddle jumpers' 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Puddle jumpers
1925
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemälde, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Children in the city' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Children in the city
1928
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Dog painter' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Dog painter
1928
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Encounters in the zoo' 1926

 

Friedrich Seidenstücker (German, 1882-1966)
Encounters in the zoo
1926
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Lastenträger' (Load carrier) 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Lastenträger (Load carrier)
1928
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Hotel servant' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Hotel servant
1930
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Potsdamer Platz' After 1931

 

Friedrich Seidenstücker (German, 1882-1966)
Potsdamer Platz
After 1931
© Stiftung Ann und Jürgen Wilde,
Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Celebrities snapped, Berlin Zoological Garden' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Celebrities snapped, Berlin Zoological Garden
1930
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Photo school' 1920-30s

 

Friedrich Seidenstücker (German, 1882-1966)
Photo school, amateur photographers, Berlin
1920-1930s
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Berlin Nord im Wedding' 1923

 

Friedrich Seidenstücker (German, 1882-1966)
Berlin Nord im Wedding
1923
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Zebras' 1920-30s

 

Friedrich Seidenstücker (German, 1882-1966)
Zebras
1920-1930s
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'In his father's trousers' c. 1950

 

Friedrich Seidenstücker (German, 1882-1966)
In his father’s trousers
c. 1950
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Self-portrait with camera' c. 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Self-portrait with camera
c. 1925
© Archiv Ann und

 

Seidenstücker poster for the special exhibition

 

Poster for the special exhibition
Design: Michael Krupp
Motif: Friedrich Seidenstücker, family tandem, 1947
© Ann and Jürgen Wilde Foundation, Bayerische Staatsgemäldesammlungen, Munich

 

 

More photographs

Friedrich Seidenstücker (German, 1882-1966) 'Untitled (Sch)' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Untitled (Sch)
1930

 

Friedrich Seidenstücker Untitled, c. 1930

 

Friedrich Seidenstücker (1882-1966)
Untitled
c. 1930
Vintage print
6 15/16 x 5 1/16 in. (17.6 x 12.9cm)
Galerie Berinson, Berlin
Photo: Galerie Berinson, Berlin

 

 

Friedrich Seidenstücker (1882-1966) is noted for his atmospheric photographs of everyday life in Berlin during the Weimar Republic. Thanks to his compassionate studies of animals, he has an almost legendary reputation among animal and zoo lovers, and his haunting pictures of Berlin in ruins are a precious source of material for historians. His images seem to be spontaneous, sympathetic examples of the kind of photography that excels at capturing the moment. They are free of any exaggeration or extravagance, and display a sense of humour rarely found in photography. His work is buoyed by a fundamental optimism, yet it does not ignore the harshness, poverty, and suffering that prevailed at that time.

 

Friedrich Seidenstücker (German, 1882-1966) 'Potsdamer Bahnhof, Berlin' 1932

 

Friedrich Seidenstücker (German, 1882-1966)
Potsdamer Bahnhof, Berlin
1932

 

Friedrich Seidenstücker (German, 1882-1966) 'Alexanderplatz, Berlin' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Alexanderplatz, Berlin
1928

 

Friedrich Seidenstücker (1882-1966) 'Two walruses emerging from water' 1925-1935

 

Friedrich Seidenstücker (German, 1882-1966)
Two walruses emerging from water
1925-1935

 

Friedrich Seidenstücker (1882-1966) 'Polar bear, Berlin Zoo' 1929

 

Friedrich Seidenstücker (German, 1882-1966)
Polar bear, Berlin Zoo
1929

 

 

Polar bear perspective: who is actually behind bars here? Photographer Seidenstücker often seemed to have been closer to animals than to humans – this is the impression made by many of his photographs, such as those from 1929 at the Berlin Zoo.

 

Friedrich Seidenstücker (1882-1966) 'Pelican, Berlin Zoo' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Pelican, Berlin Zoo
1928

 

Friedrich Seidenstücker (1882-1966) 'Berlin Zoo' 1933

 

Friedrich Seidenstücker (German, 1882-1966)
Berlin Zoo
1933

 

Friedrich Seidenstücker (1882-1966) 'Berlin Zoo' 1936

 

Friedrich Seidenstücker (German, 1882-1966)
Berlin Zoo
1936

 

Friedrich Seidenstücker (1882-1966) 'Curious goat' 1920-30s

 

Friedrich Seidenstücker (German, 1882-1966)
Curious goat
1920s-1930s

 

Friedrich Seidenstücker (1882-1966) 'Monday morning, Oberbaumbrücke, Berlin' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Monday morning, Oberbaumbrücke, Berlin
1930

 

Friedrich Seidenstücker (1882-1966) 'Posing javelin thrower' 1932-1938

 

Friedrich Seidenstücker (German, 1882-1966)
Posing javelin thrower
1932-1938

 

Friedrich Seidenstücker (1882-1966) 'Berlin' 192

 

Friedrich Seidenstücker (German, 1882-1966)
Berlin
1925

 

Friedrich Seidenstücker (1882-1966) 'Kleines Mädchen malt mit Kreide auf den Straßenasphalt' (Little girl paints with chalk on the asphalt road) 1925-1930

 

Friedrich Seidenstücker (German, 1882-1966)
Kleines Mädchen malt mit Kreide auf den Straßenasphalt (Little girl paints with chalk on the asphalt road)
1925-1930

 

Friedrich Seidenstücker (1882-1966) 'Elderly couple in Berlin' 1929

 

Friedrich Seidenstücker (German, 1882-1966)
Elderly couple in Berlin
1929

 

Friedrich Seidenstücker (1882-1966) 'At the Waterpump' 1927

 

Friedrich Seidenstücker (German, 1882-1966)
At the Waterpump
1927

 

Friedrich Seidenstücker (1882-1966) 'Woman Jumping Puddle, Berlin' 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Woman Jumping Puddle, Berlin
1925

 

Friedrich Seidenstücker (1882-1966) 'Puddle Jumper' 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Puddle Jumper
1925

 

Friedrich Seidenstücker (1882-1966) 'Puddle Jumpers' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Puddle Jumpers
1930

 

Friedrich Seidenstücker (1882-1966) 'Faschingsfigur' (Carnival figure) 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Faschingsfigur (Carnival figure)
1925

 

Friedrich Seidenstücker (1882-1966) 'The front stairs are scrubbed' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
The front stairs are scrubbed
1928

 

Friedrich Seidenstücker (1882-1966) 'Vor dem Bäckerladen' 1929

 

Friedrich Seidenstücker (German, 1882-1966)
Vor dem Bäckerladen
1929

 

Friedrich Seidenstücker (1882-1966) 'Ice cream after school' 1931

 

Friedrich Seidenstücker (German, 1882-1966)
Ice cream after school
1931

 

Friedrich Seidenstücker (1882-1966) 'Verarmte Jüdinnnen in de Grenadierstraße' (Impoverished Jewish women in de Grenadierstrasse) c. 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Verarmte Jüdinnnen in de Grenadierstraße (Impoverished Jewish women in de Grenadierstrasse)
c. 1930

 

Friedrich Seidenstücker (1882-1966) 'Konzentration vor dem Abschuß des Pfeils' (Concentration before the arrow is fired) 1932

 

Friedrich Seidenstücker (German, 1882-1966)
Konzentration vor dem Abschuß des Pfeils (Concentration before the arrow is fired)
1932

 

Friedrich Seidenstücker (1882-1966) 'Stove-fitter' 1930-35

 

Friedrich Seidenstücker (German, 1882-1966)
Stove-fitter
1930-1935

 

Friedrich Seidenstücker (1882-1966) 'Coal porter' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Coal porter
1930

 

Friedrich Seidenstücker (1882-1966) 'Next to Wertheim' c. 1935

 

Friedrich Seidenstücker (German, 1882-1966)
Next to Wertheim
c. 1935

 

Friedrich Seidenstücker (1882-1966) 'Jungfernbrücke an der Friedrichsgracht' (Maiden Bridge on the Friedrichsgracht) 1946

 

Friedrich Seidenstücker (German, 1882-1966)
Jungfernbrücke an der Friedrichsgracht (Maiden Bridge on the Friedrichsgracht)
1946

 

Friedrich Seidenstücker (1882-1966) 'Ein rollstuhlfahrer passiert die ruine des stadtschlosses' (A wheelchair user passes the ruins of the city palace) 1947

 

Friedrich Seidenstücker (1882-1966)
Ein rollstuhlfahrer passiert die ruine des stadtschlosses (A wheelchair user passes the ruins of the city palace)
1947

 

The Hohenzollern residence, located in the eastern sector, bore the legend, “remove war criminals from all positions!!!”

 

Friedrich Seidenstücker (1882-1966) 'Untitled (Bismarck)' 1946

 

Friedrich Seidenstücker (German, 1882-1966)
Untitled (Bismark)
1946

 

Friedrich Seidenstücker (1882-1966) 'The Twins, Hilde und Helga Fischer' 1948

 

Friedrich Seidenstücker (1882-1966)
The Twins, Hilde und Helga Fischer
1948

 

Friedrich Seidenstücker (1882-1966) 'Aufstieg der Begabten, Berlin' (Rise of the gifted, Berlin) 1950

 

Friedrich Seidenstücker (German, 1882-1966)
Aufstieg der Begabten, Berlin (Rise of the gifted, Berlin)
1950

 

Friedrich Seidenstücker (German, 1882-1966) 'Pachyderms: Zoo visitors at the elephant enclosure in Berlin' 1950

 

Friedrich Seidenstücker (German, 1882-1966)
Pachyderms: Zoo visitors at the elephant enclosure in Berlin
1950

 

Friedrich Seidenstücker (German, 1882-1966) 'Autumn in the Zoo, African Rhinoceros' c. 1955

 

Friedrich Seidenstücker (German, 1882-1966)
Autumn in the Zoo, African Rhinoceros
c. 1955

 

Friedrich Seidenstücker (1882-1966) 'Nude' Nd

 

Friedrich Seidenstücker (German, 1882-1966)
Nude
Nd

 

 Friedrich Seidenstücker (German, 1882-1966) 'Untitled (Self-portrait with dove)' 1952

 

Friedrich Seidenstücker (German, 1882-1966)
Untitled (Self-portrait with dove)
1952

 

 

Käthe Kollwitz Museum Köln
Neumarkt 18-24 / Neumarkt Passage
50667 Köln
Phone: +49 (0)221 227 2899
Phone: +49 (0)221 227 2602

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Tuesday – Sunday 11am – 6pm

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01
May
21

Exhibition: ‘Timm Rautert and the Lives of Photography’ at Museum Folkwang, Essen

Exhibition dates: 19th February – 16th May, 2021

 

Timm Rautert. 'Tokaido Express, Tokyo' 1970

 

Timm Rautert (German, b. 1941)
Tokaido Express, Tokyo
1970
Gelatine silver print
45.5 x 59 cm
Museum Folkwang
© Timm Rautert

 

 

What an admirable artist.

Unfortunately with a limited number of media images available one cannot cover in any depth the many bodies of work of this fine artist. I would have liked to have seen more photographs from Rautert’s series The Amish and The Hutterites, and some photographs from his series on Thalidomide victims (none are available anywhere online). Very few of his portraits (only two are included here) or homeless series are available as well.

Particularly intriguing is work from the series Image-Analytical Photography in which Rautert explores “the fundamental conditions of photographic work – from the photographic act and the development of photographic images under an enlarger in the lab to the various possibilities of presentation”, using “black-and-white photographs, passport photos, lab experiments, combinations of selected photo prints with their negatives … but also non-photographic material such as a grey card (used for measuring light mainly in photo studios), postcards and graphic manuals” in order to understand “what photography means as a medium, what is expected from it, and how it has shaped the perception of the world.” Very few of these investigative images can be found online and only two are included in this posting. The second is a cracker.

Through the simple expedient of turning the camera upside down and photographing himself doing it coupled with the photographic outcome of the resulting picture we – the viewer, the looker, the seeker (of “truth”) – are so eloquently made aware that the camera is a machine, that it has a monocular perspective, and that every photo the camera takes is a construct. As Rautert asks in the quote below, “what is photography? what is light? what is time? what is space? how does one tell great stories? what means what?”

An excellent example of this enquiry is the series Gehäuse des Unsichtbaren (Houses of the Invisible) which depicts “working environments in the automobile and computer industries, creating a long-term chronicle of the transformation of the workplace in the wake of industrial automation.” In these conceptual but documentary, applied but artistic photographs, the human is masked, occluded and / or dwarfed by the humungous complexity and size of the machine – becoming an invisible attendant (a small cog in the wheel) of the mighty mechanism (think Metropolis, 1927). A solid story with a social and conceptual form.

There seems to be a strong eye and a whip sharp mind at work here: inquiring and questioning, ethical and creative, telling great stories through the lives of photography. An admirable artist indeed.

Dr Marcus Bunyan

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

 

Till May 16, 2021, Museum Folkwang presents a comprehensive retrospective of photographer Timm Rautert’s oeuvre. The exhibition Timm Rautert and the Lives of Photography spans five decades of his artistic production: beginning with Rautert’s experimental early work as a student of Otto Steinert, it shows his famous portrait series such as “Deutsche in Uniform (Germans in Uniform)” or “Eigenes Leben (Own Life),” as well as his artwork collages and his 2015 photographic installation work L’Ultimo Programma. The nearly 400 works illustrate not only the thematic and methodological versatility of Rautert’s oeuvre, but can also be read as documents of photography’s long journey into the museum and the art canon.

 

 

“I thought to myself: what is photography actually? What is it really?
I decided to develop a kind of grammar for photography:
What is light? What is time? What is space?
How does one tell great stories?
What means what?”

.
Timm Rautert

 

“Timm Rautert’s work forges links between applied and artistic photography. It reflects man in his time as much as the worlds created by man: the factories and machines, cultural highlights and the social fringe, heaven and hell of modern society. For many years Rautert has worked as a socially critical photographer and engaged himself in different long term projects.”

 

 

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

 

Installation views of the exhibition Timm Rautert and the Lives of Photography at Museum Folkwang, Essen showing at bottom left, photographs from The Final Program, Campo S. Angelo, Venezia (2014)
Fotos: Jens Nober

 

Timm Rautert (German, b. 1941) 'The Final Program, Campo S. Angelo, Venezia' 2014

 

Timm Rautert (German, b. 1941)
The Final Program, Campo S. Angelo, Venezia
2014
Black and white photograph, bromide silver gelatine
Sheet size 50.8 x 40.5cm

 

Timm Rautert (German, b. 1941) 'The Final Program, Campo S. Angelo, Venezia' 2014

 

Timm Rautert (German, b. 1941)
The Final Program, Campo S. Angelo, Venezia
2014
Black and white photograph, bromide silver gelatine
Sheet size 50.8 x 40.5 cm

 

 

To mark the 80th birthday of the photographer Timm Rautert, Museum Folkwang is organising a comprehensive retrospective covering half a century of his artistic work.

Timm Rautert (born in 1941 in Tuchola, then West Prussia) is considered one of Germany’s preeminent contemporary photographers. Over the decades he has succeeded not only in anticipating the most important trends in photography, but has also played a major role in shaping them: as a studio photographer for galleries, as a photojournalist, as a chronicler of changing work environments and, finally, as a university lecturer, he has influenced ensuing generations.

As a student under Otto Steinert at what was then the Folkwangschule in Essen-Werden, Rautert quickly developed solid foundations for a committed, social-documentary photography. Alongside this, he explored the fundamentals of photography and developed his “image-analysis photography”, which has methodically permeated his artistic work to this day. For Rautert, alternating between applied and artistic elements is not a contradiction, but an expression of resolute photographic authorship.

In 1970, Rautert travelled to the USA and photographed figures such as Franz Erhard Walther, Andy Warhol and Walter de Maria. In Osaka, he documented the World’s Fair and the deeply traditional Japanese society of the time. From the mid-1970s, Rautert worked together with the journalist Michael Holzach on joint reportages for ZEITMagazin. For over a decade he produced social documentary reportages on migrant workers, the homeless, or previously inaccessible communities like The Hutterites (1978) and The Amish (1974).

In the 1980s, Rautert turned to documenting working environments in the automobile and computer industries, creating a long-term chronicle of the transformation of the workplace in the wake of industrial automation. Around 70 photographs from the series Gehäuse des Unsichtbaren (Houses of the Invisible) with photographs of research and manufacturing sites such as the Max Planck Institute (1988) or Siemens AG (1989) are being presented for the first time in a digital double projection, which Rautert developed specially for the exhibition at Museum Folkwang.

Artist portraits have been a recurring theme in Rautert’s work; his first was that of the Czech photographer Josef Sudek made for an exhibition of work by Otto Steinert and his students. It was followed by portraits of Otl Aicher, Pina Bausch, André Heller, Jasper Morrison and Éric Rohmer. Rautert focused not only on the subject, but also on their surroundings and actions; capturing their sphere of influence as part of their identity.

After being appointed professor of photography at the Hochschule für Grafik und Buchkunst Leipzig (1993-2008), Rautert dedicated himself to his own work. His focus is on re-examining, restructuring and reshooting past projects. His students include Viktoria Binschtok, Falk Haberkorn, Harry (Grit) Hachmeister, Margret Hoppe, Sven Johne, Ricarda Roggan, Adrian Sauer, Sebastian Stumpf and Tobias Zielony.

In 2008, Timm Rautert was the first photographer to receive the Lovis Corinth Prize for his life’s work.

Text from the Museum Folkwang website [Online] Cited 18/04/2021

 

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

 

Installation view of the exhibition Timm Rautert and the Lives of Photography at Museum Folkwang, Essen showing photographs from Deutsche in Uniform (1974)
Fotos: Jens Nober

 

Timm Rautert (German, b. 1941) 'Liane Schneider, 33, Ground Hostess, Deutsche Lufthansa' 1974

 

Timm Rautert (German, b. 1941)
Liane Schneider, 33, Ground Hostess, Deutsche Lufthansa
1974
From Germans in Uniform
C-Print
28.7 x 22cm
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Otto Koniezny, 39 Jahre, Bundesbahnschaffner (Federal Railroad conductor)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Fräulein Monika Powileit, 33 Jahre, Diakonieschwester (deaconry sister)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Konrad Benden, 61 Jahre, Tambourmajor im Stadttambourchor, St. Maximilian 04, Düsseldorf (drum major in the city drum choir, St. Maximilian 04, Düsseldorf)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Werner Kudszus, 47 Jahre, Oberstleutnant, Kommandeur eines Feldjägerbataillons (Lieutenant Colonel, commander of a military police battalion)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Peter Müller, 22 Jahre, Oberwachtsmeister im Bundesgrenzschutz Bonn (chief sergeant in the Federal Border Police in Bonn)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Claudia Krüll, 17, German Red Cross Helper' 1974

 

Timm Rautert (German, b. 1941)
Claudia Krüll, 17, German Red Cross Helper
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Wolfgang Markgraf, 28 Jahre, Pfarrer, Evangelische Friedens-Kirchengemeinde (pastor, Evangelical Peace Church Congregation)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

Timm Rautert. 'Deutsche in Uniform' 1974

 

Timm Rautert (German, b. 1941)
Herr Jürgen Lobert, Frau Marlene Lobert, 30 und 31 Jahre, Schützen regiments könig und Königin (rifle regiment king and queen)
From the series Deutsche in Uniform
1974
© Timm Rautert

 

 

Timm Rautert’s 1974 series “Germans in Uniform”, presenting a range of Germans in their professional attire in both a sociological and ironic manner, was first published in German by Steidl in 2006, and is now available in English in this expanded version.

For his project Rautert invited a range of public servants and officials to his Düsseldorf studio, where he photographed them in their work clothes – from a pastor, monk, Red Cross helper and hotel valet, to a more flamboyant drum major, forest warden and even a Santa Claus. Rautert depicts his subjects before the same neutral backdrop with similar framing and perspective, thus emphasising how they reveal their characters beyond their uniforms. Below each photo are the subject’s name, age and profession; at times personal quotes from conversations with Rautert during the shoot are also included. The result today is at once a complex portrait of post-war Germany, a nostalgic historical document, and an expression of the interplay between uniformity and personality that continues to shape society. In contrast to today’s professional clothing … the uniforms photographed by Rautert reflect a time of social upheaval. This documentary project was followed by the 1976 series entitled Die Letzten ihrer Zunft (The Last of this Profession) about the extinction of certain trades and professions.

Anonymous text from the Steidl website [Online] Cited 18/04/2021

 

In shooting these landmark 1974 portraits of Deutsche in Uniform, Timm Rautert met his subjects in their own territories, but then set them against a neutral background, separating them from their work aesthetics. This portable studio setting gives special significance to the moment of representation, when the subject is captured as a symbol of the state or an occupational group. By using not only names and job titles but also quotes from interviews, Rautert also prompts observers to focus on the subject or the connection between the individual’s gestures and his official work clothes. In contrast to today’s professional clothing, which is transformed into outfits by logos, the uniforms he photographed reflect a time of social upheaval.

Anonymous text from the Amazon website [Online] Cited 18/04/2021

 

Timm Rautert (German, b. 1941) 'Swiss Pavilion' 1970

 

Timm Rautert (German, b. 1941)
Swiss Pavilion
1970
From: Expo ’70 – Osaka
Gelatine silver print
50 x 56cm
Museum Folkwang
© Timm Rautert

 

Timm Rautert (German, b. 1941) From the series 'The Amish' 1974

 

Timm Rautert (German, b. 1941)
From the series The Amish
1974
Gelatine silver print
17.4 x 26.8cm
Courtesy of the Artist
© Timm Rautert

 

 

In 1974 the young Timm Rautert travelled to Pennsylvania to photograph those who normally don’t allow themselves to be photographed: the Amish, a group of Anabaptist Protestant communities. Four years later Rautert returned to America, this time to the Hutterites who live so stringently by the Ten Commandments and the bible’s restrictions on images that they have their identity cards issued without photographs. Both these two series were influential on Rautert’s later work…

 

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

Timm Rautert (German, b. 1941) photographs from the book 'No Photographing' (Steidl, Hardcover, 2011)

 

Timm Rautert (German, b. 1941) photographs from the book No Photographing (Steidl, Hardcover, 2011)

 

Timm Rautert (German, b. 1941) 'Homeless II' 1973

 

Timm Rautert (German, b. 1941)
Homeless II
from the series In Germany’s Homeless Shelters
1973
Gelatine silver print
47.8 x 32cm
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert. 'Homeless due to housing shortage' 1973

 

Timm Rautert (German, b. 1941)
Homeless due to housing shortage
from the series In Germany’s Homeless Shelters
1973
Gelatine silver print
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert. 'Socio-educational scheme, Cologne' 1974

 

Timm Rautert (German, b. 1941)
Socio-educational scheme, Cologne
1974
Gelatine silver print
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert. 'Social work in Cologne' 1977

 

Timm Rautert (German, b. 1941)
Social work in Cologne
1977
Gelatine silver print
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Otto Steinert, Essen' 1968

 

Timm Rautert (German, b. 1941)
Otto Steinert, Essen
1968
Gelatine silver print
39.8 x 27.1cm
Courtesy of the Artist
© Timm Rautert

 

 

The Powerlessness of Photographs

When television moved into people’s living rooms in the 1950s, many predicted the moving picture would spell the end of still photography. Yet it is not films but photographs with their capacity to eternalise individual moments, freeze them in time and, by bringing things to a halt, compel viewers to look at them and think, that continue to define our collective memory today. Buzz Aldrin on the moon, children fleeing a napalm attack in Vietnam, the student in front of the army tanks in Tiananmen Square, victims of torture at Abu Ghraib – these are the images that are said to have changed the world.

Timm Rautert began his career as a photojournalist. Inspired by the belief that photography could change the world, he addressed social issues on behalf of major magazines and newspapers. His work took him to Japan, Russia and the USA, and led him to the homeless, the jobless and to Thalidomide victims. He wanted to use his camera to get to the heart of things, and draw the viewer’s attention to injustice in the long term through his haunting series of images. But it turned out that the power of these images and their influence on society was limited: “My images haven’t change a thing,” was Timm Rautert’s sobering realisation some years later.

His interest in social and moral issues continued unabated. But his photographic style changed, becoming more conscious and more reflective. Increasingly, Timm Rautert straddled the boundary between applied and artistic photography. But he still put the message of his images above their aesthetic quality: “Photography is an important medium to understanding the world; it is such a waste to use it only as art.” Nevertheless, he combined form and content in the knowledge that his work could only ever show his personal perspective on things.

His teacher, Otto Steinert, had a profound influence on this approach. The founder of subjective photography claimed it was impossible to depict reality objectively. The mere presence of the camera distorted the situation for everyone involved and therefore the image – including the photographer himself. Timm Rautert, too, sees the camera as standing between himself and reality – biasing his view of life.

Text from the Deutsche Börse Photography Foundation website [Online] Cited 18/04/2021

 

Timm Rautert (German, b. 1941) 'Mensch in einem Photoautomaten' (Human in a photo booth) New York, 1969

 

Timm Rautert (German, b. 1941)
Mensch in einem Photoautomaten (Human in a photo booth)
New York, 1969
From the series New York
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Gotham City NY' New York, 1969

 

Timm Rautert (German, b. 1941)
Gotham City NY
New York, 1969
From the series New York
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'New York (Wellington Hotel)' 1969

 

Timm Rautert (German, b. 1941)
New York (Wellington Hotel)
1969
From the series New York
© Timm Rautert

 

Timm Rautert. 'New York' 1969

 

Timm Rautert (German, b. 1941)
New York
1969
From the series New York
© Timm Rautert

 

Timm Rautert. 'New York' 1969

 

Timm Rautert (German, b. 1941)
New York
1969
From the series New York
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Self with Camera Turned (by. 0° 180°)' 1972

 

Timm Rautert (German, b. 1941)
Self with Camera Turned (by. 0° 180°)
1972
From Image-Analytical Photography
Gelatine silver print
20.4 x 26.9cm
Staatliche Kunstsammlung, Dresden
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Self with Camera Turned (by. 0° 180°)' 1972

 

Timm Rautert (German, b. 1941)
Self with Camera Turned (by. 0° 180°)
1972
From Image-Analytical Photography
Negative mounting, on cardboard
Staatliche Kunstsammlung, Dresden
© Timm Rautert/SKD
Foto: Herbert Boswank

 

 

‘I Started as a Scientist and Finished as an Artist’ | Interview with Timm Rautert

 

 

“I thought to myself: what is photography actually? What is it really?
I decided to develop a kind of grammar for photography:
What is light? What is time? What is space?
How does one tell great stories?
What means what?”

 

Timm Rautert’s Bildanalytische Photographie (Image-Analytical Photography), from 1968 to 1974, highlights the fundamental conditions of photographic work – from the photographic act and the development of photographic images under an enlarger in the lab to the various possibilities of presentation. A systematically elaborated ensemble of analogue black-and-white and colour photographs, of image-text compilations, and of manuals and photographic material provokes elementary questions about what photography means as a medium, what is expected from it, and how it has shaped the perception of the world. Scenic black-and-white photographs, passport photos, lab experiments, combinations of selected photo prints with their negatives are found here among Rautert’s 56 works, but also non-photographic material such as a grey card (used for measuring light mainly in photo studios), postcards and graphic manuals. Each work becomes an element of “analysis” showing the numerous potential scenarios of photography.

 

Timm Rautert (German, b. 1941) from 'Variation' 1967

 

Timm Rautert (German, b. 1941)
from Variation
1967
C-Print
39.3 x 29.7cm
Courtesy of the Artist
© Timm Rautert

 

Installation view of the exhibition 'Timm Rautert and the Lives of Photography' at Museum Folkwang, Essen

 

Installation view of the exhibition Timm Rautert and the Lives of Photography at Museum Folkwang, Essen showing work from the series Houses of the Invisible
Foto: Jens Nober

 

Timm Rautert (German, b. 1941) 'Siemens AG, Munich' 1989

 

Timm Rautert (German, b. 1941)
Siemens AG, Munich
1989
From Houses of the Invisible
Digital projection, variable size
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Messerschmitt-Bölkow-Blohm GmbH, Ottobrunn' 1989

 

Timm Rautert (German, b. 1941)
Messerschmitt-Bölkow-Blohm GmbH, Ottobrunn
1989
From Houses of the Invisible
Digital projection, variable size
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Fraunhofer Institut für Mikroelektronik, Duisburg' 1986

 

Timm Rautert (German, b. 1941)
Fraunhofer Institut für Mikroelektronik, Duisburg
1986
From Gehäuse des Unsichtbaren (Houses of the Invisible)
Digital projection, variable size
Courtesy of the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Rolf Deininghaus & Maxmillian Oesterling, Dortmund' 1994

 

Timm Rautert (German, b. 1941)
Rolf Deininghaus & Maxmillian Oesterling, Dortmund
1994
From A life of one’s own
Gelatine silver print
57 x 44.2cm
Courtesy the Artist
© Timm Rautert

 

Timm Rautert (German, b. 1941) 'Mona Lisa' 2010

 

Timm Rautert (German, b. 1941)
Mona Lisa
2010
Mixed Media Farbcollage, Offsetdruck, Tonpapier
80.5 x 63 cm
Courtesy of the Artist
© Timm Rautert

 

 

Museum Folkwang
Museumsplatz 1, 45128 Essen

Opening hours:
Tuesday – Sunday 10am – 6pm
Thursday – Friday 10am – 8pm

Museum Folkwang website

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10
Jan
21

Exhibition: ‘Max Beckmann: feminine-masculine’ at Hamburger Kunsthalle, Hamburg

Exhibition dates:

Curator: Dr Karin Schick

 

 

Max Beckmann. 'Early humans – primeval landscape' 1939 (revised 1947/48)

 

Max Beckmann (German, 1884-1950)
Frühe Menschen – Urlandschaft
Early humans – primeval landscape

1939 (revised 1947/48)
Gouache, watercolour and ink
49.8 x 64.5cm
Courtesy of Daxer & Marschall, München
© VG Bild-Kunst, Bonn 2020
© Foto: Daxer & Marschall, München

 

 

If ever there were a time in history that I would like to go back to and work as an artist, it is most definitely the interwar years in Paris, or Berlin up until 1933 when the Nazis took control of German culture. I would have revelled in the freedom of expression, freedom of identity, sexuality, gender, New Objectivity (Neue Sachlichkeit), New Woman, news ways of experimentation, and new ways of thinking about the human condition (Jung, Freud, Benjamin). I would have been empowered as an artist to push the boundaries of conservative society, to break prescriptive and outdated cultural norms.

And so with Max Beckmann. There is a basic and fundamental feeling to his paintings, a primordial feeling, in which the artist breaks the boundaries of the taboo fully aware that there may be consequences for doing so. In his paintings Beckmann crafts his stories of passion, desire, mythology and the jouissance of everyday life, expressed through ever more delineated black-outlined caricatures which feature elongated claw-like hands, distorted bodies and mobile, multiple perspectives (see Das Bad (The bathroom) 1930, below). These paintings so generate and compose their own existence (their presence) – one which opposes conventional classical portraiture – that the Nazis labelled them De/generate Art. “Although not Jewish, he was beleaguered by the Nazis, who dismissed him from his teaching post in Frankfurt in 1933 and removed his “degenerate” work from public collections.” (NY Times)

As with any artist, the journey is the key to the development of the work. Look at the assured, slightly fey, well-dressed man in Beckmann’s classical Self-portrait, Florence (1907, below) and then compare it to his Self-Portrait with Horn (1938, below). In the first self-portrait Beckmann is aged 23, seemingly untouched by the vicissitudes of life, debonair, staring straight at the camera, ooh I mean mirror – sorry, canvas – the mouth held in a small thin line, eyes almost blank, cigarette in nonchalantly curled hand. Thirty one years later, age/d 54, Beckmann’s features (having lived through the desolation of the First World War, famine, revolution, the Great Depression, assassination, violence) are gnarled and wizened, his expression grim, his clothing that of a concentration camp inmate, his horn silent and occluded, reminding me of the hearing trumpet of the composer Beethoven. Unable to hear, not wanting to face, the clamour of the onrushing maelstrom.

Dr Marcus Bunyan

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

 

 

Max Beckmann (German, 1884-1950) 'Self-portrait, Florence' 1907

 

Max Beckmann (German, 1884-1950)
Self-portrait, Florence
1907
Oil on canvas
98 x 90cm
Hamburger Kunsthalle Dauerleihgabe Nachlass Peter und Maja Beckmann
© VG Bild-Kunst, Bonn 2020
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

Max Beckmann (German, 1884-1950) 'Self-Portrait with Horn' 1938

 

Max Beckmann (German, 1884-1950)
Self-Portrait with Horn
1938
Oil on canvas
101 x 110cm
Neue Galerie New York and Private Collection
Used under fair use conditions

 

Max Beckmann (German, 1884-1950) 'Adam and Eve' 1917

 

Max Beckmann (German, 1884-1950)
Adam and Eve
1917
Oil on canvas
79.8 x 56.7cm
Staatliche Museen zu Berlin, Nationalgalerie
Erworben mit Unterstützung der Ernst von Siemens Kunststiftung
© VG Bild-Kunst, Bonn 2020
© bpk / Nationalgalerie, SMB
Foto: André van Linn

 

Max Beckmann. 'Portrait of a Romanian (Portrait of Dr. Heidel)' 1922

 

Max Beckmann (German, 1884-1950)
Bildnis einer Rumänin (Bildnis Frau Dr. Heidel)
Portrait of a Romanian (Portrait of Dr. Heidel)
1922
Oil on canvas
100 x 65cm
Dauerleihgabe der Stiftung Hamburger Kunstsammlungen
© VG Bild-Kunst, Bonn 2020
© SHK / Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

Max Beckmann. 'Portrait of Käthe von Porada' 1924

 

Max Beckmann (German, 1884-1950)
Bildnis Käthe von Porada (Portrait of Käthe von Porada)
1924
Oil on canvas
120 x 43cm
Städel Museum, Frankfurt am Main
© VG Bild-Kunst, Bonn 2020
© Städel Museum – ARTOTHEK
Foto: U. Edelmann

 

Max Beckmann. 'Portrait of Ludwig Berger' 1945

 

Max Beckmann (German, 1884-1950)
Bildnis Ludwig Berger (Portrait of Ludwig Berger)
1945
Oil on canvas
135.6 x 90.9cm
Saint Louis Art Museum, Bequest of Morton D. May
© VG Bild-Kunst, Bonn 2020
© Foto: Saint Louis Art Museum, Bequest of Morton D. May

 

Max Beckmann (German, 1884-1950) 'Das Bad' (The bathroom) 1930

 

Max Beckmann (German, 1884-1950)
Das Bad (The bathroom)
1930
Oil on canvas
174.9 x 121.3cm
Saint Louis Art Museum, Bequest of Morton D. May
© VG Bild-Kunst, Bonn 2020
© Foto: Saint Louis Art Museum, Bequest of Morton D. May

 

 

Max Beckmann: feminine-masculine is the first exhibition to examine in detail the often contradictory roles played by women and men in the works of Max Beckmann (1884-1950), one of the great artists of modernism and a potent interpreter of his times. With some 140 paintings, sculptures and works on paper, the show demonstrates the impressive breadth of this subject area in the artist’s oeuvre while enabling viewers to come to a deeper understanding of Beckmann’s multifaceted art. Important loans from public and private collections in Germany and abroad – including the Max Beckmann Estate, the Städel Museum, Frankfurt on the Main, the Saint Louis Art Museum, Missouri / USA, and the Stedelijk Museum in Amsterdam – supplement the Hamburger Kunsthalle’s extensive Beckmann holdings.

The exhibition explores both the historical significance of Beckmann’s paintings as well as their relevance in today’s world. His incisive self-portraits, his double portraits with his wives, the stately likenesses of his sponsors and patrons as well as his mythological and biblical figure paintings compellingly evoke basic constants of human togetherness: desire, devotion and conflict, power and powerlessness, the urge for freedom and the longing to become one with another human being.

Beckmann both exaggerated and blurred gender roles; he discovered tenderness in both female and male figures, power in the heroine as well as the hero. Fascinated by the myths of different cultures, he was familiar with the age-old notion that male and female once split off from a single, androgynous gender and are doomed to yearn forever to be reunified. The artist also read and commented on contemporary writings by Carl Gustav Jung and Otto Weininger that are still the subject of frequent discussion today and which explain individuality as a combination of female and male elements. Beckmann nonetheless liked to style himself as a manfully resolute interpreter of the world, an image that to this day dominates the reception of his work, hindering a more open understanding of his many-layered art.

Accompanying the exhibition are a richly illustrated scholarly catalogue (Prestel Verlag, Munich), an audio guide and regular theme-based guided tours (Saturdays at 3 pm). The museum education offerings uncover multiple perspectives on Beckmann’s art and enable visitors to take part in an on-site dialogue between the curator and further experts (for example on gender research). On 15 January 2021, the Kunsthalle will also host a public, international symposium on Beckmann’s multifaceted examination of the topic of “femaleness and masculinity”.

The exhibition Max Beckmann: feminine-masculine is a true highlight on the Hamburger Kunsthalle’s agenda for 2020. It represents a further instalment in a series of highly acclaimed exhibitions devoted to Beckmann’s art, including Self-Portraits (1993), Landscape as Stranger (1998) and Max Beckmann: The Still Lifes (2014).

Press release from the Hamburger Kunsthalle

 

Max Beckmann. 'Double portrait (Max and Mathilde Beckmann)' 1941

 

Max Beckmann (German, 1884-1950)
Doppelbildnis (Max und Mathilde Beckmann)
Double portrait (Max and Mathilde Beckmann)
1941
Oil on canvas
193.5 x 89cm
Collection Stedelijk Museum Amsterdam
© VG Bild-Kunst, Bonn 2020
© Foto: Stedelijk Museum, Amsterdam

 

Max Beckmann (German, 1884-1950) 'Messingstadt' 1944

 

Max Beckmann (German, 1884-1950)
Messingstadt (City of Brass)
1944
Oil on canvas
115 x 150cm
Saarlandmuseum – Moderne Galerie, Saarbrücken, Stiftung Saarländischer Kulturbesitz
© VG Bild-Kunst, Bonn 2020
© Saarlandmuseum – Moderne Galerie, Saarbrücken, Stiftung Saarländischer Kulturbesitz
Foto: Tom Gundelwein

 

 

Max Beckmann addresses the relationship between man and woman as the starting point for the repetitive torments of human existence. In this question too, he is inspired by the archetype of the fairy tale Messingstadt “Brass City”. (From “The Thousand and One Nights” or “Arabian nights”) In this story it is the hero Musa who manages to get inside the brass city. He enters a palace where he discovers a girl as “beautiful as the shining sun”. At the same time, he realises that it’s just her lifeless body.

Note: The Thousand and One Nights, also called The Arabian Nights, Arabic Alf laylah wa laylah, collection of largely Middle Eastern and Indian stories of uncertain date and authorship. Its tales of Aladdin, Ali Baba, and Sindbad the Sailor have almost become part of Western folklore, though these were added to the collection only in the 18th century in European adaptations.

 

Max Beckmann (German, 1884-1950) 'Odysseus and Calypso' 1943

 

Max Beckmann (German, 1884-1950)
Odysseus and Calypso
1943
Oil on canvas
150 x 115.5cm
Hamburger Kunsthalle
© VG Bild-Kunst, Bonn 2020
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

 

Max Beckmann

Max Carl Friedrich Beckmann (February 12, 1884 – December 27, 1950) was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement. In the 1920s, he was associated with the New Objectivity (Neue Sachlichkeit), an outgrowth of Expressionism that opposed its introverted emotionalism. His work became full of horrifying imagery and distorted forms with combination of brutal realism and social criticism.

 

Life

Max Beckmann was born into a middle-class family in Leipzig, Saxony. From his youth he pitted himself against the old masters. His traumatic experiences of World War I, in which he volunteered as a medical orderly, coincided with a dramatic transformation of his style from academically correct depictions to a distortion of both figure and space, reflecting his altered vision of himself and humanity.

He is known for the self-portraits painted throughout his life, their number and intensity rivalled only by those of Rembrandt and Picasso. Well-read in philosophy and literature, Beckmann also contemplated mysticism and theosophy in search of the “Self”. As a true painter-thinker, he strove to find the hidden spiritual dimension in his subjects (Beckmann’s 1948 Letters to a Woman Painter provides a statement of his approach to art).

Beckmann enjoyed great success and official honours during the Weimar Republic. In 1925 he was selected to teach a master class at the Städelschule Academy of Fine Art in Frankfurt. Some of his most famous students included Theo Garve, Leo Maillet and Marie-Louise von Motesiczky. In 1927 he received the Honorary Empire Prize for German Art and the Gold Medal of the City of Düsseldorf; the National Gallery in Berlin acquired his painting The Bark and, in 1928, purchased his Self-Portrait in Tuxedo. By the early 1930s, a series of major exhibitions, including large retrospectives at the Städtische Kunsthalle Mannheim (1928) and in Basel and Zurich (1930), together with numerous publications, showed the high esteem in which Beckmann was held.

His fortunes changed with the rise to power of Adolf Hitler, whose dislike of Modern Art quickly led to its suppression by the state. In 1933, the Nazi government called Beckmann a “cultural Bolshevik” and dismissed him from his teaching position at the Art School in Frankfurt. In 1937 the government confiscated more than 500 of his works from German museums, putting several on display in the notorious Degenerate Art exhibition in Munich. The day after Hitler’s radio speech about degenerate art in 1937, Beckmann left Germany with his second wife, Quappi, for the Netherlands.

For ten years, Beckmann lived in self-imposed exile in Amsterdam, failing in his desperate attempts to obtain a visa for the United States. In 1944 the Germans attempted to draft him into the army, although the sixty-year-old artist had suffered a heart attack. The works completed in his Amsterdam studio were even more powerful and intense than the ones of his master years in Frankfurt. They included several large triptychs, which stand as a summation of Beckmann’s art.

In 1948, Beckmann moved to the United States. During the last three years of his life, he taught at the art schools of Washington University in St. Louis (with the German-American painter and printmaker Werner Drewes) and the Brooklyn Museum. He came to St. Louis at the invitation of Perry T. Rathbone, who was director of the Saint Louis Art Museum. Rathbone arranged for Washington University in St. Louis to hire Beckmann as an art teacher, filling a vacancy left by Philip Guston, who had taken a leave. The first Beckmann retrospective in the United States took place in 1948 at the City Art Museum, Saint Louis. In St. Louis, Morton D. May became his patron and, already an avid amateur photographer and painter, a student of the artist. May later donated much of his large collection of Beckmann’s works to the St. Louis Art Museum. Beckmann also helped him learn to appreciate Oceanian and African art. After stops in Denver and Chicago, he and Quappi took an apartment at 38 West 69th Street in Manhattan. In 1949 he obtained a professorship at the Brooklyn Museum Art School.

He suffered from angina pectoris and died after Christmas 1950, struck down by a heart attack at the corner of 69th Street and Central Park West in New York, not far from his apartment building. As the artist’s widow recalled, he was on his way to see one of his paintings at the Metropolitan Museum of Art. Beckmann had a one-man show at the Venice Biennale of 1950, the year of his death.

 

Themes

Unlike several of his avant-garde contemporaries, Beckmann rejected non-representational painting; instead, he took up and advanced the tradition of figurative painting. He greatly admired not only Cézanne and Van Gogh, but also Blake, Rembrandt, and Rubens, as well as Northern European artists of the late Middle Ages and early Renaissance, such as Bosch, Bruegel, and Matthias Grünewald. His style and method of composition are partially rooted in the imagery of medieval stained glass.

Engaging with the genres of portraiture, landscape, still life, and history painting, his diverse body of work created a very personal but authentic version of modernism, one with a healthy deference to traditional forms. Beckmann reinvented the religious triptych and expanded this archetype of medieval painting into an allegory of contemporary humanity.

From his beginnings in the fin de siècle to the period after World War II, Beckmann reflected an era of radical changes in both art and history in his work. Many of Beckmann’s paintings express the agonies of Europe in the first half of the 20th century. Some of his imagery refers to the decadent glamour of the Weimar Republic’s cabaret culture, but from the 1930s on, his works often contain mythologised references to the brutalities of the Nazis. Beyond these immediate concerns, his subjects and symbols assume a larger meaning, voicing universal themes of terror, redemption, and the mysteries of eternity and fate.

His Self-Portrait with Horn (1938), painted during his exile in Amsterdam, demonstrates his use of symbols. Musical instruments are featured in many of his paintings; in this case, a horn that the artist holds as if it were a telescope by which he intends to explore the darkness surrounding him. The tight framing of the figure within the boundaries of the canvas emphasise his entrapment. Art historian Cornelia Stabenow terms the painting “the most melancholy, but also the most mystifying, of his self-portraits”.

Text from the Wikipedia website

 

Max Beckmann (German, 1884-1950) 'Venus – Mars' 1945

 

Max Beckmann (German, 1884-1950)
Venus – Mars
1945
India ink and watercolour
36,2 x 19.5cm
Private collection
© VG Bild-Kunst, Bonn 2020
© Foto: Privatbesitz

 

Max Beckmann. 'Two women (in glass door)' 1940

 

Max Beckmann (German, 1884-1950)
Zwei Frauen (in Glastür)
Two women (in glass door)
1940
Oil on canvas
80 x 61cm
Museum Ludwig, Köln
© VG Bild-Kunst, Bonn 2020
© Foto: Rheinisches Bildarchiv Köln

 

 

Hamburger Kunsthalle
Glockengießerwall 20095 Hamburg
Phone: +49 (0)40-428 131 204

Opening hours:
Tuesdays to Sundays 10am – 6pm
Thursdays 10am – 9pm
Closed Mondays

Hamburger Kunsthalle website

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25
Oct
20

Exhibition: ‘Thomas Ruff’ at Kunstsammlung Nordrhein-Westfalen, Düsseldorf

Exhibition dates: 12th September 2020 – 7th February 2021

 

Thomas Ruff. 'press++01.38' 2015

 

Thomas Ruff (German, b. 1958)
press++01.38
2015
C-Print
© VG Bild-Kunst, Bonn 2020

 

 

Thomas Ruff is the true Renaissance man of contemporary photography. No greater compliment can be given.

His career in photography, as evidenced through the numerous bodies of work seen in this posting, has been an inquiry into the conceptualisation, status, presence, presentation, and representation of photographs in different contexts and media, through different technologies. A meditation on, and mediation into, the origins and purposes of photography and the interventions human beings enact to affect their outcomes.

His work “explores the most diverse genres and historical varieties of photography…”. For example, in the series press he combines front and back of an image, disrupting the reading of the image with contemporary hieroglyphs. In Zeitungsfotos he investigates the power of press photos and their deconstruction through the dot structure of the image. In Tableaux chinois he examines the use of photographs in political propaganda and looks at the artistic stylisation of the image. In one of my favourite series, jpeg, Ruff focuses on the pixellation and deconstruction of the image in compressed JPEG format photographs where, at a distance, the whole is more than the sum of the parts. This reminds me of the technique I witnessed when visiting Monet’s huge canvases of waterlilies at the Musée de l’Orangerie in Paris – how when you got up close to the canvases, there were huge daubs and mounds of paint accreted on the surface of the paintings which made no sense at close range. It was only when you stepped back that it all made sense.

In essence this is what grounds the work of Thomas Ruff: that he digs and unearths the hidden strands, the interweaving, that lies beneath the surface of photographies. He intervenes in the negative, the print, the newspaper photograph, the light, the camera and the physicality of the print. He turns these literally hidden connections into lateral images – side views of the familiar that touch the human and the machine from different points of view.

To think of all these ideas, concepts, and then to develop them and bring them together in holistic bodies of work that the viewer remembers – and there is the rub, for so much contemporary photography is unremarkable, mortal – lifts Ruff’s photographs beyond the realm of time and space. In their distortions, their sublime beauty, their critical thinking, they become i/mortal. They become the complexity that is us.

Dr Marcus Bunyan

.
Many thankx to the Kunstsammlung Nordrhein-Westfalen for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“To understand how a pictorial genre actually works, I have to produce a series; I want to uncover the secret behind image generation.”

.
Thomas Ruff

 

 

Thomas Ruff (b. 1958) is one of the internationally most important artists of his generation. Already as a student in the class of the photographers Bernd and Hilla Becher at the Düsseldorf Academy of Art in the early 1980s, he chose a conceptual approach to photography, which continues to determine his handling of the most diverse pictorial genres and historical possibilities of photography to this day.

Thomas Ruff’s contribution to contemporary photography thus consists in a special way in the development of a form of photography created without a camera: He uses images that have already been taken and that have already been distributed and optimised for specific purposes in other, largely non-artistic contexts. Ruff’s image sources for these series range from photographic experiments of the nineteenth century to photographs taken by space probes. He examined the archive processes of large image agencies and the pictorial politics of the People’s Republic of China. But also pornographic and catastrophic images from the Internet form starting points for his own series of works created over the past twenty years that have increasingly been developed on the computer.

They originate from newspapers, magazines, books, archives, and collections or were simply accessible to everyone on the Internet. In each series, Ruff explores the technical conditions of photography in the confrontation with these different pictorial worlds. At the same time, he focuses on the afterlife of images in publications, archives, databases, and on the Internet.

 

Short Biography Thomas Ruff

Thomas Ruff was born in Zell am Harmersbach in 1958 and studied with Bernd and Hilla Becher at the Düsseldorf Academy of Art from 1977 to 1985. From 2000 to 2005, he was himself Professor of Photography there. He first received international attention in 1987 with his series of larger-than-life portraits of friends and acquaintances who, as in passport photographs, gazed apathetically into the camera. In 1995, he represented Germany at the 46th Venice Biennale, together with Katharina Fritsch and Martin Honert. His works are collected internationally and are represented in numerous institutional collections.

Press release from the Kunstsammlung Nordrhein-Westfalen

 

Camera-less Photography

Thomas Ruff (b. 1958) is one of the internationally most important artists of his generation. Already as a student of the photographers Bernd and Hilla Becher at the Düsseldorf Academy of Art in the early 1980s, he chose a conceptual approach to photography. His work, which explores the most diverse genres and historical varieties of photography, represents one of the most versatile and surprising positions within contemporary art. The comprehensive exhibition at K20 focuses on series of pictures from two decades in which the artist hardly ever used a camera himself. Instead, he appropriated existing photographic material from a wide variety of sources for his often large-format pictures.

 

Thomas Ruff (German, b. 1958) 'Zeitungsfoto 014' 1990

 

Thomas Ruff (German, b. 1958)
Zeitungsfoto 014
1990
C-Print
16.8 x 42.4cm
© VG Bild-Kunst, Bonn 2020

 

 

The Power of Press Photos

Where do we use photos? What happens when photos are printed? How do aesthetics and statements change?

The artist explores these questions in various series, in which he draws on image material from other photographers, processes this, and thematises contexts. For his series Zeitungsfotos, the artist collected and processed newspaper photos to test the familiarity with the motifs and their reliability as carriers of information. In the series press++, he reveals the work traces of newspaper staff in conflict with the photos that were taken especially for use in the newspaper. In his new series, Tableaux chinois, he examines the use of photographs in political propaganda and reveals the artistic stylisation of the photos with reference to the feasibility and time-related aesthetics of the printed products.

 

Thomas Ruff (German, b. 1958) 'Zeitungsfoto 060' 1990

 

Thomas Ruff (German, b. 1958)
Zeitungsfoto 060
1990
C-Print
17.3 x 13.4cm
© VG Bild-Kunst, Bonn 2020

 

 

Zeitungsfotos

The works in the series Zeitungsfotos (Newspaper Photos) were created between 1990 and 1991 as colour prints framed with passe-partouts. They are based on a collection of images which the artist cut out of German-language daily and weekly newspapers between 1981 and 1991. The selected motifs from politics, business, sports, culture, science, technology, history, or contemporary events reflect in their entirety the collective pictorial world of a particular generation. The artist had the selected images reproduced without the explanatory captions and printed in double column width. In this way, he questions the informational value of the photographs and directs our attention to the rasterisation of newspaper print.

 

Thomas Ruff (German, b. 1958) 'press++21.11' 2016

 

Thomas Ruff (German, b. 1958)
press++21.11
2016
C-Print, Edition 02/04
260 x 185cm
© VG Bild-Kunst, Bonn 2020

 

 

press++

Black-and-white press photographs from the 1930s to the 1980s, which were taken primarily from American newspaper and magazine archives, are the source material for the press++ series. Thomas Ruff has been working on this series since 2015, scanning the front and back sides of the archive images and combining the two sides so that the partially edited photograph of the front side is fused with all the texts, remarks, and traces of use on the back side. When printed in large format, the often disrespectful handling of this type of photography becomes visible.

 

Thomas Ruff (German, b. 1958) Kunstsammlung NRW, Düsseldorf 2020 (installation view) WG Bildkunst 2020

 

Thomas Ruff (German, b. 1958)
Kunstsammlung NRW, Düsseldorf 2020 (installation view)
WG Bildkunst 2020
Photo: WDR / Thomas Köster

 

Thomas Ruff (German, b. 1958) 'press++ 60.10' 2017

 

Thomas Ruff (German, b. 1958)
press++ 60.10
2017
C-Print
225 x 185cm
© VG Bild-Kunst, Bonn 2020

 

 

Going Digital

How are pictures made today? How do photos printed on paper differ from photos viewed on the Internet? Where are photos stored?

The investigation into the various pictorial genres leads to the archives and image stores of the past and present. The Internet offers seemingly inexhaustible sources of images by providing fast access to digitised, originally analog image material from older times and digitally created photographic material. As a researching artist, Thomas Ruff also finds here material for his studies, image production, and reflection.

His large-format photos of the series nudes draw on motifs and forms of presentation of thumb nail galleries (compilations of small images as previews) with pornographic images as they can be found on the Internet. By making the coarse pixel structure of the Internet images of the turn of the millennium into a pictorial principle, he thematises the technical conditions of the photographic images in his works. With the series jpeg, he continued these investigations and connected his selection of media images with the question of a collective memory for images and contemporary history. In his latest series of Tableaux chinois, pixel structures create visual tension and irritation alongside the offset screens of the digitised printed products of Chinese propaganda of the Mao era – and suggest the question of the technical conditions of images at the time they were created.

 

Thomas Ruff (German, b. 1958) 'nudes pea10' 1999

 

Thomas Ruff (German, b. 1958)
nudes pea10
1999
C-Print, Edition 1/2AP
102 x 129cm
© VG Bild-Kunst, Bonn 2020

 

 

nudes

An Internet research into the genre of nudes drew Thomas Ruff’s attention to the field of pornography and the images that were freely available on the World Wide Web at the turn of the millennium. The motifs and the special formal features that characterised the state of the art at that time became the starting points for new works. The found pictures had a rough pixel structure, which had already aroused the artist’s interest before. Thomas Ruff processed the found pictures in such a way that their pixel structure was just barely visible in print. By using motion blur and soft focus, by varying the colours and removing details, he gave the “obscene” pictures a painterly appearance and directed the eye to the pictorial structure and composition. The artist selected his source images according to compositional aspects. The choice of motifs shows a broad spectrum of sexual fantasies and practices.

 

The Internet 20 years ago

Thomas Ruff began working on the series nudes in 1999. In the 1990s and early 2000s, the transmission rates of the World Wide Web were still relatively low. Although dial-up modems had been around since the 1970s, devices with a speed of 56 kBit/s did not come onto the market until 1998. Even dial-up via ISDN, which was available at much higher prices from 1989 onwards, only allowed 64 kBit/s. It was not until July 1999 that Deutsche Telekom switched on the first ADSL connections, enabling transmission rates of up to 768 kBit/s. Although two million households were already connected by the end of 2001, slow Internet remained the general rule, above all outside the metropolitan regions. Until well into the 2000s, website operators thus relied on the offering of highly compressed images.

As a result, photographic images found wide and rapid distribution, but always initially in a highly compressed, reduced form. Thomas Ruff was one of the first to deal artistically with the question of the status of photography in the age of the Internet, with the series nudes from 1999 onwards and the series jpeg from 2004 onwards.

 

Thomas Ruff (German, b. 1958) Kunstsammlung NRW, Düsseldorf 2020 (installation view) WG Bildkunst 2020

 

Thomas Ruff (German, b. 1958)
Kunstsammlung NRW, Düsseldorf 2020 (installation view)
WG Bildkunst 2020
Photo: WDR / Thomas Köster

 

Thomas Ruff (German, b. 1958) 'jpeg ny01' 2004

 

Thomas Ruff (German, b. 1958)
jpeg ny01
2004
C-Print, Edition 1/1AP
256 x 188 cm
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff. 'jpeg msh01' 2004

 

Thomas Ruff (German, b. 1958)
jpeg msh01
2004
C-Print
© VG Bild-Kunst, Bonn 2020

 

 

jpeg

Images distributed worldwide through the Internet, as well as scanned postcards and illustrations from photobooks, are the visual starting point of the jpeg series, on which Thomas Ruff has been working since 2004. In it, he focuses attention on a feature that determines all images compressed in JPEG format and becomes visible at high magnification. By intensifying the pixel structure and simultaneously enlarging the overall image, he creates a new image that resembles a geometric colour pattern when viewed closely but becomes a photographic image when viewed from a greater distance. Here, Ruff uses ideas from the painting of late Impressionism and combines these with the digital possibilities of the twenty-first century. By using the entire range of images published globally and simultaneously discussed in recent decades, he allows the series to become almost a visual lexicon of media imagery and a reflection of its characteristics determined by the medium.

 

Thomas Ruff (German, b. 1958) Installation view K20, Kunstsammlung Nordrhein-Westfalen. From series: 'jpeg'

 

Thomas Ruff (German, b. 1958)
Installation view K20, Kunstsammlung Nordrhein-Westfalen
From series: jpeg
Photo: Achim Kukulies
© VG Bild-Kunst, Bonn 2020

 

 

Propaganda Images

What are photos used for? Which reality do photos depict? How do photos affect reality?

In addition to the motifs and the formal as well as technical possibilities of photography, Thomas Ruff examines the possible uses of photos. With his adaptations of images from Chinese propaganda material, he makes the ideological appropriation and manipulative character of the images his theme.

 

Thomas Ruff (German, b. 1958) Installation view K20, Kunstsammlung Nordrhein-Westfalen. From series: 'tableaux chinois'

 

Thomas Ruff (German, b. 1958)
Installation view K20, Kunstsammlung Nordrhein-Westfalen
From series: tableaux chinois
Photo: Achim Kukulies
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff (German, b. 1958) 'tableau chinois_03' 2019

 

Thomas Ruff (German, b. 1958)
tableau chinois_03
2019
C-Print, Edition 01/04
240 x 185cm
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff (German, b. 1958) 'tableau chinois_01' 2019

 

Thomas Ruff (German, b. 1958)
tableau chinois_01
2019
C-Print
240 x 185cm
© VG Bild-Kunst, Bonn 2020

 

 

Tableaux chinois

For many years, Thomas Ruff has been preoccupied with the subject of propaganda imagery. For Tableaux chinois, the artist scanned images from books on Mao published in China, as well as from the magazine‚ La Chine, published and distributed worldwide by the Chinese Communist Party. He stored them in such a way that the offset raster screen was preserved. He then duplicated the images and converted the offset raster of the duplicates into a large pixel structure. As a result of a long editing process on the computer, a composition is created which brings together the characteristics of the various time-related media and exposes the propaganda image as manipulated.

 

Thomas Ruff (German, b. 1958) Installation view K20, Kunstsammlung Nordrhein-Westfalen. From series: 'tableaux chinois'

 

Thomas Ruff (German, b. 1958)
Installation view K20, Kunstsammlung Nordrhein-Westfalen
From series: tableaux chinois
Photo: Achim Kukulies
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff (German, b. 1958) 'r.phg.07_II' 2013

 

Thomas Ruff (German, b. 1958)
r.phg.07_II
2013
C-Print
© VG Bild-Kunst, Bonn 2020

 

 

On Par with the Pioneers

What is a negative? How have photographic techniques changed in the course of history? Does a digital image look different from an analog photo?

The transition from analog to digital photography took place in the 1990s, at a time when Thomas Ruff was already successful on an international level. In addition to the characteristics of digitally processed and circulated photos, he examined the special features of the production and processing of analog photography. The exhibited photo series reveal Ruff’s engagement with nearly 170 years of photographic history and technology.

The series Negative pays tribute to the function and particular aesthetics of the negative, which recorded the image information in the light-sensitive coating of a transparent plate and had to be exposed again on prepared paper. The works in the series Tripe focus on the specific possibilities of working with the variant of paper negatives. Ruff reconstructs and explores the effect of pseudo-solarisation – as the great image magicians and experimenters of the 1920s and 1930s explored and used this – with analog and digital means in the series flower.s.

 

Thomas Ruff (German, b. 1958) 'r.phg.08_II' 2015

 

Thomas Ruff (German, b. 1958)
r.phg.08_II
2015
C-Print
185 x 281cm
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff. Installation view K20, Kunstsammlung Nordrhein-Westfalen From series: 'photograms'

 

Thomas Ruff (German, b. 1958)
Installation view K20, Kunstsammlung Nordrhein-Westfalen
From series: photograms
Photo: Achim Kukulies
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff. Kunstsammlung NRW, Düsseldorf 2020 (installation view) WG Bildkunst 2020

 

Thomas Ruff (German, b. 1958)
Kunstsammlung NRW, Düsseldorf 2020 (installation view)
WG Bildkunst 2020
Photo: WDR / Thomas Köster

 

 

Fotogramme

Fascinated by photograms of the 1920s, Thomas Ruff decided to explore the genre and develop a contemporary version of these camera-less photographs. Beyond the limitations of analog photograms, the artist has been developing his versions of photograms since 2012, using a virtual darkroom to simulate a direct exposure of objects on photosensitive paper.

With this, he was able to place objects (lenses, rods, spirals, paper strips, spheres, and other objects) generated with the help of a 3D program on or over a digital paper, correct their position, and in some cases expose them to coloured light. He could thus control the projection of the objects on the background in virtual space and print the image calculated by the computer in the size he wanted. In this way, he succeeded in capturing the concepts and aesthetics of the pioneers of “kameralosen Fotografie” in the 1910s and 1920s, generating images with light and transporting them into the twenty-first century using a technique appropriate to his own time.

Digital photograms with many different coloured light sources and transparent objects could not be produced with the equipment available to Thomas Ruff in 2014. The computing process required such high capacities that Ruff’s computers would have needed over a year for each image. In 2014, he was given the opportunity to have photograms calculated by a mainframe computer at the Supercomputing Centre of the Forschungszentrum Jülich. This required roughly eighteen terabytes of data for each image.

 

Thomas Ruff. Kunstsammlung NRW, Düsseldorf 2020 (installation view) WG Bildkunst 2020

 

Thomas Ruff (German, b. 1958)
Kunstsammlung NRW, Düsseldorf 2020 (installation view)
WG Bildkunst 2020
Photo: WDR / Thomas Köster

 

Thomas Ruff. 'neg◊lapresmidi_01' 2016

 

Thomas Ruff (German, b. 1958)
neg◊lapresmidi_01
2016
C-Print
23.4 x 31.4cm
© VG Bild-Kunst, Bonn 2020

 

 

Negative

In 2014, Thomas Ruff began to work more intensively on the visual appearance of the source material of analog photography, the “negative”. In order to make its photographic reality and pictorial quality visible, he transformed historical photographs into “digital negatives” In the process, not only the light-dark distribution in the image changed; the brownish hue of the photographs printed on albumin paper also became a cool, artificial blue tone.

The aim of the processing was to highlight the photographic “negative”, which, in analog photography, was never the object of observation, but always a means to an end. In this series, it is treated as an “original” worth viewing, from which a photographic print is made, and which is in danger of disappearing completely due to digital photography.

The series covers the entire spectrum of historical black-and-white photography and is divided into different subgroups. On display are the series neg◊lapresmidi and neg◊marey.

 

L’Après-midi d’un faune

For more than ten years, Stephane Mallarmé worked on his poem‚ L’Après-midi d’un faune (The Afternoon of a Faun), which was published in 1876. This complex Symbolist poem tells of the encounter of a faun with a group of nymphs. In the end, the nymphs disappear. What remains is their shadow in the form of writing: the poem itself.

The work inspired the composer Claude Debussy to write his radical symphonic poem‚ Prélude à l’Après-midi d’un faune in 1894. Debussy did not want to illustrate the poem, but rather to evoke an enraptured mood that corresponds to the drowsiness of Mallarmé’s faun. At the same time, he referred structurally to the 110-line poem: Debussy’s‚ Prélude also has 110 bars.

1912 saw the premiere of‚ L’Après-midi d’un faune, the first scandalous choreography by the ballet dancer Vaslav Nijinsky. The dancers moved to Debussy’s music almost continuously in profile and along particular planes. The movements were consciously intended to be reminiscent of the linear concept of Greek vase painting.

For the series neg◊lapresmidi, Thomas Ruff used photographs taken by Adolphe de Meyer during a performance of the ballet in 1912. In a sense, three turning points of the avant-garde culminate in Adolphe de Meyer’s photographs: the Symbolist poetry of Mallarmé, on which the ballet was based, the music of Debussy, and the choreography of Nijinski. Ruff’s inversions of Adolphe de Meyer’s photographs enrapture and alienate this moment and at the same time allow it to shine with particular intensity.

 

Capturing time

The series neg◊marey focuses on photographs taken by the physician Étienne-Jules Marey in the 1870s. At the time, he tried to take pictures of moving people and animals in order to better understand their movements. Almost simultaneously, the British-American photographer Eadweard Muybridge was working on similar experiments. While Muybridge devised elaborate constructions with which he captured individual moments of movement with several cameras connected in series, Marey developed a process in which movements from a single camera with interrupted exposure could be brought onto a single plate. By placing reflective dots on the test subject or animal, the movements could be captured precisely and in the same proportion as the interrupted exposure. This approach was reminiscent of the graphic method previously invented by Marey, which allowed the first continuous recordings of the pulse and the assignment of individual sections of the pulse curve to the respective heart activities.

 

Thomas Ruff. 'neg◊marey_02' 2016

 

Thomas Ruff (German, b. 1958)
neg◊marey_02
2016
C-Print
22.4 x 31.4cm
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff. Installation view K20, Kunstsammlung Nordrhein-Westfalen From series: 'flowers'

 

Thomas Ruff (German, b. 1958)
Installation view K20, Kunstsammlung Nordrhein-Westfalen
From series: flower.s
Photo: Achim Kukulies
© VG Bild-Kunst, Bonn 2020

 

 

“Actually from time to time I try to take a photograph of a flower or several flowers but it just looks boring, it doesn’t work, so it seems that I cannot take photographs of flowers.”

~ Thomas Ruff

 

flower.s

Flower photograms by Lou Landauer (1897-1991), which Thomas Ruff had acquired, as well as the work on the photograms, gave him the idea of working with another photographic technique that has been used since the mid-nineteenth century: pseudo-solarisation (also called the Sabattier effect). This is a technique discovered by chance, in which the negative / positive is subjected to a diffuse second exposure during exposure in the darkroom, resulting in a partial reversal of light and shadow areas in the photographic image. For his series flower.s, which he has been working on since 2018, Ruff first photographs flowers or leaves with a digital camera, which he had arranged on a light table. During the subsequent processing on the computer, he applies the Sabattier effect.

 

Thomas Ruff. 'flower.s_10' 2019

 

Thomas Ruff (German, b. 1958)
flower.s_10
2019
C-Print
139 x 119cm
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff. 'tripe_12 Seeringham. Munduppum inside gateway' 2018

 

Thomas Ruff (German, b. 1958)
tripe_12 Seeringham. Munduppum inside gateway
2018
C-Print, Edition 02/06
123.5 x 159.5cm
© VG Bild-Kunst, Bonn 2020

 

 

Tripe

Paper negatives, which Captain Linnaeus Tripe (1822-1902) had produced on behalf of the British government in Burma and Madras between 1856 and 1862 and that are now in the archives of the Victoria & Albert Museum in London, were the starting point for the series Tripe.

Thomas Ruff was able to view the existing negatives and selected several of these for his own work. All of them showed clear signs of ageing or damage. Ruff had the negatives digitally reproduced and then converted them into a positive, inverting the brownish hue of the negative into cyan blue.

He duplicated these positives and altered the coloration of the duplicate to the brown tone of the negative. He superimposed the two positive images as digital layers and removed parts of the layer of the brownish image, so that the coloration of the bluish image partially shines through. In a second step, he enlarged the images so that the texture of the paper, as well as all edits, damages, and changes become visible.

 

Thomas Ruff. Installation view K20, Kunstsammlung Nordrhein-Westfalen From series: 'tripe'

 

Thomas Ruff (German, b. 1958)
Installation view K20, Kunstsammlung Nordrhein-Westfalen
From series: tripe
Photo: Achim Kukulies
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff. 'tripe_15 Madura. The Blackburn Testimonial' 2018

 

Thomas Ruff (German, b. 1958)
tripe_15 Madura. The Blackburn Testimonial
2018
C-Print
123.5 x 159.5 cm
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff. '3D_m.a.r.s 16' 2013

 

Thomas Ruff (German, b. 1958)
3D_m.a.r.s 16
2013
C-Print
255 x 185cm
© VG Bild-Kunst, Bonn 2020

 

A Different Dimension

How do scientists use photographs? Does the tradition of travel photography still exist? Who invents new pictorial landscapes?

Photographs are used in many different areas. In space research, satellite photos are a basis for scientific knowledge about places that were previously inaccessible to humans. In the processing by the artist Thomas Ruff, these photographs become images of never-seen worlds and studies of the imagination, feasibility, and credibility of images.

 

Thomas Ruff. Installation view K20, Kunstsammlung Nordrhein-Westfalen From series: 'ma.r.s'

 

Thomas Ruff (German, b. 1958)
Installation view K20, Kunstsammlung Nordrhein-Westfalen
From series: ma.r.s
Photo: Achim Kukulies
© VG Bild-Kunst, Bonn 2020

 

 

ma.r.s.

During his research on photographs from outer space, Thomas Ruff came across photographs of Mars. These were taken by a camera within a probe sent into outer space by NASA in August 2005 and has been sending detailed images of the surface of the planet Mars to Earth since March 2006. The images are intended to enable scientists to obtain more precise knowledge of the surface, atmosphere, and water distribution of Mars.

For his series, created between 2010 and 2014, the artist processed these very naturalistic yet strange images in several steps; among other things, he transformed the black-and-white transmitted images, which were photographed vertically top-down, into an oblique view and then coloured them so that the surface of the distant planet appears accessible and almost familiar. The works of the subgroup “3D-ma.r.s.” illustrated here are photographs of the surface of Mars which were produced using the so-called anaglyph process. When viewed with red-green glasses, a spatial, three-dimensional image is created in the brain.

The raw material for Thomas Ruff’s series ma.r.s. is derived from HiRISE (High Resolution Imaging Science Experiment), a high-performance camera on board the Mars Reconnaissance Orbiter, a probe that has been transmitting images from the surface of Mars to Earth since 2006.

 

Thomas Ruff. Kunstsammlung NRW, Düsseldorf 2020 (installation view) WG Bildkunst 2020

 

Thomas Ruff (German, b. 1958)
Kunstsammlung NRW, Düsseldorf 2020 (installation view)
WG Bildkunst 2020
Photo: WDR / Thomas Köster

 

Thomas Ruff. 'Retusche 01-09' 1995

 

Thomas Ruff (German, b. 1958)
Retusche 01-09
1995
C-Print
14.7 x 10cm
© VG Bild-Kunst, Bonn 2020

 

 

Retouching and Colour

How do photos become colourful? Why did photographers in the nineteenth century retouch their photos?

Since the early days of photography, monochrome and multicolour retouching has been used or images have been coloured. Thomas Ruff explores one possibility in his series Retusche (Retouching) as a form of embellishment and an approach to an ideal. His machines are heightened and isolated by colouring the motifs with typical colours of industrial production. For the work groups m.n.o.p. and w.g.l., the artist partially coloured photos of exhibition situations in order to highlight forms of presentation in museums and design intentions in exhibition practice.

 

Thomas Ruff. 'Retusche 03' 1995

 

Thomas Ruff (German, b. 1958)
Retusche 03
1995
C-Print, handkoloriert mit pigmentfreier Retuschierfarbe, Edition 01/01
14.7 x 10cm
© VG Bild-Kunst, Bonn 2020

 

 

Retusche (Retouching)

A colour photograph of Sophia Loren, which Thomas Ruff had seen at an exhibition in Venice in 1995, drew his attention to a practice of representation as old as photography itself: the colouring of photographs. Whereas in the photograph of Sophia Loren, a star was “embellished”, by the additional colour, Ruff decided in 1995 to apply this practice to ten portraits he had seen in the medical textbook‚ Das Gesicht des Herzkranken (The Face of the Cardiac Patient) by Jörgen Schmidt-Voigt from the 1950s. He applied “make up” to the faces with a brush and protein glaze paint, applying eye shadow, rouge, and lipstick.

 

Thomas Ruff. '0946' 2003

 

Thomas Ruff (German, b. 1958)
0946
2003
C-Print
150 x 195cm
© VG Bild-Kunst, Bonn 2020

 

 

Maschinen (Machinery)

Around 2000, Thomas Ruff acquired roughly 2,000 photographs on glass negatives from the 1930s. These comprise the image archive of the former Rohde & Dörrenberg company from Düsseldorf-Oberkassel, which produced machines and machine parts. The photographs were originally taken for the production of the company catalog and reflect the company’s entire product range. To facilitate the manual cropping of the illustrated object at that time, the respective products were often photographed individually against a white background; the print was then retouched and further processed for final printing. Ruff emphasised this extremely elaborate preparation and image processing – the analog counterpart of digital processing by Photoshop – by colouring individual areas of the digitised images by means of deliberately set colours, similar to retouching, for the works in his series created between 2003 and 2005.

 

Catalog Illustrations

In the 1930s, the Rohde & Dörrenberg company from Düsseldorf Oberkassel published a catalog of its drills and milling machines. It also offered machines with which the customer could service the tools, such as sharpening apparatus, grinding machines, and the tip-tapering machine illustrated here. The images in the product catalog are hardly recognisable as photographs. The processing steps of cropping, retouching, and re-photographing resulted in an image that is more reminiscent of a technical drawing than a photograph of a machine in a workshop. Thomas Ruff’s series of pictures of machines thematise this elaborate path from photography to illustration in the product catalog and draws attention to the possibilities of staging and stylising objects in photography.

 

Thomas Ruff. Kunstsammlung NRW, Düsseldorf 2020 (installation view) WG Bildkunst 2020

 

Thomas Ruff (German, b. 1958)
Kunstsammlung NRW, Düsseldorf 2020 (installation view)
WG Bildkunst 2020
Photo: WDR / Thomas Köster

 

Thomas Ruff. 'm.n.o.p.01' 2013

 

Thomas Ruff (German, b. 1958)
m.n.o.p.01
2013
C-Print, Edition 01/06
47.3 x 60cm
© VG Bild-Kunst, Bonn 2020

 

 

m.n.o.p.
w.g.l.

Two series by Thomas Ruff are based on black-and-white photographs from famous museum presentations of the 1940s and 1950s in New York and London. Thomas Ruff partially coloured the installation photographs digitally with a colour scheme reminiscent of the 1950s and enlarged them. While the artworks were left untouched – out of respect for the artists and their works – he coloured the carpets, the walls covered with fabric, and the ceilings. Through this treatment, he underscored the exhibition aesthetic of the 1940s to the 1960s and, with the resulting abstract coloured surface compositions, emphasised the design work of the exhibition organisers.

All of this emphasises the contrast to today’s widespread notion of the exhibition space as a “white cube”. m.n.o.p. (2013) presents processed installation views of the presentation of the Museum of Non-Objective Painting in New York (now the Solomon R. Guggenheim Museum) with works by Wassily Kandinsky, Rudolf Bauer, and other artists from the collection, which took place in the first museum building on 24 East 54th Street in 1948. The motifs from w.g.l. (2017) were taken from the exhibition‚ Jackson Pollock 1912-1956, one of the most important exhibitions in terms of the mediation of contemporary art, which was presented at the Whitechapel Gallery in London in 1958.

 

Thomas Ruff. Kunstsammlung NRW, Düsseldorf 2020 (installation view) WG Bildkunst 2020

 

Thomas Ruff (German, b. 1958)
Kunstsammlung NRW, Düsseldorf 2020 (installation view)
WG Bildkunst 2020
Photo: WDR / Thomas Köster

 

 

With the exhibition Thomas Ruff, the Kunstsammlung Nordrhein-Westfalen presents a comprehensive overview of one of the most important representatives of the Düsseldorf School of Photography. The exhibition ranges from series from the 1990s, which document Ruff’s unique conceptual approach to photography, to a new series that is now being shown for the first time at K20: For Tableaux chinois, Ruff drew on Chinese propaganda photographs. Parallel to Thomas Ruff’s exhibition, the Kunstsammlung Nordrhein-Westfalen is also presenting highlights from the collection at K20 under the title Technology Transformation. Photography and Video in the Kunstsammlung, which also deals with artistic photography and technical imaging processes in art.

“With his manipulations of photographs from many different sources, Thomas Ruff comments in an incredibly clever way on how we see images in a digitalised world. Through his virtuoso handling of digital image processing, he confronts us with a critical examination of the image material he uses and its historical, political, and epistemological significance. Some of his most important series are represented in our collection, and we are very proud to dedicate a large-scale exhibition at K20 to this prominent representative of the Düsseldorf School of Photography,” states Susanne Gaensheimer, Director of the Kunstsammlung Nordrhein-Westfalen.

Thomas Ruff (b. 1958) is one of the internationally most important artists of his generation. Already as a student in the class of the photographers Bernd and Hilla Becher at the Düsseldorf Academy of Art in the early 1980s, he chose a conceptual approach to photography which is evident in all the workgroups within his multifaceted oeuvre and determines his approach to the most diverse pictorial genres and historical possibilities of photography. In order not to tie his investigations in the field of photography to the individual image found by chance, but rather to examine these in terms of image types and genres, Thomas Ruff works in series: “A photograph,” Ruff explains, “is not only a photograph, but an assertion. In order to verify the correctness of this assertion, one photo is not enough; I have to verify it on several photos.” The exhibition at K20 focuses on series of pictures from two decades in which the artist hardly ever used a camera himself. Instead, he appropriated existing photographic material from a wide variety of sources for his often large-format pictures.

Thomas Ruff’s contribution to contemporary photography thus consists in a special way in the development of a form of photography created without a camera. He uses images that have already been taken and that have already been disseminated in other, largely non-artistic contexts and optimised for specific purposes. The modus operandi and the origin of the material first became the subject of Ruff’s own work in the series of newspaper photographs, which were produced as early as 1990. The exhibition focuses precisely on this central aspect of his work. The pictorial sources that Ruff has tapped for these series range from photographic experiments of the nineteenth century to photo taken by space probes. He has questioned the archive processes of large picture agencies and the pictorial politics of the People’s Republic of China. Documentations of museum exhibitions, as well as pornographic and catastrophic images from the Internet, are starting points for his own series of works, as are the product photographs of a Düsseldorf-based machine factory from the 1930s. They originate from newspapers, magazines, books, archives, and collections or were simply available to everyone on the Internet. In each series, Ruff explores the technical conditions of photography in the confrontation with these different pictorial worlds: the negative, digital image compression, and even rasterisation in offset printing. At the same time, he also takes a look at the afterlife of images in publications, archives, databases, and on the Internet.

For Tableaux chinois, the latest series, which is being shown for the first time at K20, Ruff drew on Chinese propaganda photographs: products of the Mao era driven to perfection, which he digitally processed. In his artistic treatment of this historical material, the analog and digital spheres overlap; and in this visible overlap, Ruff combines the image of today’s highly digitalised China with the Chinese understanding of the state in the 1960s and its manipulative pictorial politics.

From the ma.r.s. series created between 2010 and 2014, there are eight works on view that have never been shown before, for which Ruff used images of a NASA Mars probe. Viewed through 3D glasses, the rugged surface of the red planet folds into the space in front of and behind the surface of the large-format images. Moving through the exhibition space and comprehending how the illusion is broken and tilted, one is introduced to Ruff’s concern to understand photography as a construction of reality that first and foremost represents a surface – a surface that is, however, set in a historical framework of technology, processing, optimisation, transmission, and distribution.

His hitherto oldest image sources are the paper negatives of Captain Linnaeus Tripe. When Tripe began taking photographs in South India and Burma, today’s Myanmar, for the British East India Company in 1854, he provided the first images of a world that was, for the British public, both far away and unknown. Since then, the world has become a world that has always been photographed. It is this already photographed world that interests the artist Thomas Ruff and for which he has also been called a ‘historian of the photographic’ (Herta Wolf). The exhibition therefore not only provides an overview of Ruff’s work over the past decades, but also highlights nearly 170 years of photographic history. In each series, Ruff formulates highly complex perspectives on the photographic medium and the world that has always been photographed.

Further series in the exhibition are the two groups of works referring to press photography, Zeitungsfotos (1990/91) and press++ (since 2015), the series nudes (since 1999) and jpeg (since 2004), which refer to the distribution of photographs on the Internet, as well as Fotogramme (since 2012), Negatives (since 2014), Flower.s (since 2019), Maschinen (2003/04), m.n.o.p. (2013), and w.g.l. (2017) – and, with Retouching (1995), a rarely shown series of unique pieces.

Text from the press kit from the Kunstsammlung Nordrhein-Westfalen

 

Thomas Ruff. 'm.n.o.p.08' 2013

 

Thomas Ruff (German, b. 1958)
m.n.o.p.08
2013
C-Print
47.3 x 60cm
© VG Bild-Kunst, Bonn 2020

 

Thomas Ruff. 'w.g.l.01' 2017

 

Thomas Ruff (German, b. 1958)
w.g.l.01
2017
C-Print
42.6 x 60cm
© VG Bild-Kunst, Bonn 2020

 

 

Kunstsammlung Nordrhein-Westfalen
K20, Grabbeplatz 5
40213 Düsseldorf

Opening hours:
Tuesday – Friday 10am – 6pm
Saturday, Sunday, public holiday 11am – 6pm
The Kunstsammlung Nordrhein-Westfalen is closed on December 24, 25 and 31

Kunstsammlung Nordrhein-Westfalen website

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07
Jul
20

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

Visited September 2019 posted July 2020

 

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

 

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

 

 

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

It was a privilege to be able to see about 10 prints… the highlights being a stunning 1929-1930 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] 1929-1930 (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]
1929-1930
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]
1929-1930
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]
1929-1930
Vintage gelatin silver print

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

Matthew Macaulay
November 2011

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

 

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

 

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

 

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

 

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

 

 

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

Opening hours:
Tuesday – Friday 12.00 – 18.00

Galerie Julian Sander website

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30
Apr
20

Photographs: ‘T. Schneider & Sons (1847-1921): A Portfolio of hand tinted Stereo Daguerrotypes’ c. 1860

April 2020

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

 

How rare, how exquisite.

Just look at the light and especially the perspective of these photographs. Probably due to the focal length of the lens which compacts space (like a zoom lens today), it seems as though we can see forever, to infinity, in these images.

The scale of relationship between things in the foreground and background is absolutely pleasing.

Just imagine looking at them as stereoscopes, and visualise the 3D effect in your minds eye, and how that would affect your senses.

They sold today at auction. How I wish I’d had £21000 to buy them!

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image.

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860, 10 examples, plate size, 88mm x 116mm, Mounted under a gilt brass mat, embossed in the lower margin ‘STEREOSCOP VON T. SCHNEIDER UND SOEHNE’, the portfolio housed in contemporary maker’s fitted wooden Daguerreotype box, illustrating the interiors of Bavarian and Russian Palaces. (88mm x 116mm)

Sold on the Invaluable website for £21000 April 30th 2020

 

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

 

Invaluable website

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29
Nov
19

Exhibition: ‘Helga Paris, Photographer’ at the Akademie der Künste, Berlin

Exhibition dates: 8th November 2019 – 12th January 2020

Curator: Inka Schube

 

 

Helga Paris (German, born Poland, 1938) 'Prerow' 1960s

 

Helga Paris (German born Poland, b. 1938)
Prerow
1960s
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

A couple of years ago I was in Paris, searching for French peasant work clothes of the 1950s in the trendy secondhand shops of the Marais. It took me forever but I eventually found one blue shirt that fitted me… only one. Battered, patched up, but still present after all these years – hard wearing, practical, and tough. But also soft and pliable like a second skin, with its own look and feel, its own distinctive aesthetic. I knew what I wanted, I found it… or it found me. A treasure.

The same could be said of the photographs of Helga Paris. Her photographs picture the tough, hard existence of life in postwar East Germany but there is a fond affection for subject matter in the cameras engagement. Paris approaches her subjects, whether city or people, with directness but it is also a dialogue between the artist and her subjects which “give the viewer an insight into a moment of the everyday lives of an East German resident.”

“Paris opened herself to the worker’s world she found in Prenzlauer Berg, and often took photographs in the immediate surroundings – of friends and neighbours, the area’s old and run-down streets, and the melancholic vitality of the regulars in Berlin’s bars and cafés. The people in her photographs look deeply rooted, as if they had moved to the area with the intention of never going away.”

Misty cobbled corners, people in bars, in clubs, at work, on the street. Much as Ara Güler did for Istanbul (in a more romantic way), Paris captures the essence of an ecosystem, the culture and survival that was the living, behind the Iron Curtain. There is melancholy aplenty, the brooding streets with swooping pigeons and ubiquitous Trabant, all dark in their small sulkiness. There are beautiful boys with Anarchy stencilled on their jumper desiring liberated life, and reflective women deep in their own thoughts. Naira! Naira! Smoking a fag, with drunk-eyed pictures of a child on dirty wall, behind. Oh Naira, of what were you thinking! What brought you to this place?

There is sullenness, compassion, bohemians, students and countercultural intellectuals all pictured with her probing mind. If you could say that a subject finds an artist then this is that aphorism in full technicolor. Engaged and engaging, these essential images stand the test of time – as relevant now in an era of neo-liberal fascism as they ever were in the past.

Dr Marcus Bunyan

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

 

 

Helga Paris (German, born Poland, 1938) 'No title' 1974 From the series 'Müllfahrer' (Garbage Drivers)

 

Helga Paris (German born Poland, b. 1938)
No title
1974
From the series Müllfahrer (Garbage Drivers)
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Selbst im Spiegel' (Self-Portrait in the Mirror) 1971

 

Helga Paris (German born Poland, b. 1938)
Selbst im Spiegel (Self-Portrait in the Mirror)
1971
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'No title' 1975 From the series 'Berliner Kneipen' (Berlin Pubs)

 

Helga Paris (German born Poland, b. 1938)
No title
1975
From the series Berliner Kneipen (Berlin Pubs)
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Hund, Immanuelkirchstr 1970s' (Berlin 1974-1982)

 

Helga Paris (German born Poland, b. 1938)
Hund, Immanuelkirchstr. (Dog, Immanuelkirchstrasse)
1970s
From Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Winsstraße mit Taube' (Winsstrasse with Pigeon) 1970s

 

Helga Paris (German born Poland, b. 1938)
Winsstraße mit Taube (Winsstrasse with Pigeon)
1970s
From Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Marienburger Strasse' 1970s (Berlin 1974-1982)

 

Helga Paris (German born Poland, b. 1938)
Marienburger Strasse
1970s
From Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Jugendweihe René Köstner' (Berlin 1974-1982) WEB

 

Helga Paris (German born Poland, b. 1938)
Jugendweihe René Köstner
1970s
From Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Meteln (Christa and Gerhard Wolf)' 1977

 

Helga Paris (German born Poland, b. 1938)
Meteln (Christa and Gerhard Wolf)
1977
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

Helga Paris (born in 1938 in Goleniów, Poland) occupies an outstanding position in German photography. Her oeuvre exhibits the poetry of a Henri Cartier-Bresson as well as the austerity of an August Sander or Renger-Patzsch. Paris, who has lived in Prenzlauer Berg in Berlin since 1966, has chronicled the long history of postwar East Germany. For more than three decades she has directed her gentle yet precise gaze toward the people who live it. Her photographs tell of the melancholy vitality of East Berlin corner pubs and the poetic tristesse of the old streetcars of the seventies. We encounter garbage truck drivers, stubbornly furious or calm teenagers, and proud female textile mill workers. We travel through Georgia and Siebenbürgen, and meander through the central German industrial city of Halle, a “diva in gray.” But these photographs also tell of the end of the postwar era, of the search for images of childhood and their retrieval. (Text from the catalogue to the exhibition)

 

Helga Paris: Fotografie from arts-news on Vimeo

 

 

Fotografie is a retrospective look at the work of German photographer, Helga Paris. Exhibiting a collection of photos taken in East Germany in the postwar period, Paris’s work is considered to be one of the most revealing and compassionate bodies of work reflecting life in Germany at that time. Going beyond a simple ‘social study’, Paris’s technique was simply to engage with her subjects, rather than take on the role of the distant street photographer. In making this connection, the result has been a collection of photos that give the viewer an insight into a moment of the everyday lives of an East German resident.

Starting in the 60s, Helga Paris took an interest in photography and began teaching herself the basics. Paris came from a fashion and art background, but it was her interest in the everyday lives of the East Berlin people, during the postwar period that made her want to capture that on film.

Text from the Vimeo website

 

Helga Paris (German, born Poland, 1938) 'Club' 1981

 

Helga Paris (German born Poland, b. 1938)
Club
1981
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Berliner Kneipen' From the series 'Berlin' 1974-1982

 

Helga Paris (German born Poland, b. 1938)
Berliner Kneipen (Berlin pubs)
From the series Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

Since 1966 Helga Paris has lived in Berlin’s Prenzlauer Berg, a traditionally working class district that in the DDR days had become a refuge for bohemians, students and countercultural intellectuals, condoned by the authorities. Here she became a chronicler of post-war East Germany. Paris opened herself to the worker’s world she found in Prenzlauer Berg, and often took photographs in the immediate surroundings – of friends and neighbours, the area’s old and run-down streets, and the melancholic vitality of the regulars in Berlin’s bars and cafés. The people in her photographs look deeply rooted, as if they had moved to the area with the intention of never going away. Their faces express both their exhaustion and their lust for life.

 

Helga Paris (German, born Poland, 1938) 'Sven' 1981-82 From the series 'Berliner Jugendliche' (Berlin Youth)

 

Helga Paris (German born Poland, b. 1938)
Sven
1981-1982
From the series Berliner Jugendliche (Berlin Youth)
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Pauer' From the series 'Berlin Youth'

 

Helga Paris (German born Poland, b. 1938)
Pauer
From the series Berlin Youth
1981-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Ramona' 1982

 

Helga Paris (German born Poland, b. 1938)
Ramona
1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Ramona, Kollwitzstrasse' 1982

 

Helga Paris (German born Poland, b. 1938)
Ramona, Kollwitzstrasse
1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Naira' 1982 From the series 'Georgien' (Georgia)

 

Helga Paris (German born Poland, b. 1938)
Naira
1982
From the series Georgien (Georgia)
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'No title' 1983-1985 From the series 'Houses and Faces, Halle' 1983-1985

 

Helga Paris (German born Poland, b. 1938)
No title
1983-1985
From the series Häuser und Gesichter, Halle / Houses and Faces, Halle 1983-1985
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Grosse Klausstrasse Flutgasse' (Häuser und Gesichter Halle 1983-1985)

 

Helga Paris (German born Poland, b. 1938)
Grosse Klausstrasse Flutgasse
1983-1985
From the series Häuser und Gesichter, Halle / Houses and Faces, Halle 1983-1985
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Zwei Frauen' (Häuser und Gesichter Halle 1983-1985)

 

Helga Paris (German born Poland, b. 1938)
Zwei Frauen (Two Women)
1983-1985
From the series Häuser und Gesichter, Halle / Houses and Faces, Halle 1983-1985
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'No title' 1983-1985 From the series 'Houses and Faces, Halle'

 

Helga Paris (German born Poland, b. 1938)
No title
1983-1985
From the series Houses and Faces, Halle 1983-1985
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

From 8 November 2019 to 12 January 2020 at its exhibition halls at Pariser Platz, the Akademie der Künste will present the photographic work of Helga Paris from 1968 to 2011. Featuring 275 works, including many individual images and series that are to be shown for the first time, this will be her most comprehensive exhibition to date and the first retrospective of the artist in her home city of Berlin in 25 years. Excerpts from the extensive Leipzig, Hauptbahnhof (1981), Moskau (1991/1992) and Mein Alex (2011) series will be seen for the first time, among others.

In addition to the photographer’s special ability to make ever-changing compressed contemporary history tangible in her images and series over the course of decades, it is her tender, graceful and heavily nuanced black-and-white modulations expressing social empathy that make her work unmistakable.

Helga Paris was born in 1938 in Gollnow, Pomerania (today Polish town of Goleniów), and grew up in Zossen near Berlin. She began her work as a self-taught photographer in the 1960s. She became one of the key chroniclers of life in East Berlin with images of her neighbourhood in the Berlin district of Prenzlauer Berg, pictures of pub-goers, sanitation workers, the women from the VEB Treffmodelle clothing factory, artists, punks, children from Hellersdorf and passers-by from Alexanderplatz. Helga Paris also took photographs in Transylvania (1980), Georgia (1982) and the city of Halle (1983-1985), where she produced her Diva in Grau series that was banned from being shown until 1989/1990, as well as in Volgograd (1990), New York (1995) and Poland (1996/1997), among others. Helga Paris has been a member of the Film and Media Art Section of the Akademie der Künste since 1996.

The curator of the exhibition is art historian Inka Schube, who has worked with Helga Paris on numerous occasions. Filmmaker Helke Misselwitz will present an installation involving interviews with Helga Paris on the topics of origin, the changing city and her work as a photographer in East Germany and up into the early 21st century.

On the occasion of the exhibition, the Spector Books publishing house, Leipzig has released the photography book Helga Paris. Leipzig Hauptbahnhof, 1981.

An exhibition by the Akademie der Künste in cooperation with the ifa (Institut für Auslandsbeziehungen), with the kind support of the Alfried Krupp von Bohlen und Halbach-Stiftung that allowed the living legacy to be indexed and new prints of three previously unpublished series to be made, as well as the DEFA-Foundation.

Press release from the Akademie der Künste website [Online] Cited 11/11/2019

 

Helga Paris (Polish, b. 1938) 'Self-portraits' 1981-1989

 

Helga Paris (German born Poland, b. 1938)
Self-portraits
1981-1989
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Frauen im Bekleidungswerk Treff-Modelle' 1984

 

Helga Paris (German born Poland, b. 1938)
Frauen im Bekleidungswerk Treff-Modelle
1984
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Frauen im Bekleidungswerk Treff-Modelle' 1984

 

Helga Paris (German born Poland, b. 1938)
Frauen im Bekleidungswerk Treff-Modelle
1984
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

In the early 1980s the DDR’s Gesellschaft für Fotografie im Kulturbund gave professional photographers commissions that allowed them to work on projects of their own choosing. These commissions not only gave photographers financial security, but also opened doors to places where, under normal circumstances, only media loyal to the regime had been allowed to work. Helga Paris chose to photograph a clothing factory, Treff-Modelle VEB in Berlin, where she herself had had some work experience during her fashion design studies. There she portrayed the factory’s female workers, eliciting a wide variety of subtle reactions from them: from self-confident and open to confrontational and defensive.

 

Helga Paris (German, born Poland, 1938) 'Frauen im Bekleidungswerk Treff-Modelle' 1984

 

Helga Paris (German born Poland, b. 1938)
No title
1984
Gelatin silver print
From the series Frauen im Bekleidungswerk VEB Treffmodelle Berlin (Women at the Clothing factory VEB Treffmodelle Berlin)
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

With around 275 photographs from the period of 1968 till 2011 – including numerous single frames and series shown for the first time – the exhibition of Helga Paris at the Akademie der Künste on Pariser Platz is the photographer’s most comprehensive to date. It is the first retrospective of Paris’ work in her home city of Berlin in 25 years.

Having lived in Berlin’s Prenzlauer B