William Mortensen- Taken In West of Zanzibar , 1928 published in New Projection Control, 1942

 

William Mortensen- Taken In West of Zanzibar , 1928 published in  New Projection Control, 1942

William Mortensen- Taken In West of Zanzibar , 1928 published in New Projection Control, 1942

William Mortensen- Taken In West of Zanzibar , 1928 published in  New Projection Control, 1942

William Mortensen- Taken In West of Zanzibar , 1928 published in New Projection Control, 1942

 

 

Paul Citroën (1896 – 1983)

Paul Citroën était un artiste Néerlandais d’origine Allemande, co-fondateur de la « New Art Academy » à Amsterdam. En 1919, Citroën a commencé à étudier au Bauhaus, où il reçu les enseignements de  Paul Klee et Wassily Kandinsky ainsi qu’Itten Johanne. Il débute sa serie Métroplis ( 1923) dès ces années d’apprentissage.
Entre 1929 et 1935, Citroën a fait de nombreuses photographies, clairement influencées par son travail avec Blumenfeld qui fût son ami de toujours et ce dès leurs enfances.( Retrouvez des photographies d »eux enfants et adolescents dans cet article ICI à la fin)

Erwin Blumenfeld - Paul Citroën , 1925

Erwin Blumenfeld – Paul Citroën , 1925

Erwin Blumenfeld - Paul Citroën avec une perruque  , 1929

Erwin Blumenfeld – Paul Citroën avec une perruque , 1929

Erwin Blumenfeld Paul Citroën in Dog House c. 1930

Erwin Blumenfeld Paul Citroën in Dog House c. 1930

Si ses oeuvres photographiques restent peu connues, celles de photomontages  (qui feront l’objet d’un autre article),  le sont beaucoup plus , tout autant que ses  timbres-poste Néerlandais datant 1949 d’ailleurs.

Paul Citroën - Estella, 1932, ( collection centre Pompidou, paris°

Paul Citroën -La danseuse  Estella  Reed,  1932, ( collection centre Pompidou, paris)

Paul Citroën - La danseuse Estella Reed, 1931

Paul Citroën – La danseuse Estella Reed, 1932

Paul Citroën- Portrait de Lotte Hammerschlag, 1930

Paul Citroën- Portrait de Lotte Hammerschlag, 1930

Paul Citroën-Jos Silleves, 1930

Paul Citroën-Jos Silleves, 1930

Paul Citroën – From the portfolio Alannah, 1928

Paul Citroën – From the portfolio Alannah, 1928

Paul Citroën -Schaufensterpuppe, 1928, ( collection centre Pompidou, paris)

Paul Citroën -Schaufensterpuppe, 1928, ( collection centre Pompidou, paris)

Paul Citroën- Auto portrait, 1932

Paul Citroën- Auto portrait, 1932

Erwin Blumenfeld - Paul Citroën  , 1928- 30

Erwin Blumenfeld – Paul Citroën , 1928- 30

Tom Millea

Tom Millea- Reclining Nude, nd

Tom Millea- Reclining Nude, nd

Tom Millea -Nude of Two Women's Torsos, Nd

Tom Millea -Nude of Two Women’s Torsos, Nd

Tom Millea Nude of Women Licking Her Breast, nd

Tom Millea Nude of Women Licking Her Breast, nd

Tom Millea- Portrait, nd

Tom Millea- Portrait, nd

Tom Millea- Carrie, Nd

Tom Millea- Carrie, Nd

Tom Millea- Reclining Nude, Yasmine, nd

Tom Millea- Reclining Nude, Yasmine,nd

Tom Millea-Tom Millea -Nude of Larmie, 2003

Tom Millea -Nude of Larmie, 2003

Tom Millea - Nude, 1976

Tom Millea – Nude, 1976

Tom Millea- Nude With Garter, 1995

Tom Millea- Nude With Garter, 1995

Tom Millea - Malika, 2000

Tom Millea – Malika, 2000

Tom Millea- Milika in Stairway,1996

Tom Millea- Milika in Stairway,1996

Tom Millea -Nude of Malika, 1999

Tom Millea -Nude of Malika, 1999

Quinto Albicocco (1913-1995)

 D’origine italienne, Quinto Albicocco s’installera assez jeune à Cannes où il commencera sa carrière comme photographe . De 1934 à 1945 il y aura un atelier de photographie  et y  créera le Ciné Club de Cannes en 1946.  Son succés  s’intensifiera à cette époque, et des premières récompenses viennent couronner ses œuvres. Il travaille sur la technique et procédés à effets spéciaux, (trucage sur négatifpar exemple). Il est à cette époque comme Thorek un grand nom de la photographie. C’est d’ailleurs ainsi qu’il viendra au cinéma ( ou que le cinéma viendra à lui pkus exactement). En effet na notoriété de photographe lui permet d’être engagé comme assistant caméraman auprès de Sica et ensuite Rosselini. A partir de ce moment là, il occupera le poste de directeur de la photographie et collaborera à de nombreux tournages. inévitablement, si l’on puis dire, il se tourne vers la mise en scène ( ainsi que producteur) . retrouver sa filmographie Ici et sur IMB

bien sur c’est le photographe que je vous propose de découvrir aujourd’hui et toujours les nus…

Quinto Albicocco - study of nude, 1935-40

Quinto Albicocco – study of nude, 1935-40

Quinto Albicocco - nude in the river 1935-40

Quinto Albicocco – nude in the river 1935-40

Quinto Albicocco - nude in the river , 1935-40 - Copie

Quinto Albicocco – nude in the river , 1935-40 – Copie

Quinto Albicocco - study of nude, 1935-40

Quinto Albicocco – study of nude, 1935-40

Quinto Albicocco - nude study, double exposure, 1930s

Quinto Albicocco – nude study, double exposure, 1930s

Quinto Albicocco - portrait aux cigarettes double exposure,1930s

Quinto Albicocco – portrait aux cigarettes double exposure,1930s

 

 

 

 Association Quinto A

 

 

Nelly’s – Nelly Sougioultzoglou, Mona Paeva, 1927

Nelly Sougioultzoglou is born in Aidini of Asia Minor, in 1899. In 1912 she finds herself a pupil at the Omirio Girl’s School of Smyrni and in 1919 she lives through the destruction of her homeland by the Turks. The daughter of the wealthy merchant Christos Sougioultzoglou then leaves for Dresden to study music and painting. In 1922 her family settles in Athens and Nelly decides to study photography, hoping to make a living out of it. Her teacher is initially the well-known Hugo Erfurt. Later she is tutored by the modernist Franz Fiedler.

Miss Sougioultzoglou returns to Greece in 1924 and opens her first photo studio in Ermou St. The city’s bourgeoisie considers it a sign of fine taste to have their portraits done by the young artist who at the same time practices her art by taking pictures of ancient monuments and small yards of Athenian houses. It is thus that Nelly’s era begins.

Nelly’s focuses on the pure orders of the Acropolis monuments that fascinate her. She soon decides to give them a face and set them in motion. She meets Mona Paiva, the Comedie Francaise dancer, and suggests to her that it would be a good idea if she could pose for her in the nude on the holy rock. Permission is granted by the authorities as she is by then well known and accepted by the Athens high society. Paiva obliges, and starts to dance inside the Parthenon holding an olive branch. The Leica of Nelly’s captures her smooth motion, creating a series of unique shots. The dancer takes with her this exceptional piece of work, which will be published a little later in a French illustrated magazine. The scandal breaks out immediately in prudish Athenian society.

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Her avant-garde pictures of nude Mona Paeva on the Parthenon were published at the French magazine Illustration de Paris and caused a scandal in the small city of Athens of that time. She was defended by Pavlos Nirvanas in his column in Elefthero Vima newspaper (May 1929). he wrote,  »the beautiful priestess, unfastening her girdle in front of Apollo, throwing all the robes covering her divine nudity and bathing in the light, a body like a statue and a rosy complexion like the smile of dawn. And on the other hand I see respectable gentlemen sitting around a table, scratching their heads and writing about desecration. Desecration would occur if, in the throes of archaeological enthusiasm, they happened to throw off their clothes on the Parthenon marbles and pretended to be Hermes of Praxiteles… »
Since her studies and her nudes at Fiedler’s studio in Germany, Nelly removed the background’s elements by focusing her attention on the theme, resulting in reversing voluntarily the references of orientation and the final image to be formed as a mix of realistic and abstract types.
In that way, she managed to incorporate the spectator’s wonder as an element of the image. Knowing that she is the one directing the spectator’s gaze through the lens of the camera and that he will identify with her position, she accentuated the wonder by giving viewers the chance to read the image in a double way in relation to the earth’s horizon.
Her classical education and admiration of Ancient Greek civilization contributed to her photographic work in Acropolis in a way that the latter has become decisive for the artist and also for the history of photography and architecturel.
In her portraits Nelly’s uses artificial light, leaving one part of the form in the dark, while the background remains empty, as a reference to the Great Masters of the Renaissance. The aim of this work was the search for the spiritual element, the poetic atmosphere and the demonstration of the form’s most profound essence.
During World War II, she went to the United States, where she stayed for 27 years and The Metropolitan Museum of New York bought a large series of her Acropolis photographs.
In 1966 she returned to Greece and presented her work in numerous exhibitions, with the last being Nelly’s: The Body, the Light and Ancient Greece, the official Greek participation in the Cultural Olympiad of Barcelona in 1992.

Nelly’s [Elli Souyioultzoglou-Seraidari] - Mona Paeva, 1927

Nelly’s [Elli Souyioultzoglou-Seraidari] – Mona Paeva, 1927

Nelly’s [Elli Souyioultzoglou-Seraidari] - Mona Paeva, 1927

Nelly’s [Elli Souyioultzoglou-Seraidari] – Mona Paeva, 1927

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

 

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Nelly’s [Elli Souyioultzoglou-Seraidari] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

 

gellypapalouca

 benaki

 ethniko.net

 academia.edu

 

Eugene Robert Richee

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Bebe Daniels by Eugene Robert Richee

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Bebe Daniels by Eugene Robert Richee

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Bebe Daniels by Eugene Robert Richee

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Bebe Daniels by Eugene Robert Richee

 

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Bebe Daniels by Eugene Robert Richee from She’s a Sheik, Paramount, 1927

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Bebe Daniels by Eugene Robert Richee from She’s a Sheik, Paramount, 1927

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Bebe Daniels by Eugene Robert Richee from She’s a Sheik, Paramount, 1927

 

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Bebe Daniels by Eugene Robert Richee from She’s a Sheik, Paramount, 1927

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Bebe Daniels by Eugene Robert Richee from The Maltese Falcon and other films,Warner Bros., 1931

 

Louise Brooks by Eugene Robert Richee

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Louise Brooks by Eugene Robert Richee from Now We’re in the Air, Paramount, 1927

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Louise Brooks by Eugene Robert Richee

 

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Louise Brooks by Eugene Robert Richee

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Louise Brooks by Eugene Robert Richee

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Louise Brooks by Eugene Robert Richee

Clara Bow by Eugene Robert Richee from Three Weekends, Paramount, 1928

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Clara Bow by Eugene Robert Richee from Three Weekends, Paramount, 1928

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Clara Bow by Eugene Robert Richee from Three Weekends, Paramount, 1928

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Clara Bow by Eugene Robert Richee from Three Weekends, Paramount, 1928

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Clara Bow by Eugene Robert Richee from Three Weekends, Paramount, 1928

Braig- Nu, for Paris Magazine , May 1935

Braig - Etude de nu, Paris Magazine, May 1935

Braig – Etude de nu, Paris Magazine, May 1935

Braig - Etude de nu, Paris Magazine, May 1935

Braig – Etude de nu, Paris Magazine, May 1935

Braig- Nu, for Paris Magazine , May 1935

Braig - Etude de nu, Paris Magazine, May 1935

Braig – Etude de nu, Paris Magazine, May 1935