Josef Breitenbach (1896 – 1984) Part I

Il a assisté au cours de philosophie et d’histoire de l’art à l’Université Ludwig-Maximilian à Munich  de 1914-1917 . Il devient durant cette période active dans la section de la jeunesse  du Parti social-démocrate. En 1918, il  participe à la Bavaroise, un coup d’Etat d’inspiration soviétique, qui était la première étincelle du feu révolutionnaire qui a déferlé sur l’Allemagne à la suite de l’armistice. Pendant  quelques mois, Josef Breitenbach a  occupé un poste officiel dans le nouveau gouvernement. Bien que la révolution fut de courte durée, les liens qu’il a forgé avec les milieux radicaux de l’intelligentsia de Munich  l’ont aidé , plus tard, à établir sa réputation en tant que photographe.

En 1932, Breitenbach ouvre son premier studio de photographie. Ses clients étaient des membres éminents de la bohème de Munich, (y compris les acteurs et actrices de la scène dans le théâtre de Munich.)  qui était alors un bastion des défenseurs des libertés et des personnes raffinées. Mais ce  monde a disparu en 1933 avec la prise de pouvoir d’Hitler.Plus que ses racines juives, le passé politique du photographe fait de  lui une cible à persécuter.  En Août 1933, avec son passeport, Breitenbach arrive en France, rejoignant d’autres exilés Allemands qui cherchent refuge à Paris.

La «révolution» surréaliste allait alors devenir dominante dans la scène artistique parisienne. Peu après son arrivée, Breitenbach est entré en contact avec André Breton et son entourage. Préférant conserver son indépendance, il n’a jamais été un membre du groupe surréaliste, mais a participé à des expositions importantes de la photographie surréaliste aux côtés de Man Ray, Jacques-André Boiffard, Brassaï, Eli Lotar, Henri Cartier-Bresson, et Roger Parry.

Je vous propose aujourd’hui de parcourir quelques facettes que Josef Breitenbach nous a laissées derrière lui. principalement ce qui fût le fruit de la rencontre avec les surréalistes et qui l’accompagna tout au long de son aventure . En passant par ses portraits, ses montages, collages, photogrammes, nus.

Josef Breitenbach-Exposition Internationale, Paris, vue de l'intérieur du Pavillon de la Suisse 1937 © The Josef Breitenbach Trust

Josef Breitenbach-Exposition Internationale, Paris, vue de l’intérieur du Pavillon de la Suisse 1937 © The Josef Breitenbach Trust

Josef Breitenbach- Exposition Internationale du Surréalisme, Galerie Beaux-Arts, Paris, 1938,  gelatin silver print  © The Josef Breitenbach Trust

Josef Breitenbach- Exposition Internationale du Surréalisme, Galerie Beaux-Arts, Paris, 1938, gelatin silver print © The Josef Breitenbach Trust

Breitenbach n’a vécu à Paris  que six ans, jusqu’à ce que la guerre  éclate en 1939, et pourtant, pendant cette période , il a produit certains de ses travaux les plus inventifs.  (Il a adopté plusieurs techniques favorisées par de nouveaux photographes tels que la surimpression, le montage, la solarisation, l’impression en négatif, et le photogramme. Plus important encore, il était l’un des rares artistes des années d’avant-guerre à produire des photographies en couleurs, ce qu’il a fait en utilisant des procédés tels que le blanchiment, la tonification et la pigmentation.)

Mais pendant ses années à Paris, il était aussi un membre actif de la communauté  Allemande en exil , qui a alerté le monde démocratique de la menace du fascisme. Il a participé à l’exposition 1938 par l’Union des Artistes Libres Allemandes, «Cinq ans de dictature hitlérienne ». Un moment fort pour Breitenbach fût sa collaboration avec Bertolt Brecht, résumée par des portraits de l’auteur.

 

Josef Breitenbach- For Ever and Ever, 1937 © The Josef Breitenbach Trust

Josef Breitenbach- For Ever and Ever, 1937 © The Josef Breitenbach Trust

Josef Breitenbach- For Ever and Ever, 1937 © The Josef Breitenbach Trust

Josef Breitenbach- For Ever and Ever, 1937 © The Josef Breitenbach Trust

Josef Breitenbach- For Ever and Ever, 1938

Josef Breitenbach- For Ever and Ever, 1938

Josef Breitenbach- Montparnasse, Paris, 1937, Vintage toned gelatin silver print © The Josef Breitenbach Trust

Josef Breitenbach- Montparnasse, Paris, 1937, Vintage toned gelatin silver print © The Josef Breitenbach Trust

Josef Breitenbach- Sibylle Binder, Munichc. 1933, © The Josef Breitenbach TrustVintage bromoil transfer

Josef Breitenbach- Sibylle Binder, Munichc. 1933, © The Josef Breitenbach TrustVintage bromoil transfer

Josef Breitenbach- Denkmal vor der Enthüllung, Paris,  Veiled Statue, Paris,  1933-39, Early gelatin silver print, printed ca. 1942-48 © The Josef Breitenbach Trust.

Josef Breitenbach- Denkmal vor der Enthüllung, Paris, Veiled Statue, Paris, 1933-39, Early gelatin silver print, printed ca. 1942-48 © The Josef Breitenbach Trust.

Josef Breitenbach-Photograph of the Scent Given Off by a Rose Petal photogravure. 1939  © The Josef Breitenbach Trust.

Josef Breitenbach-Photograph of the Scent Given Off by a Rose Petal photogravure. 1939 © The Josef Breitenbach Trust.

Josef Breitenbach- A small piece of camphor on the surface of mercury, 1937,  Munich,, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach- A small piece of camphor on the surface of mercury, 1937, Munich,, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach -modern female bust with hat, Paris - facing toward left], 1935

Josef Breitenbach -modern female bust with hat, Paris – facing toward left], 1935

Josef Breitenbach, Bust Coloré, Paris, 1935

Josef Breitenbach, Bust Coloré, Paris, 1935

Josef Breitenbach, Sculpture Academy, Paris 1935  © The Josef Breitenbach Trust

Josef Breitenbach, Sculpture Academy, Paris 1935 © The Josef Breitenbach Trust

Josef Breitenbach- © The Josef Breitenbach Trust. from Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008

Josef Breitenbach- © The Josef Breitenbach Trust. from Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008

Josef Breitenbach- Max Ernst and Dr. Riegler & J. Greno, Munich 1933 © The Josef Breitenbach Trust. from Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008

Josef Breitenbach- Max Ernst and Dr. Riegler & J. Greno, Munich 1933 © The Josef Breitenbach Trust. from Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008

Josef Breitenbach. Max Ernst and the seahorse, New York, 1942.

Josef Breitenbach. Max Ernst and the seahorse, New York, 1942.

Josef Breitenbach-The Hands of Max Ernst, 1942,     Silver print. Courtesy of mfa © The Josef Breitenbach Trust

Josef Breitenbach-The Hands of Max Ernst, 1942, Silver print. Courtesy of mfa © The Josef Breitenbach Trust

 

Josef Breitenbach- Bird, Photogram, hand colored gelatin silver print, 1948 © The Josef Breitenbach Trust

Josef Breitenbach- Bird, Photogram, hand colored gelatin silver print, 1948 © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram , hand-colored , 1940s © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram , hand-colored , 1940s © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram , hand-colored , 1940s  © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram , hand-colored , 1940s © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram , hand-colored , 1940s    © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram , hand-colored , 1940s © The Josef Breitenbach Trust

Josef Breitenbach- Fragrance of a Pink Rose, 1945,New York , Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach- Fragrance of a Pink Rose, 1945,New York , Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach-Carnation and Fragrance, 1940s  ,gelatin silver print, 1948 © The Josef Breitenbach Trust.

Josef Breitenbach-Carnation and Fragrance, 1940s ,gelatin silver print, 1948 © The Josef Breitenbach Trust.

Josef Breitenbach- Red Rose and Odor, 1940 ,Unknown color process © The Josef Breitenbach Trust

Josef Breitenbach- Red Rose and Odor, 1940 ,Unknown color process © The Josef Breitenbach Trust

Josef Breitenbach- Untitled photogram, 1948 © The Josef Breitenbach Trust

Josef Breitenbach- Untitled photogram, 1948 © The Josef Breitenbach Trust

Josef Breitenbach- Fireworks, photogram, 1949 gelatin silver print © The Josef Breitenbach Trust

Josef Breitenbach- Fireworks, photogram, 1949 gelatin silver print © The Josef Breitenbach Trust

Josef Breitenbach-untitled ( objects on a patterned ground, feather, clips, washers), 1954 © The Josef Breitenbach Trust

Josef Breitenbach-untitled ( objects on a patterned ground, feather, clips, washers), 1954 © The Josef Breitenbach Trust

Josef Breitenbach- Huntsman's Luck, photogram , New York, 1946-49,  gelatin silver print  © The Josef Breitenbach Trust

Josef Breitenbach- Huntsman’s Luck, photogram , New York, 1946-49, gelatin silver print © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram, 1940s

Josef Breitenbach-Untitled , photogram, 1940s

Josef Breitenbach-Untitled , photogram, 1940s © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram, 1940s © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram, 1940s © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram, 1940s © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram - newspaper fragments with double-sided text, leaves,1940s © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram, 1940s  © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , photogram, 1940s © The Josef Breitenbach Trust

Josef Breitenbach-untitled , human circulatory system diagram, dark beach scene with wrecked boat,  1942  © The Josef Breitenbach Trust

Josef Breitenbach-untitled , human circulatory system diagram, dark beach scene with wrecked boat, 1942 © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , human circulatory system diagram, wet beach sand with high sea horizon,  1942 © The Josef Breitenbach Trust

Josef Breitenbach-Untitled , human circulatory system diagram, wet beach sand with high sea horizon, 1942 © The Josef Breitenbach Trust

 

Josef Breitenbach-Fabric Abstraction, New York, 1948, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach-Fabric Abstraction, New York, 1948, Gelatin silver print© The Josef Breitenbach Trust.

 

La guerre interrompit ce deuxième chapitre de la vie du photographe. Interné par les Français comme un étranger suspect, puis rédigé dans un corps civil composé d’étrangers, Breitenbach finalement échappé à la France  de Marseille en 1941 pour New York . Il parvient à retenir l’attention de Walker Evans, qui  publie ses travaux  dans Fortune .

À l’été 1944,  à l’invitation de Josef Albers,  Breitenbach enseigne la photographie au Black Mountain College.  En 1946, il est devenu un citoyen des États-Unis et a rejoint la faculté de la Cooper Union .

Breitenbach a continué à créer que qui etait distinctif et innovateur,comme un un groupe de  photographes sans l’appareil. Ces œuvres planent dans l’espace liminal entre le surréalisme et l’expressionnisme abstrait.

Les années 1950 et 1960 ont été des années d’intense activité pour Breitenbach.  Il a fait reportage photographique en Asie pour les Nations Unies et d’autres entreprises variées, documentant le travail des secours.

Il exposera ses photographies largement dans les Etats-Unis à partir des années 1940 jusqu’au milieu des années 1960, notamment au Museum of Modern Art et le Metropolitan Museum of Art.

You can see more on Gitterman Gallery

Des portraits du photographe par des anonymes ici  sur wordpress sur le blog  A la loupe

  Voir les résultats des actions le concernant sur Mutualart

Conseil de lecture  :

Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008

Josef Breitenbach: by Josef Breitenbach Photographs and text (in German) by Josef Breitenbach. Essays (in German) by Peter C. Jones, and Others , Published on the occasion of the 1996-1997 exhibition Josef Breitenbach: Photographien at the Staatliche Galerie Moritzburg Halle and the Fotomuseum im Münchner Stadtmuseum, Ed° Schirmer-Mosel, 1996

Munich, Paris, New York Paperback – 2003 by Josef and Paul Berlanga, Exhibit Catalogue, edition Stephen Daiter Gallery, 2003

Josef Breitenbach » by Larisa Dryansky, Editions de l’Amateur, 2001

Cover of the Book "Josef Breitenbach" by Larisa Dryansky,  Editions de l'Amateur, 2001

Cover of the Book « Josef Breitenbach » by Larisa Dryansky, Editions de l’Amateur, 2001

English bio

Josef Breitenbach was born on the 3rd of April 1896. He attended Ludwig-Maximillian University in Munich (philosophy and art history, 1914 to 1917) and became active in the Youth Section and later the Pacifist wing of the Social Democratic Party. In 1918, he took part in the Soviet-inspired Bavarian coup d’état, which was the first spark of the revolutionary fire that swept over Germany in the wake of the armistice. For a few months, Breitenbach also occupied an official position in the new government. Although the revolution was short-lived, the ties he forged with the radical circles of Munich’s intelligentsia later helped him establish his reputation as a photographer.

In 1932, Breitenbach opened his first photographic studio. His clients were prominent members of Munich’s bohemia, including actors and actresses performing in the Munich theater. Munich was a stronghold of libertarians and refined people, whose spirit Breitenbach captured in theatrical portraits of his friend, the journalist Theo Riegler. This world vanished in 1933 with Hitler’s takeover.

More than his Jewish roots, the photographer’s political past made him a target for persecution. In August, 1933, with his passport , Breitenbach made his way to France , joining other German exiles seeking refuge in Paris.

The Surrealist “revolution” had by then become dominant in the Parisian art scene. Soon after his arrival, Breitenbach came into contact with André Breton and his circle. Preferring to retain his independence, he never became a member of the Surrealist group, but did show work in important exhibitions of Surrealist photography alongside Man Ray, Jacques-André Boiffard, Brassaï, Eli Lotar, Henri Cartier-Bresson, et Roger Parry.

Breitenbach only lived in Paris for six years, until the war broke out in 1939. During this period, he produced some of his most inventive work. He adopted several techniques favored by new photographers such as superimpression, montage, solarization, printing in negative, and the photogram. More importantly, he was one of the rare artists of the pre-War years to produce color photographs, which he did by using processes of bleaching, toning and pigmentation. Examples are the images “Montparnasse”, or Forever and Ever.

During his years in Paris, he was also an active member of the German exile community, which alerted the democratic world to the threat of fascism. He participated in the 1938 exhibition by the Union des Artistes Allemandes Libres, “Five Years of Hitler Dictatorship”. A high point for Breitenbach was his collaboration with Bertolt Brecht, summarized by portraits of the playwright. The war interrupted this second chapter of the photographer’s life. Interned by the French as a suspicious alien, then drafted into a civilian corps composed of foreigners, Breitenbach eventually escaped to New York from Marseille in 1941.He came to the attention of Walker Evans, who published his work in Fortune. In the summer of 1944, at the invitation of Josef Albers, Breitenbach taught photography at Black Mountain College. In 1946 he became a United States citizen and joined the faculty at Cooper Union and later The New School. Breitenbach continued to create distinctive and innovative work, including a striking group of camera-less photographs. These works hover in the liminal space between Surrealism and Abstract Expressionism. The 1950s and 1960s were years of intense activity for Breitenbach. He did photographic reportage in Asia for the United Nations and other varied businesses, documenting relief work. He exhibited his photographs extensively in the United States from the 1940s to the mid-1960s, including at the Museum of Modern Art and the Metropolitan Museum of Art.

I proposed today to browse some facets Josef Breitenbach left us behind. This was mainly the result of the encounter with the Surrealists and accompanied throughout his adventure. Through his portraits, montages , collage, photogram , naked, and some memories , moreover

Man Ray – Untitled (Rayograms)

Man Ray – Untitled (Rayogram), Gelatin silver on textured paper printed in 1963 by Naomi Savage

Man Ray – Untitled (Rayogram), Gelatin silver on textured paper printed in 1963 by Naomi Savage

Man Ray – Untitled (Rayogram), Gelatin silver on textured paper printed in 1963 by Naomi Savage

Man Ray – Untitled (Rayogram), Gelatin silver on textured paper printed in 1963 by Naomi Savage

Lou LANDAUER (1897-1980)

Lou Landauer was a German woman photographer

« Lou Levi was born 1897 in Cologne where she grew up with her two sisters Stefani and Bella. At the age of 26, in 1923, Lou married the lawyer Georg Landauer (1895 – 1954). Landauer was an important Zionist politician who over the years had many central positions. After WWII he was involved in the reparation negotiations between Germany and the State of Israel.
After her marriage and training at the Trade Academy in Cologne in 1924, Lou Landauer appears to have developed an interest in photography and registered at the Staatliche Fotoschule München where her name is in the student list of 1928/29.

In 1930, she moved to Berlin, where she continued her photography studies possibly at the Lette-Verein. The archive of the Lette-Verein is unfortunately incomplete and there is no information regarding her time there. The magazine Life in Palastine, Nr. 22, 1946 refers to Lou Landauer as “…a former student of famous schools in Munich and Berlin”. The only existing document from her Berlin time is a photograph taken in her apartment which shows her together with her parents.

In 1934 she and her husband emigrated together with her parents to Palastine. As of 1933 her husband Georg was the director of the German department of the Jewish Agency for Palestine and director of the Central Bureau for the Settlement of German Jews.
Lou Landauer first worked as a press photographer for the Jüdische Rundschau, which was still published in Berlin. The magazine published her photographs of the ceremonial laying of the foundation stone (March 19, 1935) of the new AHAWA building in Kirjat Bialik near Haifa. The children’s home of the same name in Auguststr., Berlin had been closed a year before in 1934 by the National Socialists.

In the spring of 1936 the filming of the documentary “Aufbruch der Jugend” was completed: Lou Landauer was producer and camerawoman (director: Eva Stern, Marta Goldberg). The Arbeitsgemeinschaft Kinder- und Jugend-Alijah Berlin contracted the film. The premiere took place on May 25, 1936 at the Berlin Logenhaus where Leo Baeck gave an introductory speech.

The day after the premiere Rachel Wischnitzer-Bernstein wrote about the event in the Gemeindeblatt and particularly praised the “achievement and sensitivity” of the photographer and camerawoman Lou Landauer. The CV-Zeitung also reported in detail about the film. Today the film resides in the Steven Spielberg Archive, Jerusalem.

Until now the whereabouts of Lou Landauer’s correspondence or larger estate is unknown. The only secured correspondence is that with Else Lasker-Schüler which are documented among the works and letters of the poetess (compiled by Dr. Karl Jürgen Strotzki, Lohmar).
In 1942 she began her work as a teacher at the Bezalel Hechadasch, the new Applied Arts School in Jerusalem. The former Applied Arts School existed between 1906 – 1928 and was later newly founded with the help of the Mandats administration and the Jewish Agency.

In the 1940s Lou Landauer taught courses in the department of artistic photography and she is referred to as “Instructor of Photography at Bezalel” (Life in Palestine, 22, 1946). Among the directors of the new school were Hermann Struck and Erich Mendelsohn.
Here she most likely met the photographer Helmar Lerski who had his own photography school in Tel Aviv. In 1945 H. Lerski showed his portraits at Bezalel and in December of the same year Lou Landauer also exhibited there, showing a cross section of her work for the first time, including photograms, nature studies, portraits (double exposures) and still lifes. A poster of the exhibition and various newspaper articles attest to this such as Jedioth Chadaschoth (‘Neueste Nachrichten’) Dec. 7, 1945 and The Palestine Post, Dec. 10, 1945.
In 1949, Landauer went to the USA to attempt a new start. There she worked as a commercial photographer for various magazines and experimented with the technically complicated color carbro process. By the 1950s, she appears to have given up professional photography all together and worked as an assistant librarian at the Leo Baeck Institute in New York.
A small album from her estate contains photographs (1960-1981) from various Swiss locations, most showing her with her sisters and other relatives.
Lou Landauer died in 1991, presumably in Lugano, Switzerland. » Provenance: From the estate of Lou Landauer.

Lou Landauer -Abstract study, Circa 1945. Vintage gelatin silver print

Lou Landauer Abstract study , 1941 Vintage gelatin silver print

Lou Landauer Photogram of glasses , 1940s Vintage gelatin silver print on strong paper

Lou Landauer Photogram of photo lamps , 1941 Vintage ferrotyped gelatin silver print

Lou Landauer -Abstract study with glass 1942. Vintage ferrotyped gelatin silver print

Lou Landauer -Abstract botanical study Abstract botanical study (multiple exposure with photogram negatives). 1940s. Vintage gelatin silver print.

Lou Landauer -Detail studie, Circa 1945

Lou Landauer- Photogram. 1942. vintage gelatin silver print

Lou Landauer- Photogram . 1942. vintage gelatin silver print

Lou Landauer Photogram of violets Vintage gelatin silver print on strong paper

Lou Landauer Photograms of flowers vintage gelatin silver print

Lou Landauer-Detail studie, Circa 1945

Lou Landauer – Cover for a crime novel cover Design for crime novel book cover. 1943. Vintage matte gelatin silver print

Lou Landauer- Design for a book cover for Arsenic and Old Lace by Joseph Kesselring.1946. Vintage matte gelatin silver print with hand painted titles in red

Lou Landauer – Photogram , 1940s Vintage ferrotyped gelatin silver print

Lou Landauer- Female nude and net (double exposures). 1930. vintage ferrotyped gelatin silver print

Lou Landauer- Self-Portrait in Israel , 1943 vintage semi-matte gelatin silver print

Atelier Willinger

Laszlo Willinger Sun of Maurus Wilhelm Willinger  &  Margaret Willinger, Austro-Hungarian photographers who are best known for their portraits of actors of the early silent film era in Berlin.

László Josef Willinger was a Jewish-German photographer, most noted for his portrait photography of movie stars and celebrities starting in 1937.

He was born on April 16, 1909  Budapest, Hungary . Willinger established photographic studios in Paris and Berlin in 1929 and 1931 respectively, and at the same time submitted his photographs to various newspapers as a freelance contributor. He left Berlin in 1933 when Adolf Hitler became chancellor, settling and working in Vienna, where he began to photograph such celebrities as Marlene Dietrich, Hedy Lamarr, Pietro Mascagni, Sigmund Freud, Carl Jung, and Max Reinhardt.

By the mid-1930s he was travelling through Africa and Asia before being invited by studio photographer Eugene Robert Richee to move to the United States.

He crossed into the United States at Mexicali, Mexico on December 20, 1937 and resided in Los Angeles, California.

After establishing a studio in Hollywood, California, Willinger became a frequent contributor to magazines and periodicals, providing magazine cover portraits of some of the most popular stars. Willinger was one of the first Hollywood photographers to experiment in the use of color.

In later years, shortly before his death, Willinger was accused of stalking some celebrities of the time, including Charlie Chaplin. An investigation into the matter led to the uncovering of thousands of personal pictures of the male comedy star ( source wilkipedia.)

All the photgraphy are undated, but we can make the hypothesis, since it has settled in viennia in which these date from this time around 1930

Atelier Willinger (Wien). Sonja Georgiewand nd_

 

Atelier Willinger (Wien).Mara Ziperowitz als Merkur 1925

Atelier Willinger (Wien.) – Cäcilie Lvovsky nd

Atelier Willinger (Wien.) -Dagny Servaes in Turandot , nd

Atelier Willinger (Wien.) – Muna Libravic nd

Atelier Willinger (Wien.) -Anny Fey Moulin Rouge, Wien , nd

Atelier Willinger (Wien.) – Else Köring

Atelier Willinger (Wien.) – Inge Epp., nd

Atelier Willinger (Wien.) -Adele Heid, dancer from Moulin Rouge , nd

Atelier Willinger (Wien.) – Les Kervas

Atelier Willinger (Wien.) – Lily Damita , nd

Atelier Willinger (Wien.) – Ly Astra nd

Atelier Willinger,( Wien.) – Anna Bathy nd

Atelier Willinger (Wien.) -Karl Farkas in a scene with 2 girls. , nd

Atelier Willinger (Wien.) -Ly Horki , nd

Atelier Willinger,( Wien.) – Charlotte Ander nd

Atelier Willinger (Wien.) – Emmy Kosarynd

Atelier Willinger,( Wien.) -Alba Tiberio, nd

Atelier Willinger- Gertrud Bodenwieser 1930

Atelier Willinger,( Wien.) – Edmonde Guy, nd

Atelier Willinger (Wien.) -Nina Payne 1928

Atelier Willinger, Wien- Nina Payne 1928

Atelier Willinger,( Wien.) -Nina Payne was Mystery Dancer 1916

Atelier Willinger (Wien.) -Mill Silvano , nd

Atelier Willinger (Wien.) -Margarethe Freudenreich Solo dancer of the Vienna Court Opera, nd

Atelier Willinger,( Wien.) – Lore Wigand nd

Atelier Willinger,( Wien.)-Erna Carise., nd

Atelier Willinger,( Wien.) -Adele Heid nd

Atelier Willinger,( Wien.) -Christa de Vignos nd

Atelier Willinger,( Wien.) -Hilde Wagener as Vasantasena at the Vienna Burgtheater nd

Atelier Willinger,( Wien.) -Mia Lucka nd

Atelier Willinger,( Wien.) -Ria Hellwein nd

Atelier Willinger,( Wien.) -Janka Ladowska , nd

Atelier Willinger (Wien.) -Hilde Holger in Grotesk Charleston, nd

Atelier Willinger (Wien.) -Miquette Hirmer Members of the dance group Bodenwieser, nd

Atelier Willinger (Wien.) -Juita Fuentes in Madame Butterfly , nd

Atelier Willinger,( Wien.) -Rita Walter, photomontge nd

Atelier Willinger,( Wien.) – Maria Orska nd

®Theatermuseum, Wien

Studio Manassé

 

All the articles about Manassé HERE

Studio Manassé (foto-Salon Manassé) -Manassé-The light 1920s

Studio Manassé (foto-Salon Manassé) – Kitty Lorenz1920s

Studio Manassé (foto-Salon Manassé) -Nude with bear 1920s

 

Studio Manassé (foto-Salon Manassé) -Nude on fur 1920s

Studio Manassé (foto-Salon Manassé) -The rest 1920s

Studio Manassé (foto-Salon Manassé) -Daisi Lindley 1920s

Manassé-The Austrian dancer and actress La Jana (Henriette Margarethe Hiebel),Vienna, Around 1930

Studio Manassé (foto-Salon Manassé) -Nude with stole 1920s

Studio Manassé, 1930

STUDIO MANASSÉ (1922–1938) & OLGA WLASSICS (1896–1969) ‘Madame Bluebeard_ (Madame Blaubart), c. 1931 Vintage silver print,

Studio Manassé-Post card. Photography, Vienna. Around 1928.

Atelier Jacob Merkelbach

« Jacob Merkelbach was the founder of one of the most famous Amsterdam portrait photography studios of the twentieth century on the fifth floor of fashion house Hirsch at Leidseplein Studio J Merkelbach ( Atelier Merkelbach) In the luxurious studio above the fashion warehouse Hirsch on the Leidseplein, he photographed almost all famous Dutch people from the theater world, writers, artists, businessmen and the wealthy Amsterdam bourgeoisie. Taking pictures of Abel Herzberg, André Herzberger, Carel Asser Daniel comme Mata Hari , Fien de la Mar , Théo Mann-Bouwmeester , Willem Mengelberg et Abel Herzberg , se sont fait capturer sur l’album sensible.and many others. His photographs are unique and of exceptional quality. You can see here the galery of protraits  .The personal signature in the design and execution of each portrait, the technical knowledge of the staff and the professional cooperation of the daughter and son-in-law made this workshop a well-running company that, after Merkelbach’s death, could be continued until 1969.

 

Jacob was born on April 29, 1877 and was the son of John Wilhelm Merkelbach and Maria Antonia van Schaik. His parents had a shop on the Nieuwendijk 57-59, which was sold mainly technical toys, and a fireworks factory in Amsterdam.
The fireworks factory was rebuilt in the 90s of the 19th century to a daylight film. This father did after he came into contact with Lumiére. Financially it was not profitable and father decided to go into all the photography. The case on the Nieuwendijk was an important place for the sale of photographic equipment. Above the case opens the son-father Machiel Laddé a workshop.
This workshop is Jacob works and continues to do so for about 10 years. There he learned the profession. In 1902 married with Josephine Harmsen and get on April 21 1904 they can daughter Maria Antonia (Mies). Later, Mies goes to work in the photo studio.
In 1913 own studio opens on Leidseplein 29, on the 5th floor of Hirsch. In 1924 Mies is working in the studio after she completed training at the Dagteken- Art and Craft School for Girls in Amsterdam. Her work in the studio is to retouch, enhance, and print photos.

In 1932 comes Lambert JM Rosenboom (15 Feb 1905, also known as Bobby) in the company work. Mies married him in 1939.
On February 6, 1942 dies Jacob Merkelbach. His daughter Mies puts the company on, her husband Bobby is arrested in 1941 and the remainder of the war in German captivity. Mies makes this period illegal passport photos in the studio, while the Germans regularly on the floor is due to the anti-aircraft guns on the roof of Hirsch & Cie.
Atelier Merkelbach gets in 1948 the honorable mission to Queen Wilhelmina portraits, one of the pictures the ceremonial of the Queen is.
In the 50’s declining interest in portrait photography. Photography is available for consumers by becoming less expensive devices. This also affects Atelier Merkelbach. In 1969, the company, on April 29 – the birthday of Jacob Merkelbach – lifted. There are 150,000 glass negatives of exceptional historical value. These will be donated to the City of Amsterdam. « by  scherptediepte.nl

I made the choice to propose you the photographs which represent dancers or nudes and some delicate portraits
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Dancers

Studio Merkelbach Alice Sally Mary (Lili) Green,1915

Studio Merkelbach Johanna Wittrock,1919

Studio Merkelbach Adriana (Henriette Blazer) Blaaser,1923

Studio Merkelbach Luise Aguste Julie (Luise) Marheineke,1919

Studio Merkelbach Angèle Sydow,1916

Jacob Merkelbach Angèle Sijdow, 1917-19

Jacob Merkelbach, the dancer Claire de Jongh in profile in tight dance pose 1927 – 1928

Jacob Merkelbach, the dancers Menagerie Folmer   and Claire de Jongh with right leg raised 1927 – 1928

Atelier Jacob Merkelbach-The dancers Gerie Folmer and Claire de Jongh in a symmetrical pose , 1927-28

Studio Merkelbach Wilhelmina (Mien) Loevendie,1930

Studio Merkelbach Mary Wigman,1922

Jacob Merkelbach Mary Wigman , 1922

Atelier Jacob Merkelbach -Mary Wigman .19120-30

Studio Merkelbach 1920

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Lydia Lyta ,1915

Studio Merkelbach Alice Sally Mary (Lili) Green ,1915

 

Studio Merkelbach Wilhelmina (Mien)- 1918

Studio Merkelbach Wilhelmina (Mien)- Angele Sydow 1916

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1916

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1916

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1916

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1916

Studio Merkelbach Margaret Walker,1915

 

Studio Merkelbach, 1928

Jacob Merkelbach- Josephina Johanna (Fien) de la Mar (1898-1965), 1919

Atelier Jacob Merkelbach-The dancer Gerie Folmer .1927

Atelier Jacob Merkelbach-The dancer Gerie Folmer, half-legged, with bare-chested, 1927-28

Jacob Merkelbach-Danseres met lichtbol, , 1920

Studio Merkelbach, 1928

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1919

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Nudes

Studio Merkelbach Johanna Wittrock,1918

studio-merkelbach-mies-rosenboom-merkelbach-19132

Jacob Merkelbach-naakt, 1925 – 1940

Jacob Merkelbach- Porrtret van Mies Rosenboom-Merkelbach als zittend naakt, 1925 – 1940

Studio Merkelbach mies-rosenboom-merkelbach-1913

Jacob Merkelbach (Attributed to) – Portrait of a seated nude, 1915-1930

Jacob Merkelbach- Naked woman sitting with hands held up to a white circle painted been light, 1925 – 1945

Studio Merkelbach Johanna Suers ,1933

Studio Merkelbach Johanna Suers ,1933

Studio Merkelbach Johanna Suers ,1933

Studio Merkelbach Johanna Suers ,1933

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Portraits

Studio Merkelbach 1920

Studio Merkelbach 1920

 

Atelier Jacob Merkelbach-Woman’s portrait with eyes closed on behalf of Film Productie Maatschappij ‘Neerlandia’.1938

Studio Merkelbach Wilhelmina (Mien)-Portrait 1921

Atelier Jacob Merkelbach-Nola Hatterman, 1922

Atelier Jacob Merkelbach-Beschrijving A. Roland Holst de Meester , 1927

Atelier Jacob Merkelbach-Beschrijving Helena Dorothea Catharina .1919

Atelier Jacob Merkelbach-Fashion photo for ‘De Prijslijst’, Reguliersbreestraat 15-17,1920-22

Atelier Jacob Merkelbach-Toneelplayer Mien van Kerckhoven-Kling (1894-1966), 1914

Jacob Merkelbach- Mevr. Brandes met sigaret en roos in het haar,1910 – 1919

Atelier Jacob Merkelbach-Corry Schiller-Italiaander (1886-1971), 1907

Atelier Jacob Merkelbach-Corry Schiller-Italiaander , nd

Atelier Jacob Merkelbach-Corry Schiller-Italiaander .1917

Studio Merkelbach 1918

Studio Merkelbach 1918

Studio Jacob Merkelbach Mevr. van Kerkhoven, 1927

Studio Jacob Merkelbach Mevr. Kauffeld, 1926

Studio Jacob Merkelbach Mevr. Meyer, 1927

Studio Jacob Merkelbach Mevr. Jonas, 1928

Studio Jacob Merkelbach Mevr. Dresden, 1921

Studio Jacob Merkelbach Mej. Meijer, 1913

Jacob Merkelbach-Chaja Goldstein tijdens toneelspel,1930 – 1960

Atelier Jacob Merkelbach-Portrait of a young woman in white dress, 1920-22

Atelier Jacob Merkelbach-Maria Antonia (Mies) Merkelbach .1922

Atelier Jacob Merkelbach-Sophie Davids .1917

Atelier Jacob Merkelbach-Teddy Schaenk, nd

Jacob Merkelbach-Portret van Mies Rosenboom-Merkelbach,1920 – 1930

Jacob Merkelbach-Portret van Mies Rosenboom – Merkelbach met witte hoofdbedekking, 1930 – 1970

Jacob Merkelbach-Reclamefoto, voor het atelier van Merkelbach, met danseres Angèle Sydow,1916

Jacob Merkelbach-Portret van Manuela del Rio gekleed in Griekse jurk,1915 – 1930

Jacob Merkelbach-Portret van gesluierde vrouw,, ca. 1920 – ca. 1930

Jacob Merkelbach- Portrait Of Young Woman With Necklace, 1920 – 1930

Jacob Merkelbach-Portret Mies Rosenboom-Merkelbach in blauwe jurk, 1920 – 1930

 

Jacob Merkelbach- Portrait Of A Woman In A Red Dress, 1920 – 1930

Studio Merkelbach, [Portrait of an unknown woman], between 1919 and 1929, Jos-Pé colour process

Studio Merkelbach divas,

Atelier Jacob Merkelbach-Fashion Photo with lying model in evening dress, neck necklace and earrings, 1935

Atelier Jacob MerkelbachTeixeira de Mattos, 1930

Atelier Jacob Merkelbach-Margaretha Geertruida (Mata Hari) .1915

Studio Merkelbach 1921

Studio Merkelbach 1920

Studio Merkelbach 1920

             http://redeenportret.nl/

Sent M’ahesa (Else von Carlberg)

Sent M’Ahesa

“Such confusion of identity did not apply in the case of Sent M’Ahesa (Elsa von Carlberg 1893-1970), whom audiences persisted in identifying with Egyptian dances (though her dance aesthetic  included images from other ancient o exotic cultures). She performed all her dances solo. Born in Latvia, she went to Berlin in 1907 with her sister to study Egyptology but became so enchanted with ancient Egyptian art and artifacts that she decided to pursue her interest through dance rather than scholarship… Under he name of Sent M’Ahesa, she presented a program of Egyptian dances in Munich in December 1909 (Ettlinger). From then until the mid-1920s, she achieved fame for her exceptionally dramatic dances dominated by motifs from ancient Egyptian iconography. …

Her dances always functioned in relation to intricate, highly decorative costumes of her own design, so that it appeared as if she chose movements for their effect upon her costume.  In her moon goddess (or Isis) dance, she attached large, diaphanous cloth wings to her black-sleeved arms… Sent M’Ahesa often exposed her flesh below the navel, but I have yet to find a picture of her in which she exposed her hair, so keen was she on the use of wigs, helmets, caps, scarves, kerchiefs, tiaras, masks, and crowns. In her peacock dance, she attached a large fan of white feather plumes to her spine. In other dances, she draped herself with tassels, decorative aprons, double sashes, layers of jeweled necklaces, and arm, wrist, and ankle bracelets. Only in her Indian dances did she wear anything resembling pants. …

… her body was wonderfully svelte, and her face displayed a cool, chiseled beauty, I think, rather, that she sought to decontextualise female beauty and erotic feeling from archetypal images of them originating in cultures other than her own or her audience’s; she sought to dramatize a tension between a modern female body and old images of female desire and desirability. Ettlinger, in 1910, was perhaps more accurate when he remarked that

“Sent M’Ahesa’s dance has nothing to do with what one commonly understands as dance. She does not produce “beautiful,” “sensually titillating” effects. She does not represent feelings, “fear,” “horror,” “lust,” “despair,” as “lovely.” Her are requires its own style. Her movements are angular, geometrically uncircular, just as we find them in old Egyptian paintings and reliefs. Neither softness of line nor playful grace are the weapons with which she puts us under her spell. On the contrary: her body constructs hard, quite unnaturally broken lines. Arms and legs take on nearly doll-like attitudes. But precisely this deliberate limiting of gestures gives her the possibility of until now unknown, utterly minute intensities, the most exquisite of refinements of bodily expression. With a sinking of the arm of only a few millimeters, she calls forth effects which all the tricks of the ballet school cannot teach.”

Sent M’Ahesa was similar to Schrenck in one respect, even though Schrenck never performed exotic dances: both project and intensely erotic aura while moving within a very confined space. They showed persuasively that convincing signification of erotic desire or pleasure did not depend on a feeling of  freedom in space, as exemplified in the convention of ballet and modern dance, with their cliched use of runs, leaps, pirouettes, and aerial acrobatics. These dancers revealed that erotic aura intensifies in relation to an acute sense of bodily confinement, of the body imploding, turning in on itself, riddled with tensions and contradictory pressures. They adopted movements to portray the body being squeezed and twisted, drifting in to a repertoire of squirms, spasms, angular thrusts, muscular suspensions. Contortionist dancing is perhaps the most extreme expression of this aesthetic. But Sent M’Ahesa complicated the matter by doing exotic dances – that is, she confined her body within a remote cultural-historical context, as if to suggest that the ecstatic body imploded metaphorical as well as physical space.”

Karl Eric Toepfer, “Solo Dancing,” in Karl Eric Toepfer. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935. University of California Press, 1997, pp. 175-179.  artblart.com

 

Atelier binder – The dancer Sent M’ahesa (Else von Carlberg)portrait – 1919

 

Atelier binder – The dancer Sent M’ahesa (Else von Carlberg)portrait – 1919

Atelier binder – The dancer Sent M’ahesa (Else von Carlberg)portrait – 1919

Sent M’Ahesa by Josef Pesci published in Deutsche kunst und dekoration by Koch, Alex. (Alexander), 1860-1939

Sent M’Ahesa by Josef Pesci published in Deutsche kunst und dekoration by Koch, Alex. (Alexander), 1860-1939

Hanns Holdt- Elsa Carlsberg aka Sent M´ahesa in The Artistic Dance Our Time by Hermann Aubel and Marianne Aubel, 1928 .

Hugo Erfurt, Dresden. La danza artística de nuestro tiempo 1928(Foto. Theatermuseum Düsseldorf)

Hugo Erfurt, Dresden. La danza artística de nuestro tiempo 1928

Hugo Erfurt, Dresden. La danza artística de nuestro tiempo 1928

Franz Löwy – Elsa von Carlberg aka Sent M´ahesa ( from Historical Magazine- Photos ) , 1910

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance Our Time by Hermann Aubel and Marianne Aubel, 1928

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance Our Time by Hermann Aubel and Marianne Aubel, 1928

Else von Carlberg (lavanimi Sent Mahesa)1923 aire.opera.ee

Hannes Holdt -Sent M’ahesa (Else von Carlberg) – Dancer, Sweden – portrait – 1918

Hannes Holdt -Sent M’ahesa (Else von Carlberg) – Dancer, Sweden – portrait – 1917, published in 1920

Hanns Holdt -Sent M’Ahesa 1928

Sent M’ahesa (Else von Carlberg) by Hanns Holdt, Berlin, 1928

Franz Löwy, Sent M’Ahesa (Elsa von Carlberg) in peacock costume , c 1928 from The artistic dance of our time by H. and M Aubel. Leipzig K. R. Langewiesche, 1928

 

sent-mahesa-dancer-sweden-portrait-1909

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance , 1920

Sent Mahesa Else von Carlberg-Hogo Erfurth, resden aus der kunstlerische tanz unserer zeit,1928

Hanns Holdt – Sent M’Ahesa 1917, From The Artistic Dance of Our Time 1928

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance , 1917 HALFTONE Photograph

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance , 1917 HALFTONE Photograph From The Artistic Dance of Our Time 1928

Sent M’ahesa (Else von Carlberg) – Dancer, Sweden – portrait – 1913

Madame d’Ora (Arthur Benda) -Sent M’Ahesa, nd