Posts Tagged ‘Photography and Architecture

13
Feb
14

Exhibition: ‘In Focus: Architecture’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 15th October 2013 – 2nd March 2014

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Another gem of a photography exhibition from the Getty. These In Focus exhibitions are just a treasure: from Making a Scene, Still Life and The Sky to Los Angeles, Picturing the Landscape and now Architecture. All fabulous. To have a photography collection such as the Getty possesses, and to use it. To put on these fantastic exhibitions…

I like observing the transition between epochs (or, in more architectural terms, ‘spans’ of time), photographers and their styles. From the directness and frontality of Fox Talbot’s Boulevard des Italiens, Paris (1843, below) to the atmospheric ethereality of Atget’s angular The Panthéon (1924, below) taken just three years before he died; from the lambent light imbued in Frederick Evans’ architectural study of the attic at Kelmscott Manor (1896, below) to the blocked, colour, geometric facade of William Christenberry’s Red Building in Forest, Hale County, Alabama (1964, below).

I love architecture, I love photography. Put the two together and I am in heaven.

Marcus

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

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William Henry Fox Talbot (English, 1800 - 1877) 'Boulevard des Italiens, Paris' 1843

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William Henry Fox Talbot (English, 1800 – 1877)
Boulevard des Italiens, Paris
1843
Salted paper print from a Calotype negative
Image: 16.8 x 17.3 cm
The J. Paul Getty Museum, Los Angeles

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Eugéne Atget (French, 1857 - 1927) 'The Panthéon' 1924

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Eugéne Atget (French, 1857 – 1927)
The Panthéon
1924
Gelatin silver chloride print on printing-out paper
Image: 17.8 x 22.6 cm
The J. Paul Getty Museum, Los Angeles

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Eugène Atget made this atmospheric study across the place Sainte-Geneviève toward the back of the Panthéon, a church boldly designed to combine the splendor of Greece with the lightness of Gothic churches. The church’s powerful colonnaded dome, Atget’s primary point of interest, hovers in the background, truncated by the building in the left foreground.

In order to make the fog-veiled Panthéon visible when printing this negative, Atget had to expose the paper for a long period of time. As a consequence of the long printing, the two buildings in the foreground are overexposed, appearing largely as black silhouettes. Together they frame the Panthéon, rendered entirely in muted grays. This photograph exceeds documentation to become more a study of mood and atmospheric conditions than of architecture.

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Frederick H. Evans (British, 1863 - 1943) 'Kelmscott Manor: In the Attics (No. 1)' 1896

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Frederick H. Evans (British, 1863 – 1943)
Kelmscott Manor: In the Attics (No. 1)
1896
Platinum print
Image: 15.6 x 20.2 cm
© Mrs Janet M. Stenner, sole granddaughter of Frederick H, Evans
The J. Paul Getty Museum, Los Angeles

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Frederick Evans’s architectural study of the attic at Kelmscott Manor, a medieval house, part of which dates from 1280, is a visual geometry lesson. The composition is all angles and intersections, formed not only by the actual structure but also by the graphic definition of light within the space. Soft illumination bathes the area near the stairs, while the photograph’s foreground plunges into murky darkness. The sharp angles of intersecting planes are mediated by the rough-hewn craftsmanship of the beams and posts, almost sensuous in their sinewy imperfection and plainly wrought by hand. The platinum print medium favored by Evans provides softened tonalities that further unify the triangles, squares, and diagonal lines of the dynamic composition.

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William Christenberry (American, born 1936) 'Red Building in Forest, Hale County, Alabama' 1964

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William Christenberry (American, born 1936)
Red Building in Forest, Hale County, Alabama
1964
Image: 44.5 x 55.9 cm
© William Christenberry
The J. Paul Getty Museum, Los Angeles

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William Christenberry began photographing this makeshift wooden structure in his native Alabama in 1974. Since that time, he has made nearly annual trips to document the facade of this isolated dwelling, located deep in the Talladega National Forest. Such vernacular structures were uncommon photographic subjects until Walker Evans, Ed Ruscha, William Eggleston, and other twentieth-century photographers elevated their stature. Like the edifices photographed by Eugène Atget, Bernd and HIlla Becher, and others, the buildings Christenberry recorded in the southern United States were often in disrepair and in danger of disappearing altogether.

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Soon after its invention in 1839, photography surpassed drawing as the preferred artistic medium for recording and presenting architecture. Novel photographic techniques have kept pace with innovations in architecture, as both media continue to push artistic boundaries. In Focus: Architecture, on view October 15, 2013 – March 2, 2014 at the J. Paul Getty Museum, Getty Center, traces the long, interdependent relationship between architecture and photography through a selection of more than twenty works from the Museum’s permanent collection, including recently acquired photographs by Andreas Feininger, Ryuji Miyamoto, and Peter Wegner.

“Architectural photography was an integral part of the early days of the medium, with the construction of many of the world’s most important and magnificent structures documented from start to finish with the camera,” explains Timothy Potts, director of the J. Paul Getty Museum. “This exhibition demonstrates how architectural photography has grown from straightforward documentary style photographs in its early days to genre-bending works like those of Peter Wegner from 2009.”

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Beginnings of Architectural Photography

Recognized for their accuracy and precision, photographs could render architectural details as never before and show the built environment during construction, after completion, or in ruin. Nineteenth-century photographers were eager to utilize the new medium to document historic sites and structures, as well as buildings that rose alongside them, or in their place. In 1859, Gustave Le Gray photographed the Mollien Pavilion, a structure that constituted part of the “New Louvre,” a museum expansion completed during the reign of Napoleon III. Le Gray’s picturesque composition highlighted the Pavilion’s ornamented façade and other intricate details that could inform the work of future architects. Louis-Auguste Bisson, a trained architect, worked with his brother Auguste-Rosalie to photograph grand architectural spaces such as Interior of Saint-Ouen Church in Rouen (1857). The Bisson brothers produced a monumental print, derived from a glass negative of the same size, to feature the nave of the structure in an interior view rarely depicted in 19th century photographs.

A burgeoning commercial market for tourist photographs emerged toward the end of the nineteenth century. Views of architectural landmarks and foreign ruins became popular souvenirs and tokens of the ancient world. Artists such as J.B. Greene, who ventured to exotic destinations, provided visions of historic sites in Egypt, while Louis-Émile Durandelle took a series of photographs that documented the construction of the Eiffel Tower in the years before it became a symbol of the modern era at the World’s Exposition of 1889. Durandelle’s frontal view of the structure underscored its perfect geometric form, and his photographs were the earliest of what became a popular motif for amateur and professional photographers. Other noted photographers of this period included Eugène Atget, who obsessively documented the streets and buildings of Paris before its modernization, and Frederick H. Evans, who created poetic photographs of Romanesque and Gothic cathedrals.

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The Rise of Modern Architectural Photography

As the commercial market for photographs expanded and technologies advanced, representations of architectural forms began to evolve as well. In the twentieth century, images of buildings developed in conjunction with the rise of avant-garde, experimental, documentary, and conceptual modes of photographic expression.

Andreas Feininger, who studied architecture in Weimar, followed what Bauhaus instructor László Moholy-Nagy called a “new vision” of photography as an autonomous artistic practice with its own laws of composition and lighting. In Portal in Greifswald (1928), Feininger created a negative print, or a photograph with reversed tonalities, resulting in a high contrast image that enhanced the mystery of the architectural subject and removed it from its ecclesiastical context.

“The experimental spirit that permeated photography in the first half of the twentieth century inspired new ways to look at architectural forms,” says Amanda Maddox, assistant curator of photographs at the J. Paul Getty Museum and curator of the exhibition. “As photographs could present buildings in abstracted, close-up, or fragmented views, they encouraged viewers to see the built environment around them as never before.”

At the same time the Bauhaus was influencing photographers throughout Europe, Walker Evans was at the forefront of vernacular photography in the United States, which elevated ordinary objects and events to photographic subjects. In keeping with this trend, architectural photography shifted its focus to ordinary domestic and functional buildings. Derelict and isolated dwellings feature prominently in the work of William Christenberry, whose photograph and “building construction” of Red Building in Forest, Hale County, Alabama (1994) will be on display in the exhibition.

Architecture as a photographic subject became more malleable at the end of the twentieth century, as artists continued to explore the symbolism and vitality of the modern cityscape. This transition is exemplified in Peter Wegner’s 32-part Building Made of Sky III (2009), in which the spaces between skyscrapers in New York, San Francisco and Chicago create buildings of their own. Wegner described the series as “the architecture of air, the space defined by the edges of everything else.” When presented as a grid, the works form a new, imaginary city.”

Press release from the J. Paul Getty website

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Gustave Le Gray (French, 1820 - 1884) 'Mollien Pavilion, the Louvre' 1859

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Gustave Le Gray (French, 1820 – 1884)
Mollien Pavilion, the Louvre
1859
Albumen silver print
Image: 36.7 x 47.9 cm
The J. Paul Getty Museum, Los Angeles

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Standing opposite a newly built pavilion of the Louvre, Gustave Le Gray made this photograph when the sun’s position allowed him to best capture the details of the heavily ornamented facade, from the fluted columns on the ground level to the figurative group on the nearest gable. Paving stones lead the viewer’s eye directly to the corner of the pavilion, where the sunlit facade is further highlighted beside an area blanketed in shadow.

Though the extensive art collections of the Louvre had first been opened to the public in 1793, after the French Revolution, it was not until 1848 that the museum became the property of the state. Le Gray’s image shows the exuberance of the architecture undertaken shortly thereafter, during the reign of Napoléon III, when large sections of the building housed government offices.

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Ryuji Miyamoto (Japanese, born 1947) 'Kowloon Walled City' 1987

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Ryuji Miyamoto (Japanese, born 1947)
Kowloon Walled City
1987
Gelatin silver print
Image: 34.4 x 51.1 cm
© Ryuji Miyamoto
The J. Paul Getty Museum, Los Angeles

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Robert Adams (American, born 1937) 'Longmont, Colorado' 1973

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Robert Adams (American, born 1937)
Longmont, Colorado
1973
Gelatin silver print
Image: 15.2 x 19.4 cm
© Robert Adams
The J. Paul Getty Museum, Los Angeles

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“The long, interdependent relationship between photography and architecture is the subject of this survey drawn from the Getty Museum’s collection. Spanning the history of the medium, the exhibition features twenty-four works by such diverse practitioners as William Henry Fox Talbot, Eugène Atget, Walker Evans, Bernd and Hilla Becher, and Ryuji Miyamoto. Seen together, the varied photographic representations of secular and sacred structures on display reveal how the medium has impacted our understanding and perception of architecture.

In the nineteenth century, photography surpassed drawing as the preferred artistic medium for recording and presenting architecture. Recognized for their accuracy and precision, photographs could render architectural elements as never before. The intricate ornamented facade, the sprawling sunlit Napoléon Courtyard, and the classical design of the Louvre appear in magnificent detail in Gustave Le Gray’s picturesque image of the Mollien Pavilion, a structure completed in the 1850s during the reign of Napoléon III.

Photographers working in the nineteenth century documented historic structures on the verge of disappearance as well as contemporary buildings erected before their eyes. They also captured the built environment during construction, after completion, and in ruin. This photograph by Louis-Émile Durandelle shows the Eiffel Tower, the centerpiece of the 1889 World Exposition, in November 1888 when only its four columns, piers, and first two platforms were in place.

With the advancement of photographic technologies and the modernization of the built environment around the turn of the twentieth century came innovative representations of architecture. Compositions and photographic processes began to reflect the avantgarde and modernist sensibilities of the time, and photographs of buildings, churches, homes, and other structures often showcased these developments. Andreas Feininger, who trained as an architect, utilized an experimental printing technique to depict gothic St. Nikolai cathedral in Greifswald in a nontraditional way.

Images of architecture by contemporary photographers Robert Adams, William Christenberry, and others working in the documentary tradition often underscore the temporality of buildings. Vernacular structures found in his native Alabama are among the subjects Christenberry has systematically recorded for the past six decades. By returning year-after-year to photograph the same places, such as the red building shown above, Christenberry chronicles the decay (and sometimes the ultimate disappearance) of stores, tenant houses, churches, juke joints, and other rural buildings.

Experimental and conceptual approaches toward the representation of architecture have been embraced by photographers. Peter Wegner used skyscrapers in New York, San Francisco, and Chicago as his framing devices to feature the spaces between high rises that form buildings of their own. By upending images of these canyons, he created buildings made of sky. When presented as a grid, they form a new, imaginary city.”

Text from the J.Paul Getty website

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Henri Le Secq (French, 1818 - 1882) 'Tour de Rois à Rheims' ('Tower of the Kings at Rheims Cathedral') 1851

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Henri Le Secq (French, 1818 – 1882)
Tour de Rois à Rheims (Tower of the Kings at Rheims Cathedral)
1851
Salted paper print
Image: 35.1 x 25.9 cm
The J. Paul Getty Museum, Los Angeles

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Louis-Émille Durandelle (French, 1839 - 1917) 'The Eiffel Rower: State of Construction' 1888

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Louis-Émille Durandelle (French, 1839 – 1917)
The Eiffel Rower: State of Construction
1888
Albumen silver print
Image: 43.2 x 34.6 cm
The J. Paul Getty Museum, Los Angeles

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The Centennial Exposition of 1889 was organized by the French government to commemorate the French Revolution. Bridge engineer Gustave Eiffel’s 984-foot (300-meter) tower of open-lattice wrought iron was selected in a competition to erect a memorial at the exposition. Twice as high as the dome of St. Peter’s in Rome or the Great Pyramid of Giza, nothing like it had ever been built before. This view was made about four months short of the tower’s completion. Louis-Émile Durandelle photographed the tower from a low vantage point to emphasize its monumentality. The massive building barely visible in the far distance is dwarfed under the tower’s arches. Incidentally, the tower’s innovative glass-cage elevators, engineered to ascend on a curve, were designed by the Otis Elevator Company of New York, the same company that designed the Getty Center’s diagonally ascending tram.

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Andreas Feininger (American, born France, 1906 - 1999) 'Portal in Greifswald' 1928

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Andreas Feininger (American, born France, 1906 – 1999)
Portal in Greifswald
1928
Gelatin silver print
Image: 23.4 x 17.5 cm
© Estate of Gertrud E. Feininger
The J. Paul Getty Museum, Los Angeles

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William Eggleston (American, born 1939) '(Untitled)' Negative about 1967 - 1974; print 1974

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William Eggleston (American, born 1939)
(Untitled)
Negative about 1967 – 1974; print 1974
Chromogenic print
Image: 22.2 x 15.2 cm
© Eggleston Artistic Trust
The J. Paul Getty Museum, Los Angeles

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

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

The J. Paul Getty Museum website

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17
May
13

Exhibition: ‘Concrete – Photography and Architecture’ at Fotomuseum Winterthur, Zurich

Exhibition dates: 2nd March – 20th May 2013

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When creating this blog, so much of my time is spent cleaning up clearly inadequate media images, an example of which can be seen below. I have become very adept at this process and my thoughts are this: would you want to be the artist whose work is displayed to the public in a remarkably decomposed manner, one not up to a standard of any artist who cares about their prints and reputation? I certainly would not. It is a wonder to me that museums and galleries spend thousands of dollars staging exhibitions and producing costly catalogues and yet cannot spend a tiny proportion of time, money and care on their media images to promote artist and said exhibition. I had to spend a lot of time on over half of these images to bring them up to presentable standard.

Having said that, there are some cracking photographs in this posting. The Sugimoto is sublime, Walker Evans so muscular, Lucien Hervé a masterpiece of light and texture, and Moriz Nähr a symphony of light and tone, to name but a few. I hope you enjoy all the effort it takes to bring these images to you.

Marcus

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Many thankx to the Fotomuseum Winterthur, Zurich for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Naehr-composite

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Moriz Nähr

Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein] (composite)
1928

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Anonymous.
 'Hardstrasse with Hardbrücke in construction' 1972


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Anonymous
Hardstrasse with Hardbrücke in construction
1972
Gelatin-silver print
8,8 x 12,6 cm
Baugeschichtliches Archiv der Stadt Zürich

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Michael Wesely.
 'Canadian Embassy, Leipziger Platz, Berlin (5.2.2003 – 28.4.2005)' 
C-print

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Michael Wesely
Canadian Embassy, Leipziger Platz, Berlin (5.2.2003 – 28.4.2005)

C-print
125 x 175 cm
Galerie Fahnemann, Berlin
© Michael Wesely/Courtesy Galerie Fahnemann

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William Henry Fox Talbot
. 'The Bridge of Sighs, St. John’s College, 
Cambridge' 1845

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William Henry Fox Talbot
The Bridge of Sighs, St. John’s College, 
Cambridge
1845
Salt print from calotype negative
16.4 x 20.6 cm
Museum Folkwang Essen

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Charles-Marville-24-Rue-Bièvre-Paris-1865–1869-WEB

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Charles Marville
24, Rue Bièvre, Paris
1865-1869
Albumin print
27.4 x 36.6 cm
Collection Thomas Walther

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Lucien Hervé.
 'Le Corbusier: Façade of the Secretariat  Building, Chandigarh, 1961' 1961


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Lucien Hervé
Le Corbusier: Façade of the Secretariat Building, Chandigarh, 1961
1961
Gelatin-silver print
25.5 x 25.4 cm
Canadian Centre for Architecture, Montréal
© Estate Lucien Hervé

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F.C. Gundlach.
 '"Op Art" bathing suit by Sinz, Vouliagmeni/Greece' 1966

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F.C. Gundlach
“Op Art” bathing suit by Sinz, Vouliagmeni/Greece
1966
Gelatin-silver print
50 x 50 cm
F.C. Gundlach, Hamburg
© F.C. Gundlach

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Laurence Bonvin.
 'Blikkiesdorp, Cape Town, South Africa' 2009

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Laurence Bonvin
Blikkiesdorp, Cape Town, South Africa
2009
Inkjet-print
40 x 50 cm
Courtesy the artist
© Laurence Bonvin

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“Architectures and cities are both volumes and images alike. We experience them directly, physically and sensually, as well as through pictures. Pictures speak a language of their own. They offer a discourse that is quite unlike the physical experience of architecture. They transform volume into surface; distil matter into forms and signs – rarely, if ever, leaving it as it is. That is probably why so many architects try to get involved in determining the image of their buildings. Concrete – Photography and Architecture seeks to approach the singular and complex relationship between architecture and photography in light-hearted, narrative and dialectical ways. The exhibition explores issues of history and ideology, as well as the specifics of form and material, in the photographic image.

The visual appeal of destroyed or dilapidated buildings is also addressed, as are their powerful demonstrations of power and exclusivity, fragility and beauty. To what extent does photography influence not only the way architecture is perceived, but also the way it is designed? How does an image bring architecture to life, and at what point does it become uncanny? How do settlements develop into cities? Or, in sociological terms: how do work and life interconnect differently in, say, Zurich and Winterthur, as opposed to, say, Calcutta? And how do skyscrapers and living spaces translate into the flat, two-dimensional world of photography?

Concrete – Photography and Architecture is not, however, chronologically arranged. Instead, it is based on compelling positions, counterpositions and thematic fields that connect various concrete, fundamental and historical aspects. Alongside everyday buildings and prestigious architecture, structured by horizontal and vertical axes, alongside homes and houses, utopian fantasies, design and reality, an important aspect of the exhibition is the compelling appeal of architectural decay due to the passage of time, through both natural and deliberate destruction. It is almost as though photography were providing a moral reminder even such magnificence and presence, whether hewn in stone or cast in concrete, has its weaknesses too.

Architecture has always been an important platform for the frequently heated discussion of ideas and views, zeitgeist and weltanschauung, everyday life and aesthetics. Architecture is the bold materialisation of private and public visions, functionality and avant-garde art alike. It is, as Slavoj Žižek puts it, ideology in stone. Photography and architecture both play an undisputed role in our everyday lives. They confront us on a daily basis, often without our even noticing, and they influence how we think, act and live in subliminal and lasting ways. Concrete – Photography and Architecture provides visual answers to the question of what it is that makes up the intimate yet complex relationship between architecture and photography, architect and photographer.

The exhibition presents more than 400 photographs and groups of works from the 19th, 20th and 21st centuries, including William Henry Fox Talbot, Domenico Bresolin and Charles Marville as well as Germaine Krull, Lucia Moholy and Julius Shulman, and spanning an arc to contemporary works by Georg Aerni, Iwan Baan, Luisa Lambri and Hiroshi Sugimoto. Projects such as the long-term observations of Schlieren photography or Wolfgang Scheppe’s Migropolis show how the art of photography is playing an increasingly important role as an instrument of research and knowledge. The exhibition is accompanied by a lavishly illustrated book published by Scheidegger & Spiess, with some 300 colour and black-and-white pictures, essays by Jochen Becker, Johannes Binotto, Verena Huber Nievergelt, Michael Jakob, Nicoletta Leonardi, Lorenzo Rocha, Caspar Schärer, Aveek Sen and Urs Stahel as well as a conversation with Annette Gigon, Meret Ernst and Armin Linke.”

Press release from the Fotomuseum Winterthur website

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Guido Guidi. '#1176 01 29 1997 3:30PM Looking Southeast' From 'Carlo Scarpa's Tomba Brion' 
1997

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Guido Guidi
#1176 01 29 1997 3:30PM Looking Southeast
From Carlo Scarpa’s Tomba Brion
1997
C-print
19,5 x 24,6 cm
Courtesy the artist
© Guido Guidi

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Tobias Zielony.
 'Le Vele di Scampia' 2009

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Tobias Zielony
Le Vele di Scampia
2009
Blu Ray photoanimation
8.57 min
Courtesy Koch Oberhuber Wolff, Berlin
© Tobias Zielony/ KOW

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Hiroshi Sugimoto.
 'Seagram Building, New York City' 1997

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Hiroshi Sugimoto
Seagram Building, New York City
1997
Gelatin-silver print
58,4 x 47 cm
Canadian Centre for Architecture, Montreal
© Hiroshi Sugimoto/Courtesy of Gallery Koyanagi Tokyo

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Aage Strüwing.
 'Arne Jacobsen: Rødovre Town Hall' 1955


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Aage Strüwing
Arne Jacobsen: Rødovre Town Hall
1955
Gelatin-silver print
23,7 x 17 cm
EPFL Archives de la construction moderne, Lausanne
© Estate Strüwing

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Moriz Nähr. '
Stiegenhaus im Haus Stonborough-Wittgenstein' 1928


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Moriz Nähr

Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein]
1928
Silbergelatine-Abzug
13.8 x 8.9 cm
Albertina, Wien
© Estate Moriz Nähr

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Haus Wittgenstein, also known as the Stonborough House and the Wittgenstein House) is a house in the modernist style designed and built on the Kundmanngasse, Vienna, by the Austrian architect Paul Engelmannand the Austrian philosopher Ludwig Wittgenstein.

In November 1925, Wittgenstein’s sister Margaret Stonborough-Wittgenstein commissioned Engelmann to design and build a large townhouse. Margaret also invited her brother to help with the design in part to distract him from an incident that had happened while he had been a primary school teacher: he had hit a boy for getting an answer wrong and the boy had collapsed. The architect was Paul Engelmann, someone Wittgenstein had come to know while training to be an Artillery Officer in Olmutz. Engelmann designed a spare modernist house after the style of Adolf Loos: three rectangular blocks. Wittgenstein showed a great interest in the project and in Engelmann’s plans and poured himself into the project for over two years. He focused on the windows, doors, door knobs, and radiators, demanding that every detail be exactly as he specified, to the point where everyone involved in the project was exhausted. One of the architects, Jacques Groag, wrote in a letter: “I come home very depressed with a headache after a day of the worst quarrels, disputes, vexations, and this happens often. Mostly between me and Wittgenstein.” When the house was nearly finished he had a ceiling raised 30mm so the room had the exact proportions he wanted.

Waugh writes that Margaret eventually refused to pay for the changes Wittgenstein kept demanding, so he bought himself a lottery ticket in the hope of paying for things that way. It took him a year to design the door handles, and another to design the radiators. Each window was covered by a metal screen that weighed 150 kg, moved by a pulley Wittgenstein designed. Bernhard Leitner, author of The Architecture of Ludwig Wittgenstein, said of it that there is barely anything comparable in the history of interior design: “It is as ingenious as it is expensive. A metal curtain that could be lowered into the floor.”

The house was finished by December 1928, and the family gathered there that Christmas to celebrate its completion. Describing the work, Ludwig’s eldest sister, Hermine, wrote: “Even though I admired the house very much, I always knew that I neither wanted to, nor could, live in it myself. It seemed indeed to be much more a dwelling for the gods than for a small mortal like me”. Paul Wittgenstein, Ludwig’s brother, disliked it, and when Margaret’s nephew came to sell it, he reportedly did so on the grounds that she had never liked it either. Wittgenstein himself found the house too austere, saying it had good manners, but no primordial life or health. He nevertheless seemed committed to the idea of becoming an architect: the Vienna City Directory listed him as “Dr Ludwig Wittgenstein, occupation: architect” between 1933 and 1938. 

After World War II, the house became a barracks and stables for Russian soldiers. It was owned by Thomas Stonborough, son of Margaret until 1968 when it was sold to a developer for demolition. For two years after this the house was under threat of demolition. The Vienna Landmark Commission saved it – after a campaign by Bernhard Leitner – and made it a national monument in 1971, and since 1975 it has housed the cultural department of the Bulgarian Embassy.

(Text from Wikipedia)

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Lala Aufsberg.
 'Cathedral of Light' c. 1937


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Lala Aufsberg
Cathedral of Light
c. 1937
Gelatin-silver print
24 x 18 cm
Town Archive Nuremberg
© Photo Marburg

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Lala Aufsberg (actually, Ida Louise Aufsberg, born 26 February 1907 in Sonthofen, May 18, 1976 ibid) was a well-known art photographer. After attending primary school and six years of school for Higher daughters in Immenstadt she began training for the 1932 photo dealer in Oberstdorf. After completion of the training Lala Aufsberg moved to Nuremberg, where she worked in the photographers’ studios of Seitz and Rosemary. In 1931 she joined the photo club of friends of photography in Nuremberg.

From April 1938 Lala Aufsberg attended the State School of Applied Arts and Crafts in Weimar, Department Lichtbildnerei at Walter Hege. In July 1938, she passed the exam for the master photographer’s craft, and in the same year returned to Sonthofen and opened a photographic studio. In the years 1937 and 1938 she documented the Nazi Party rallies in Nuremberg (see above photograph). She received her first artistic job in the years 1941-1942, in which she photographed the murals in churches and monasteries in Carinthia and Styria. Owned by the University of Marburg “German documentation center for art history” – Bildarchiv Foto Marburg (listed in UNESCO Archives Portal) acquired 1976/1977 and 1996, the Lala-Aufsberg archive with about 46,000 art history, black and white negatives in sizes 6×6 and 9×12 and 103,000 photos.

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Walker Evans. 
'Chrysler Building under construction, New York' 1929


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Walker Evans

Chrysler Building under construction, New York
1929
Gelatin-silver print
16.8 x 8.3 cm
Canadian Centre for Architecture, Montréal
© Walker Evans Archive, The Metropolitan Museum of Art

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Fotomuseum Winterthur
Grüzenstrasse 44 + 45
CH-8400
Winterthur (Zürich)

Opening hours:
Tuesday to Sunday 11 am – 6 pm
Wednesday 11 am – 8 pm
Closed on Mondays

Fotomuseum Winterthur website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

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

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