In the mid 1930s, she appeared in a popular Broadway show, Lady Precious Stream, by S.I. Hsiung. Perhaps Sze’s greatest success was as a writer. The author of several books of fiction and non-fiction, she was a well-known columnist for the New York Post and a contributor to national magazines.( she was the daughter of a Chinese ambassador to England and the United States)
…Olga Solarics (1896-1969) and her husband Adorja’n von Wlassics (1893-1946) ran the Manasse’ Foto-Salon in Vienna from 1922-1938. Olga seems to have been the one interested in the photographic nude. She (or they) exhibited at the 1st International Salon of Nude Photography in Paris in 1933…”
“…Studio Manassé, which flourished in the 1930s in Vienna, captured morethan just portrait photography bursting with erotic charge; it immortalized the fluid state of beauty and the “new woman”: confident in her own sexuality as she struggled to redefine her position in the modern world. Each picture offers a conflict of concepts, as provocative poses are presented in such traditional roles that the cynicism intended renders them humorously absurd . Adorjan and Olga Wlassics, a husband-and-wife team, founded Studio Manassé in the early 1920s.
The first Manassé illustrations appeared in magazines in 1924, a booming industry at the time, as the movie industry skyrocketed and publications aimed to satisfy a public obsessed with glimpses into the world of glamour. Attracting some of the leading ladies of the time from film, theater, opera, and vaudeville,Studio Manassé created masterpieces, employing all the techniques of makeup, retouching, and overpainting to keep their subjects happy while upholding an uncompromised artistic vision.Molded bodies were dreams with alabaster or marbel-like skin; backgrounds were staged so that the photographer could control each environment. And as their art found a home, the Wlassics found themselves able to afford a pattern of life similar to those reflected in their photographs. Their clients ran the gamut, from the advertising agencies to private buyers. When the Wlassics opened a new studio ni Berlin, their business in Vienna was managed more and more by associates, until 1937, when the firm’s name was sold to another photographer. Adorjan passed away just ten years later; Olga remarried and died in 1969…”
Edward est le fils de Jean-Pierre et Marie Kemp Steichen. Sa famille émigre aux États-Unis en 1881 C’est à la Milwaukee’s American Fine Art Company qu’à l’âge de quinze ans Edward apprend l’art et la technique de la lithographie. Dès 1895, il commence alors à photographier son entourage et la campagne environnante, se distinguant déjà par ses compositions d’ambiance, son utilisation poétique de la lumière, son goût pour le clair-obscur romantique. Il est naturalisé américain en 1900 avant de retourner en Europe où il s’installe à Paris.
Edward Steichen se fait connaître comme peintre au tournant du XXe siècle. En 1900, avant de s’installer à Paris, il passe par New-York où il rencontre Alfred Stieglitz.
Lorsqu’il arrive à Paris il arrête ses études de dessin et commence une série de portraits des « Grands Hommes » parmi ceux-ci il y a Anatole France, Richard Strauss, George Bernard Shaw ou encore Henri Matisse.
Il rencontre à ce moment Auguste Rodin Le sculpteur lui ouvre les portes de son atelier de Meudon ; il réalisera plusieurs séries de photographies de lui ainsi que de ses sculptures. Steichen adhère ainsi au mouvement pictorialiste, en devient l’un des maîtres
En 1902, il rejoint Alfred Stieglitz aux États-Unis. Il participe, avec lui, à la création de Photo-Secession, selon Stieglitz c’est un mouvement qui veut « faire sécession avec l’idée convenue de ce que constitue une photographie. » Ensemble, ils éditent en 1903 la revue Camera Work dans laquelle les photos sont mises en valeur. Ils font découvrir aux Américains les artistes d’avant-garde de la photographie française. La même année, il crée sa propre galerie d’art à New York, The Photo-Secession Galleries, ou « 291 ».
En 1911, il réalise ce qui est considéré historiquement comme la première photographie de mode, publiée dans la revue française Art et Décoration de Lucien Vogel.
Après la Première Guerre mondiale, au cours de laquelle, il revient à la « straight photography », il évolue ensuite progressivement vers la photographie de mode. Au début des années 1920, l’éditeur américain Condé Nast le choisit pour devenir le photographe en chef des publications du groupe, imposant ses exigences en matière de photographie : « La distinction, l’élégance et le chic. » Il travaille particulièrement pour Vanity Fair et pour Vogue, magazines pour lesquels il réalise notamment de nombreux portraits de célébrités, démontrant une grande capacité à mettre en valeur ses sujets. Il travaillera également étroitement avec Carmel Snow d’Harper’s Bazaar.
Il photographie Gloria Swanson en 1924, puis l’une de ses photographies de l’actrice Greta Garbo, datant de 1928, parue en couverture du magazine Life le , est considéré comme l’un des portraits inoubliables de l’actrice.
Pendant la Seconde Guerre mondiale, il est directeur de l’Institut photographique naval (Naval Photographic Institute). Son film documentaire, The Fighting Lady, remporte en 1945 l’Oscar du meilleur documentaire.
À partir de 1947 et jusqu’en 1962, Steichen est le directeur du département de la photographie du MoMA, le musée d’art moderne de New York.
Edmund Kesting – A painter sees through the objective (Ein Maler sieht durch’s Objektiv), 1930 , it’s Book page from Edmund Kesting Ein Maler sieht durch’s Objektiv (Halle: Fotokino, 1958)
Edmund Kesting -Alarm (Totentanz von Dresden) 1945
Edmund Kesting – Unter Trümmern (Beneath Ruins – negative montage). 1945
Edmund Kesting -Zwischen Trämmern 1945
Edmund Kesting- UNTITLED (FIGURE AND OUTLINE), 1930 – Copie
Edmund Kesting -Portrait with shadows, 1930 – Copie
Edmund Kesting – Woman’s Head with lily, 1935
Edmund Kesting – Gerda Kesting Photographing Sunflowers (negative montage). 1930s
Edmund Kesting – Portrait of the his wife, Gerda Kesting? 1940
Edmund Kesting – Self-portrait as painter with pipe”, 1928-29
Edmund Kesting – from Edmund Kesting , « Ein Maler sieht durchs Objektiv », ed velag halle,1958
Edmund Kesting – from Edmund Kesting , « Ein Maler sieht durchs Objektiv », ed velag halle, 1958
Edmund Kesting – from Edmund Kesting , « Ein Maler sieht durchs Objektiv », ed velag halle, 1958
Le Guay commenced his career during the 1930s with surrealist photography, and integred Dayne Studios in 1935 at the age of 18. He became a member of the prestigious Sydney Camera Circle and the Contemporary Camera Groupe, in 1938, which included Max Dupain and Olive Cotton, as well as several older photographers including Harold Cazneaux and Cecil Bostock. The Groupe was committed to practising and promoting a modern Australian approach to photography. Le Guay, like Dupain and other members, was interested in European modernism and wanted to find a way to use this style to create uniquely Australian images.
During the second war he was a war photographer for the RAAF. During WWII he was a war photographer for the RAAF.
After opening his studio in George Street, in Sydney , he became a partner with John Nesbett in 1947 and began to focus on fashion photography and other advertising work until the closure of the studio during the early 1970s. Up to this time Le Guay was Sydney’s leading fashion photographer. He then concentrated on publishing books on his photography, editing photographic books and magazines, and giving lectures.
He Awarded the Commonwealth Medal for his contributions towards photography in 1963, prominent Australian photographer // From Book by Newton, « Shades of Light » 1998
Laurence Le Guay -Model With Spiny Plant,1960s. Vintage silver gelatin print
Laurence Le Guay- [Future Fashion], 1960s. Vintage silver gelatin print
Laurence Le Guay- Quintet Of Bikinis, 1960s. Vintage silver gelatin print.
Laurence Le Guay- Marietta Nagel, Young Lovers In The Grass,1960s. Vintage silver gelatin print
Laurence Le Guay- Dance movement , 1946
Laurence Le Guay- No. 2 Nude, 1949
Laurence Le Guay- No. 2 Nude, 1949
Laurence Le Guay- Sylphides 1940s photomontage, gelatin silver
‘The progenitors’ is one of a series of montage works that Le Guay produced on the theme of modernism and the human condition. In the image, the nude man and woman are positioned as massive figures within an industrial landscape. The woman looks skyward with one hand pressed to her temple, while the man is seated at her feet and gazes up at her and the factory towers. The pose of the woman echoes the towers of the factory behind her, while the light and cloud suggest the enlightenment of the industrial world. The implication is that the couple are a modern Adam and Eve, with their ability to produce a new Australian race intrinsically linked to the productive capabilities of the modern industrial machines behind them.
« The title of Le Guay’s work potently suggests the complex mix of issues regarding race, heredity and modernity that circulated during the 1930s … A progenitor can mean a spiritual, political or intellectual predecessor and, in this context, the couple offer the viewer the reassuring promise of future prosperity. » From Isobel Crombie in « Body culture: Max Dupain, photography and Australian culture, 1919–1939″, Peleus Press , 2004
Laurence Le Guay- The progenitors , 1938 gelatin silver photograph, toned montage
Laurence Le Guay- No title (War montage with child and soldier) , 1939,gelatin silver photograph
Laurence Le Guay- No title (War montage with globe), 1939 gelatin silver photograph
Laurence Le Guay- Background for Birth, Published in Photograms of the Year 1940
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