Posts Tagged ‘Josef Sudek The Last Rose

18
Sep
16

Exhibition: ‘The Intimate World of Josef Sudek’ at Jeu de Paume, Paris

Exhibition dates: 7th June – 25th September 2016

 

A poetry of the everyday

Josef Sudek, a one-armed man lugging around a large format camera, is one of my top ten photographers of all time.

His photographs, sometimes surreal, always sensitive, have a profound sensibility that affect the soul. Melancholy and mysterious by turns, they investigate the inner life of objects which stand as metaphors for the inner life of the artist. A form of healing after his horrific injuries and the loss of his arm during the First World War, the photographs purportedly look outwards upon the world but are actually interior meditations on life, death and the nature of being. Light emerges from the darkness; understanding from tribulation; and Sudek, in Jungian terms, integrates his ego into his soul through the process of (photographic) individuation – whereby the personal and collective unconscious (his hurt and damage) are brought into consciousness (eg. by means of dreams, active imagination, or free association) to be assimilated into the whole personality. It is a completely natural process necessary for the integration of the psyche and, in Sudek’s life, was integral to his healing from the vicissitudes of war.

Using Pictorialism as the starting point for his exploration of the world, Sudek never abandons the creation of “atmosphere” in his photographs, even as the images become modernist, surrealist and offer a new way of seeing the world. Having myself photographed extensively at night, and from the interior of my flat, I can understand Sudek’s fascination with both locations: the quiet of night, the stillness, the clarity of vision and thought; the interior as exterior, the projection of interior thoughts onto an external surface reflected back into the camera lens. “Nature, architecture, streets and objects are magnified by his sensitivity and mastery of the effects of light, contrasting with the impenetrable cloak of darkness.” Except the cloak of darkness is not impenetrable, as light cannot exist without darkness.

Pace, his photographs are breath / taking. They are exhalations of the spirit.

Sudek’s ability to transcend the literal, his ability to transform the objectal quality of photography ranks him as one of the top photographers of all time. He synthesises  a poetry of objects, a poetry of the everyday, and projects the folds of his mind onto the visual field (through “tears” of condensation on the window, through labyrinths of paper and glass, such as in Labyrinth on my table, 1967, below). As a form of self-actualisation – the desire to become everything that one is capable of becoming – Sudek’s photographs interrogate that chthonic darkness that lurks in the heart of everyone of us, our dark night of the soul. In that process of discovery (who am I, what kind of human being am I, how can I heal myself), he finds redemption.

Dr Marcus Bunyan

If you would like to read more about the life and work of Josef Sudek, please read the excellent article by Ashley Booth Klein, “Josef Sudek and The Life of Objects,” Obelisk Vol. 2 Issue 1, Winter 2015 [Online] Cited 18/09/2016

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

 

 

“… [Sudek] referred to photography as meteorology to describe the significance of the atmosphere, and how a photographer must predict the right conditions for photographing and enlarging prints. His work became sharper with richer tones, and his compositions became more illusive. The foregrounds and backgrounds of his photographs, particularly in his “Window” series began to oscillate. These achievements were perhaps made more attainable by his focus on inanimate objects over which he had more control than living things. Most of his cityscapes became deserted, as he directed his camera at statues or replaced what would have been a living subject with such emulative sculptures.

In effect, Sudek’s substitution of the inanimate for the animate brought the objects he photographed to life in his mind. He called the enormous decaying trees in the woods of Bohemia “sleeping giants” and would take portraits of masks and statuary heads, transforming them into frozen, worn grotesqueries. His personification of objects is even more vivid in his studio photography, particularly after 1939, the oncoming of World War II and the Nazi occupation of Prague. As the city was oppressed by German troops, the artist retreated into his studio and insulated himself sentimentally with still lifes. To an interviewer, he explained, “I love the life of objects. When the children go to bed, the objects come to life. I like to tell stories about the life of inanimate objects.” He devoted endless hours to arranging and photographing the everyday – apples, eggs, bread, and shells – and special objects given to him by friends, such as feathers, spectacles, and watches, which he called “remembrances” of that person. A photograph from his series “Remembrances of Architect Rothmayer, Mr. Magician,” for example, portrays objects respectfully placed in a row on a desk, as if artifacts from an archeological site, from which the history of a life or character of a man could be divined.

“Everything around us, dead or alive, in the eyes of a crazy photographer mysteriously takes on many variations,” Sudek said, “so that a seemingly dead object comes to life through light or by its surroundings.” This statement is perhaps telling of Sudek’s relationship to death and life, as a result of the loss of his arm and the manner in which he suffered the loss. In the 1963 film, “Zit Svuj Zivot” (Living Your Life), a documentary portrait of Sudek by Evald Strom, we see a sensitive man describing his efforts to photograph the reality of the objects around him, not as if he were bringing the objects to life, but as if it was his purpose to represent the lives of objects as they truly are. Of the image of a vase of wildflowers, he says “This is a photograph of wildflowers, my attempt to photograph wildflowers,” and of an old lamp, “This is a celebrated lamp; it holds a lot of memories.””

Ashley Booth Klein, “Josef Sudek and The Life of Objects,” Obelisk Vol. 2 Issue 1, Winter 2015 [Online] Cited 18/09/2016

 

 

“I like to tell stories about the life of inanimate objects, to relate something mysterious: the seventh side of a dice,” mused Josef Sudek. “Everything around us, dead or alive, in the eyes of a crazy photographer mysteriously takes on many variations,” he explained, “so that a seemingly dead object comes to life through light or by its surroundings.”

 

 

 

 

“On display are works that are the result of Sudek’s photographic experiments carried out within the privacy of his own studio, images of the garden seen from his window, and photographs of adventures further afield. The artist enjoyed meandering through the streets of Prague and its surrounding suburbs, and made frequent excursions to the nearby countryside. Sudek’s enduring fascination with light, and its absence, is at the root of some of the most haunting photographs of the twentieth century. Nature, architecture, streets and objects are magnified by his sensitivity and mastery of the effects of light, contrasting with the impenetrable cloak of darkness.

As a photographer, Sudek was particularly concerned with the quality of the photographic print, an essential component in terms of the expressive potential of an image. His mastery of the pigment printing process enabled him to produce highly atmospheric and evocative images, thereby reaping all of the reflective and descriptive power of the gelatin silver print. The exhibition presents work from Sudek’s early career, but also features photographs from a pivotal period of experimentation and innovation, beginning in the 1940s. Focusing on the technical and formal aspects of the medium of photography, Sudek created pigment prints, halftone prints, puridlos (photographs between two windows) and veteše (photographs inserted into old frames), techniques which allowed him to transform the objectal quality of photography.

The loss of his right arm during the First World War and the difficulties he now encountered in transporting his view camera did not dampen his passion for photography. Sudek’s studio window became an object of abiding fascination – rather like the surface of a canvas – reflecting moments of exquisite tenderness and hope when a flowering branch brushed against its pane, or of poignant melancholy when he observed the world beyond his window transformed by the playful infinity of mist. His room with a view allowed him to capture, on film, his love of Prague. His photographs demonstrate both a precision and a depth of feeling, fitting odes to the rich history and architectural complexity of the Czech capital.

Like many artists of his generation marked by their experience of war, Sudek expresses a particularly acute awareness of the dark and tormented aspects of human existence – feelings that would inspire some of his most melancholy and most moving pictures. A photograph taken at night, through the glass pane of his window, shows a city plunged into darkness during the Occupation of the Second World War, and communicates a sentiment of unspeakable despair – a dramatic illustration of Sudek’s technical ability to transcend the literal.

The first part of the exhibition features images that herald the photographer’s later work, showing his early landscapes, portraits of fellow patients at Invalidovna, the Prague hospice for war invalids like Sudek, his hesitant foray into modernism, and his interior shots of St. Vitus Cathedral. Through images that recount the narrative of his life, the viewer gains access to Sudek’s inner world, and an insight into his immediate environment, the views and objects he loved, his studio and garden. His endless walks in Prague found expression in the views of the city and its surroundings, as well as in photographs of its more sordid “suburbs”, a subject explored by other Prague artists. The eastern and northern areas of Bohemia, the Beskid Mountains and the Mionší forest were other destinations close to the photographer’s heart. The exhibition “The Intimate World of Josef Sudek” provides a fascinating panorama of the work of this unique artist.”

Text from the Jeu de Paume website

 

Beginnings

Sudek’s first photographic prints – small and largely assembled in albums – were mainly views of the countryside taken along the Elbe River when he travelled from Prague to Kolín to visit his mother between 1916 and 1922.

Using processes such as gelatin silver and bromoil he showed a talent for printing his pictures in a style that favoured soft edges and broad swathes of tone. Here Sudek was not so much studying the effects of light as he was observing the conventions of Pictorialism, a photography movement that straddled the last decade of the nineteenth century and the first decades of the twentieth century, and was based on a strong Romantic ethos. Pictorialist photographers enhanced atmospheric effects with such processes as carbon and gum bichromate. Sudek began using the carbon process regularly and in a personally expressive manner in the late 1940s.

His Invalidovna and St. Vitus Cathedral series in Prague, begun in the first half of the 1920s, show him exploring interior spaces where light emphasizes both the profane and the sacred. The play of bands of sunlight and darkness is a central feature of the composition and, indeed, of the life of the photograph.

 

Josef Sudek. 'St. Vitus cathedral, Prague, Czech Republic' c. 1926

 

Josef Sudek
St. Vitus cathedral, Prague, Czech Republic
c. 1926
Silver gelatin print

 

Josef Sudek. 'Dimanche après-midi à l’île Kolín' c. 1922–1926

 

Josef Sudek
Dimanche après-midi à l’île Kolín [Sunday afternoon at Kolín island]
c. 1922–1926
Gelatin silver print
28.4 × 28.7 cm.
Musée des beaux-arts du Canada, Ottawa. Achat, 2000
© Succession de Josef Sudek

 

Josef Sudek. 'Rue de Prague' 1924

 

Josef Sudek
Rue de Prague
1924
Gelatin silver print
8.3 × 8.2 cm.
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'Portrait de mon ami Funke' 1924

 

Josef Sudek
Portrait de mon ami Funke [Portrait of my friend Funke]
1924
Gelatin silver print
28.5 × 22.6 cm.
Musée des beaux-arts du Canada, Ottawa. Achat, 1985
© Succession de Josef Sudek

 

 

“”Josef Sudek: The World at My Window” is the first exhibition in France since 1988 to cover Sudek’s entire career and spotlight the different phases of his work. Coming in the wake of several exhibitions at the Jeu de Paume devoted to Eastern European photographers of the early twentieth century, among them André Kertész and Francois Kollar, this one comprises some 130 vintage prints by the Czech artist. Bringing to bear a vision at once subjective and timeless, Sudek captures the ongoing changes in Prague’s natural world and landscapes.

His early profession as a bookbinder came to an abrupt halt when he was conscripted into the Austro-Hungarian army in Bohemia and sent to the Italian front. After the First World War he came back to Prague wounded; the loss of his right arm meant abandoning bookbinding, and he turned to photography. After revisiting the battlefield in Italy once more he returned, in despair, to Prague: “I found the place,” he recounted, “but my arm wasn’t there. Since then I’ve never gone anywhere. I didn’t find what I was looking for.”

A study grant enabled him to train at the state-run school of graphic arts in Prague, where he mixed with practitioners of Pictorialism, a photographic movement aiming at achieving colour and texture effects similar to those of painting. He started concentrating on architectural details, always waiting until the light was absolutely perfect. Little by little he gave up the Pictorialist ambiences of his views of St Vitus’s cathedral, opting for a pure, straightforward approach which the American photographer Alfred Stieglitz summed up as “maximum detail for maximum simplification”.

During the Second World War Sudek began photographing the window giving onto his garden, the result being the celebrated Window of My Studio series. He then shifted his focus to the accumulated jumble of objects in the studio, producing a further series titled Labyrinths. Light was an inexhaustible theme in his work, orchestrating the seasons, making the invisible visible and transporting us into another world. As if to escape the leaden context of the War and then of Communism, Sudek took refuge in music, especially that of his compatriot Leoš Janáček. A true music lover, he gradually built up a substantial collection of recordings which he played to his friends during improvised concerts in his studio.

The second half of his career saw Sudek abandon photography’s traditional subjects as he explored the outskirts of Prague with his black view camera on his shoulder. Known as “the poet of Prague”, he became an emblematic figure in the Czech capital. Discreet and solitary, he gradually withdrew from the city’s art scene, leaving his studio only to prowl the streets at night with his imagination as his guide.

Sudek’s photographs rarely include people; his focus was more on empty urban and rural spaces. Fascinated by the streets of Prague, the city’s deserted parks and public gardens, and the wooded Bohemian landscapes his mastery of light rendered sublime, he preferred the un-enlarged contact print as a means of preserving all the detail and authenticity of the places he roamed through.  His work moved towards experiments with light. In photographs shot through with simplicity and sensitivity, Sudek foregrounds a kind of poetry of the everyday, using the interplay of light and shade to achieve a kind of fluctuation between interior and exterior.”

Text from Jeu de Paume

 

Josef Sudek. 'La Fenêtre de mon atelier' c. 1940–1948

 

Josef Sudek
La Fenêtre de mon atelier [The window of my studio]
c. 1940-1948
Gelatin silver print
17 × 11.2 cm.
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek, 'La Fenêtre de mon atelier' c. 1940–1954

 

Josef Sudek
La Fenêtre de mon atelier [The window of my studio]
c. 1940-1954
Gelatin silver print
22.9 × 16.8 cm.
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'La Fenêtre de mon atelier' c. 1940–1950

 

Josef Sudek
La Fenêtre de mon atelier [The window of my studio]
c. 1940-1950
Gelatin silver print
28.1 × 22.9 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

 

The world from my window

Sudek was not content with making single, unrelated images. He generally worked in projects or series, creating extended visual explorations of the phenomena and scenes he viewed – often from the closed window of his studio, which separated his private studio-home from the exterior world. In the serie From My Window it was the endlessly varying states of transformation of droplets of water that he watched streaming down his windowpane. His images invite us to contemplate, with great fascination, the physical cycles of water and the phenomenon of rivulets coursing down a surface – like human tears. Reminding us even of [Paul] Verlaine’s “There is weeping in my heart like the rain upon the city…” Sometimes the melancholy mood of these images is leavened by a rose in a vase on the windowsill or tendrils of leaves announcing the arrival of spring.

 

There is weeping in my heart
like the rain falling on the town.
What is this languor
that pervades my heart?

Oh the patter of the rain
on the ground and the roofs!
For a heart growing weary
oh the song of the rain!

There is weeping without cause
in this disheartened heart.
What! No betrayal?
There’s no reason for this grief.

Truly the worst pain
is not knowing why,
without love or hatred,
my heart feels so much pain.

Paul Verlaine. “Il pleure dans mon coeur”

 

Josef Sudek. 'Quatre saisons: l’été' c. 1940-1954

 

Josef Sudek
Quatre saisons: l’été [Four seasons: summer]
c. 1940-1954
From the series “La Fenêtre de mon atelier” [The window of my studio]
Gelatin silver print
22.6 × 17.1 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'La Dernière Rose' 1956

 

Josef Sudek
La Dernière Rose [The Last Rose]
1956
Gelatin silver print
28.2 x 23.2 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession Josef Sudek

 

 

Night walks

Sudek’s preoccupation with darkness dates to the Nazi Occupation of Prague from March 1939 until the end of the war. Experiencing his city plunged into nights of enforced darkness Sudek explored the absence of light in his pictures. We know that this was more than a technical exercise, for he wrote “Memories” and “Restless Night” on the verso of one nocturnal photograph dated 1943.

The curfews imposed on citizens at the time made it unlikely that Sudek ventured out into the city after dark during wartime. Neither agile nor inconspicuous with his large-format camera slung over his increasingly hunched back, Sudek would have risked his life had he done so. The small courtyard of his studio on Ujezd street was hidden from the road, however, and one or two lights in neighbouring apartments served as beacons. Well after sundown he would photograph the syncopated play of blurs of light against the wall of impenetrable blackness.

 

The spirit of place

Sudek visited and photographed places that held either personal or spiritual significance for him: the landscape along the Elbe River, Invalidovna, St. Vitus Cathedral, his studio, Prague’s complex streets and open squares, the majestic Prague Castle, the city’s surrounds, and Frenštát pod Radhoštĕm where he spent summers with friends. Hukvaldy, home of Leoš Janaček, the composer whose music he loved, was a particularly favoured haunt. This was true also of the ancient Mionší Forest where he navigated his way through dense brush and forests by way of shortcuts that he created and playfully named. The Beskid Mountains also served as spiritual retreat. Although he was an urbanite in many respects, Sudek’s love of nature and sense of despair for its desecration is strongly expressed in Sad Landscapes, his series of images made in the Most region where industrialization ravaged the countryside in the 1950s.

 

The life of objects

Sudek collected everything. Today he would be known as a hoarder. But his obsession served him well, for out of the chaos of his small studio and living spaces he carefully selected a variety of these objects to photograph. From delicate feathers to crumpled paper and tinfoil, multi-faceted drinking glasses, flowers, fruit, seashells, envelopes, flasks, frames, prisms, candelabras, string and shoe moulds, the subjects ranged from the mundane to the exotic. Once chosen, the set-up was lovingly composed – often in subtly changed configurations with other objects – and carefully lit before being memorialized in either pigment or gelatin silver prints.

 

Josef Sudek. 'Le Jardin Royal' c. 1940–1946

 

Josef Sudek
Le Jardin Royal [The Royal Garden]
c. 1940-1946
Procédé pigmentaire au papier charbon [Carbon pigment on paper]
16.1 × 11.7 cm.
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'Prague pendant la nuit [Prague at night]' 1950

 

Josef Sudek
Prague pendant la nuit [Prague at night]
1950
Gelatin silver print
22.8 × 29 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'Prague pendant la nuit' c. 1950-1959

 

Josef Sudek
Prague pendant la nuit [Prague at night]
c. 1950-1959
Gelatin silver print
12 × 16.7 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'Prague pendant la nuit' c. 1950-1959

 

Josef Sudek
Prague pendant la nuit [Prague at night]
c. 1950-1959
Gelatin silver print
12.2 × 17.3 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'Le Jardin de Rothmayer' 1954-1959

 

Josef Sudek
Le Jardin de Rothmayer [The Rothmayer Garden]
1954-1959
Gelatin silver print
16.9 × 22.9 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

 

“Entitled “The Intimate World of Josef Sudek”, this exhibition is the first of this scale to revisit the life and work of Josef Sudek (Kolín, 1896 – Prague, 1976) within its sociogeographical and historical context: Prague during the first half of the twentieth century, at a time when the Czech capital was a veritable hub of artistic activity. The exhibition features a selection of 130 works spanning the totality of Sudek’s career, from 1920 to 1976, and allows the public to examine the extent to which his photography was a reflection of his personal relationship to the surrounding world. On display are works that are the result of Sudek’s photographic experiments carried out within the privacy of his own studio, images of the garden seen from his window, and photographs of adventures further afield. The artist enjoyed meandering through the streets of Prague and its surrounding suburbs, and made frequent excursions to the nearby countryside. Sudek’s enduring fascination with light, and its absence, is at the root of some of the most haunting photographs of the twentieth century. Nature, architecture, streets and objects are magnified by his sensitivity and mastery of the effects of light, contrasting with the impenetrable cloak of darkness.

As a photographer, Sudek was particularly concerned with the quality of the photographic print, an essential component in terms of the expressive potential of an image. His mastery of the pigment printing process enabled him to produce highly atmospheric and evocative images, thereby reaping all of the reflective and descriptive power of the gelatin silver print.

The exhibition presents work from Sudek’s early career, but also features photographs from a pivotal period of experimentation and innovation, beginning in the 1940s. Focusing on the technical and formal aspects of the medium of photography, Sudek created pigment prints, halftone prints, puridlos (photographs between two windows) and veteše (photographs inserted into old frames), techniques which allowed him to transform the objectal quality of photography. The loss of his right arm during the First World War and the difficulties he now encountered in transporting his view camera did not dampen his passion for photography.

Sudek’s studio window became an object of abiding fascination – rather like the surface of a canvas – reflecting moments of exquisite tenderness and hope when a flowering branch brushed against its pane, or of poignant melancholy when he observed the world beyond his window transformed by the playful infinity of mist. His room with a view allowed him to capture, on film, his love of Prague. His photographs demonstrate both a precision and a depth of feeling, fitting odes to the rich history and architectural complexity of the Czech capital.

Like many artists of his generation marked by their experience of war, Sudek expresses a particularly acute awareness of the dark and tormented aspects of human existence—feelings that would inspire some of his most melancholy and most moving pictures. A photograph taken at night, through the glass pane of his window, shows a city plunged into darkness during the Occupation of the Second World War, and communicates a sentiment of unspeakable despair – a dramatic illustration of Sudek’s technical ability to transcend the literal.

Through images that recount the narrative of his life, the viewer gains access to Sudek’s inner world, and an insight into his immediate environment, the views and objects he loved, his studio and garden. His endless walks in Prague found expression in the views of the city and its surroundings, as well as in photographs of its more sordid “suburbs”, a subject explored by other Prague artists. The eastern and northern areas of Bohemia, the Beskid Mountains and the Mionší forest were other destinations close to the photographer’s heart.”

Text from Jeu de Paume

 

New ways of seeing

Although more influenced by prevailing photographic conventions in the beginning, Sudek came to show an openness to experimenting with new ways of composing and printing his images. In the late 1920s, Sudek photographed objects designed by modernist Ladislav Sutnar, thus creating angled views of furniture with reflective surfaces and ceramics of pure form.

Sudek’s most successful foray into modernism is his experimentation with grotesque (surreal) subjects such as mannequins, decaying sculptures and the accoutrements of the architect Otto Rothmayer’s garden. There is little doubt that in the fragmented figurative sculptures Sudek was recalling some of the human devastation that he witnessed on the battlefields of the First World War.

 

Josef Sudek. 'Statue' c. 1948-1964

 

Josef Sudek
Statue
c. 1948-1964
Gelatin silver print
9 × 14 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'Dans le jardin' 1954-1959

 

Josef Sudek
Dans le jardin [In the garden]
1954-1959
Gelatin silver print
17 × 23.3 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'Labyrinthe sur ma table' 1967

 

Josef Sudek
Labyrinthe sur ma table [Labyrinth on my table]
1967
Épreuve gélatino-argentique
39 × 22.9 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'Labyrinthe de verre' c. 1968-1972

 

Josef Sudek
Labyrinthe de verre [Glass Maze]
vers 1968-1972
Gelatin silver print
39 × 22.9 cm
Musée des beaux-arts du Canada, Ottawa. Don anonyme, 2010
© Succession de Josef Sudek

 

Josef Sudek. 'Sans titre (Nature morte sur le rebord de la fenêtre)' 1951

 

Josef Sudek
Sans titre (Nature morte sur le rebord de la fenêtre) [Untitled (Still life on the windowsill)]
1951
Montage par le photographe c. 1960.
Two silver gelatin prints, glass plate, lead
48.2 × 39.2 cm.
Musée des arts décoratifs, Prague.
© Succession de Josef Sudek

 

 

Jeu de Paume
1, Place de la Concorde
75008 Paris
métro Concorde
Tel: 01 47 03 12 50

Opening hours:
Tuesday: 11.00 – 21.00
Wednesday – Sunday: 11.00 – 19.00
Closed Monday

Jeu de Paume website

LIKE ART BLART ON FACEBOOK

Back to top

14
Apr
09

Exhibition: ‘Czech Photography of the 20th Century’ at the Exhibition Hall of the Federal Republic of Germany, Bonn

Exhibition dates: 13th March – 26th July 2009

 

Looks like an interesting exhibition. I wish I had been able to see it. Wouldn’t it be such a grand job flying around the world, reviewing photography exhibitions and bringing you my thoughts. I can only wish…

Marcus

.
Many thankx to the Exhibition Hall of the Federal Republic of Germany for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Jindřich Štreit. 'Arnoltice' 1985

 

Jindřich Štreit (Czech, b. 1946)
Arnoltice
1985
From the Village Life series
Gelatin silver print

 

Jindřich Štreit (born 5 September 1946 in Vsetín) is a Czech photographer and pedagogue known for his documentary photography. He concentrates on documenting the rural life and people of Czech villages. He is considered one of the most important exponents of Czech documentary photography.

 

 

“Czech photography produced and produces leading figures in all areas of photography – from classical documentary photojournalism to surrealism, realism or avant-garde works. From 13 March 2009 on, the Art and Exhibition Hall of the Federal Republic of Germany is presenting over 400 photographic works, a historical mosaic of Czech photography from 1900 until the late 20th century that underlines the international reputation enjoyed by Czech photography today. That reputation is not only apparent in the outstanding contributions by such renowned artists as Josef Sudek, Karel Hájek, Václav Jírů, Vilém Reichmann, Jan Reich, Jindřich Štreit, Frantisek Drtikol, Jaromír Funke, Jaroslav Rossler, Josef Koudelka and Jan Saudek, but also in works from a host of younger photographers. The exhibition does not only showcase famous names but also less well-known photographers, providing an overall impression of the variation and innovation in Czech photography.

From Surrealism and other avant-garde experimentation to realism and classic photo reportage, Czech photographers have long played a key role in all areas of photography and continue to do so to this day.

This exhibition is the first in Germany to present the history and development of Czech photography from 1900 to the turn of the millennium. Beginning with Art Nouveau-inspired pictorialism, the comprehensive survey traces the rise of avant-garde photography and the development of photo montage in the 1920s to the 1940s. It examines the influence of ideological pressure on photography during the Second World War, the Stalinist 1950s and the period of Communist ‘normalisation’ after the occupation in 1968 and introduces the visitor to the multifaceted range of contemporary trends.”

Text from the Exhibition Hall of the Federal Republic of Germany website [Online] Cited 10/04/2009 (no longer available online)

 

Frantisek Drtikol. 'Wave' 1925

 

František Drtikol (Czech, 1883-1961)
Wave
1925
Gelatin silver print

 

František Drtikol (1883-1961) 'Nude' 1927

 

František Drtikol (Czech, 1883-1961)
Nude
1927
Gelatin silver print

 

 

František Drtikol (3 March 1883, Příbram – 13 January 1961, Prague) was a Czech photographer of international renown. He is especially known for his characteristically epic photographs, often nudes and portraits.

From 1907 to 1910 he had his own studio, until 1935 he operated an important portrait photostudio in Prague on the fourth floor of one of Prague’s remarkable buildings, a Baroque corner house at 9 Vodičkova, now demolished. Jaroslav Rössler, an important avant-garde photographer, was one of his pupils. Drtikol made many portraits of very important people and nudes which show development from pictorialism and symbolism to modern composite pictures of the nude body with geometric decorations and thrown shadows, where it is possible to find a number of parallels with the avant-garde works of the period. These are reminiscent of Cubism, and at the same time his nudes suggest the kind of movement that was characteristic of the futurism aesthetic.

Text from the Wikipedia website

 

Eugen Wiskovsky. 'Lunar Landscape or Collars' 1929

 

Eugen Wiskovsky (Czech, 1888-1964)
Lunar Landscape or Collars
1929
Gelatin silver print

 

 

The oeuvre of the leading Czech avant-garde photographer Eugen Wiskovsky (1888-1964) is not large in size or subject range, but it is noteworthy in its originality, depth of ideas, and mastery. Wiskovsky’s early New Objectivist works, from the late 1920s and early 1930s, sought artistic effect in apparently non-aesthetic objects: His inventive lighting and cropping allowed their elementary lines to stand out, to lose their worldly associations and take on potential metaphorical meanings. In his dynamic diagonal compositions, Wiskovsky was among the most radical practitioners of Czech Constructivism. His landscape work is similarly distinctive.

 

Jaroslav Rossler. 'Untitled' 1931

 

Jaroslav Rössler (Czech, 1902-1990)
Untitled
1931
Gelatin silver print

 

 

Jaroslav Rössler (25 May 1902, Smilov – 5 January 1990, Prague) was a pioneer of Czech avant-garde photography and a member of the association of Czech avant-garde artists Devětsil (Butterbur).

Rössler was born to the Czech-German father, Eduard Rössler, and a Czech mother, Adela Nollova. From 1917 to 1920, Rössler studied in the atelier of the company owned by renowned Czech photographer František Drtikol. Subsequently, he worked with the company as a laboratory technician. As a 21 years old, he began collaboration with the art theorist Karel Teige, who assigned him to create typographic layout for magazines Pásmo, Disk, Stavba and ReD (Revue Devětsilu). While working on these tasks, Rössler deepened his knowledge of photographic methods. In his works he utilised and combined the techniques of photogram, photomontage, collage and drawing. The beginnings of his photographic work were influenced by Cubism and Futurism, but he also attempted to create the first abstract photographs. In 1923, he became a member of the avant-garde association Devětsil.

In 1925, he went on a six-month study visit to Paris. The same year he began working as a photographer in the Osvobozené divadlo in Prague. Before his second departure to Paris, he co-worked as a commercial photographer with the pictorial magazine Pestrý týden.

In 1927, Rössler moved to Paris together with his wife, Gertruda Fischerová (1894-1976). Initially, he focused on commercial photography. He collaborated with the experimental studio of Lucien Lorell, and worked on commissions for notable companies such as Michelin and Shell. However, later he found an interest in the “street life” of Paris, which influenced his future stay in the city. During a demonstration, he encountered the protesters and took photographs of the event. Shortly after that he was arrested, and after a six-month imprisonment he was expelled from the country, in 1935. The alleged reason for his expulsion was his German-sounding surname.

After his return from Paris, Rössler and his wife resided in Prague, Žižkov. He opened a small photographic atelier, but difficulties associated with the management of the studio caused a significant gap in his artistic work, lasting for almost two decades.

In the 1950s, he resumed his previous activities and again began experimenting with the camera and photographic techniques. He created so-called “prizmata” (prisms), photographs taken through a birefringent prism. Additionally, he experimented with solarisation and explored the possibilities of the Sabatier effect.

Text from the Wikipedia website

 

Eugen Wiskovsky. 'Disaster' 1939

 

Eugen Wiskovsky (Czech, 1888-1964)
Disaster
1939
Gelatin silver print

 

Josef Sudek. 'The Last Rose' 1956

 

Josef Sudek (Czech, 1896-1976)
The Last Rose from the Rose series
1956
Gelatin silver print

 

 

Josef Sudek (17 March 1896, Kolín, Bohemia – 15 September 1976, Prague) was a Czech photographer, best known for his photographs of Prague.

Sudek was originally a bookbinder. During the First World War he was drafted into the Austro-Hungarian Army in 1915 and served on the Italian Front until he was wounded in the right arm in 1916 which led to the limb being amputated at the shoulder. After the war he studied photography for two years in Prague under Jaromir Funke. His army disability pension gave him leeway to make art, and he worked during the 1920s in the romantic Pictorialist style. Always pushing at the boundaries, a local camera club expelled him for arguing about the need to move forwards from ‘painterly’ photography. Sudek then founded the progressive Czech Photographic Society in 1924. Despite only having one arm, he used large, bulky cameras with the aid of assistants.

Sudek’s photography is sometimes said to be modernist. But this is only true of a couple of years in the 1930s, during which he undertook commercial photography and thus worked “in the style of the times”. Primarily, his personal photography is neo-romantic.

Text from the Wikipedia website

 

Josef Sudek was a Czech photographer best known for his elegiac black-and-white images of Prague, interiors, still lifes, and the landscapes of Bohemian forests. Many of Sudek’s most memorable images were taken from the window of his small studio, documenting his humble courtyard during changing weather and light conditions. “Everything around us, dead or alive, in the eyes of a crazy photographer mysteriously takes on many variations,” he explained, “so that a seemingly dead object comes to life through light or by its surroundings.”

Text from the artnet website [Online] Cited 10/01/2019

 

Jan Saudek (Czechoslovakia, b. 1935) 'Life' 1966

 

Jan Saudek (Czech, b. 1935)
Life
1966
Gelatin silver print

 

Josef Koudelka (Czech, b. 1938) 'France' 1987

 

Josef Koudelka (Czech, b. 1938)
France
1987
Gelatin silver print

 

 

Exhibition Hall of the Federal Republic of Germany
Museumsmeile Bonn
Friedrich-Ebert-Allee 4, 53113 Bonn
Postfach 12 05 40, 53047 Bonn
Germany
Telephone: +49-(0)228-9171-0

Opening hours:
Tues – Wed 10 – 9pm
Thurs – Sun 10 – 7pm

Exhibition Hall of the Federal Republic of Germany website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Mask’ 1994

Join 2,560 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

December 2019
M T W T F S S
« Nov    
 1
2345678
9101112131415
16171819202122
23242526272829
3031  

Archives

Categories