All the articles about Manassé HERE
All the articles about Manassé HERE
« 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
“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
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