Emile Bayard ( french)- hommage au Centaure From the series “le Nu esthétique”, photomontage, 1900
Emile Bayard
Archives de Catégorie: photomontage
Mclean Stephenson
Mclean Stephenson, Untitled, from Book III, nd
Mclean Stephenson, Poly, from Book III, nd
Mclean Stephenson, Untitled, from Book III, nd
Mclean Stephenson, Untitled, from Book III, nd
Mclean Stephenson, from Book III,
His site
Willy Elenbaas (1912 – 2008)
Willy Elenbaas ne se destinait pas à un parcours dans l’art. Il a en effet débuté en 1928 comme comptable chez un négociant en céréales, c’est dire comme on est loin de ce que je vais vous présenter aujourd’hui. A cette époque, son salaire et temps libre , il le passe principalement dans la littérature et la lecture. Il aime André Gide, Kafka, et Karl Marx , Kurt Tucholsky.
Il perd son emploi au bout de 4 années et en temps que chômeur, il rejoint la Ligue de la jeunesse communiste et c’est ainsi, qu’il entre en contact avec le milieu artistique et intellectuel de l’époque et ce par le biais de Paul Schuitema et du collectif gauchiste des écrivains travailleurs » ‘Links Richten » , dont il deviendra un membre actif. Là il découvre les possibilités qu’offre la photographie comme « arme » dans la lutte de classe. Wally a donc commencé autour du documentaire social, relevant de ce qu’on appelle La nouvelle photographie. En 1937 Elenbaas représentée à l’exposition « photo 37 », l’une des principales manifestations photographiques d’avant-guerre. Mais c’est précisément à cette époque qu’ il se découvre de plus en plus comme un peintre.
Après la seconde guerre mondiale Elenbaas est reconnu pour ce qu’on nomme « art monumental » et ses applications graphiques sur les bâtiments. comme Ici , ou Ici , Ici, ici. Parfois ceux sont des peintures, parfois des mosaïques, il en réalisera tout au long de sa vie, sur des bâtiments publics, pour des particuliers, des hôtels….
Il poursuit parallèlement à cela son travail de photographe et ce notamment avec son épouse Esther Hartog. ils ont réalisé une série de photos de nus féminins , ce qui lui coûta son poste de professeur à l’académie. Depuis 1942 Les photos de Wally et Esther Elenbaas sont étroitement liées à leur vie personnelle.
Outre orientés mortes et portraits fixes légèrement surréaliste, le quartier était Katendrecht où il a vécu un sujet de prédilection.
Wally Elenbaas- Nu à la fleur ,1953-1955
Wally Elenbaas- Nu ,1953-1955
Wally Elenbaas- Nu avec ombre ,1953-1955
Wally Elenbaas- Nu couché 1953-1955
Wally Elenbaas- Femme avec la poitrine nue 1950-1954
Wally Elenbaas- Nu ,1953-1955
Wally Elenbaas – Liggend naakt,1953-55
Wally Elenbaas – titel onbekend 1953-55
Wally Elenbaas – Zonder Titel, ca. 1960. Collectie Gemeentemuseum Den Haag
Wally Elenbaas – Naakt ,1953-1955
Wally Elenbaas – titel onbekend 1953-55
Wally Elenbaas Firi den Hoedt – Katendrecht 1956-1957
Wally Elenbaas Firi den Hoedt – Katendrecht 1956-1957
Wally Elenbaas Firi den Hoedt – Katendrecht 1956-1957
Wally Elenbaas -Firi den Hoedt – Katendrecht 1956-57
Wally Elenbaas – titel onbekend 1953-55
Wally Elenbaas-Liggend naakt ( nu allongé,1953-1955
Wally Elenbaas – -Liggend naakt ( nu allongé,1953-1955
Wally Elenbaas – Naakt ,1953-1955
Wally Elenbaas – titel onbekend 1953-55
Wally Elenbaas – Naakt ,1953-1955
Wally Elenbaas-Eva ,1955
Wally Elenbaas- Doris , 1953
Wally Elenbaas – Naakt ,1953-1955
Wally Elenbaas – Naakt ,1953-1955
Wally Elenbaas – Liggend naakt,1953-55
Wally Elenbaas – titel onbekend 1953-55
Wally Elenbaas -Zittend naakt ( nu de dos) ,1953-55
Wally Elenbaas- Alice 1953-1955
Wally Elenbaas – titel onbekend 1953-55
Wally Elenbaas – Naakt, Amsterdam,1938
Wally Elenbaas -Solarisatie 1933-1934
Wally Elenbaas – Cor Andersen, Amsterdam,1938
Wally Elenbaas – Cor Andersen, Amsterdam,1938
Wally Elenbaas – Zittend naakt ,1953-55
Wally Elenbaas – Nu au miroir, 1953-1955
Wally Elenbaas- Zonder titel, 1960
Wally Elenbaas -Naakt ( Nu), 1950
Wally Elenbaas – Zonder Titel, 1960. Collectie Gemeentemuseum Den Haag
Wally Elenbaas Naakt ( nu) 1956 1957
Wally Elenbaas-mirror Naakt in gebroken spiegel ,1950
*****Elenbaas-de Hartog Esther*****
Elenbaas-de Hartog Esther- Naakt in gebroken spiegel ,1953-1955
Elenbaas de Hartog Esther -naakt ( nu) 1953-55
Elenbaas-de Hartog, Esther -Liggend naakt met schaduwen 1953-1955
Elenbaas-de Hartog Esther – Dubbeldruk,1953-55
Elenbaas-de Hartog Esther Dubbeldruk,1953-55
Elenbaas-de Hartog EstherDubbeldruk,1953-55
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Wally Elenbaas -naakt surrealistische met het hoofd van de eend 1939-40
Wally Elenbaas -naakt surrealistische met het hoofd van de eend 1939-40
Wally Elenbaas-The Arms 1938-39
Wally Elenbaas-The Arms 1938-39
Wally Elenbaas-handschoen, 1932-39
Wally Elenbaas – Double portrait, 1950’s
Wally Elenbaas – De Veerman, 1985
Wally Elenbaas – De Veerman I , 1985
Wally Elenbaas, Zonder titel,
Son site presentant ses multiples facettes
le musée où vous pouvez retrouver son travail
lecture Wally Elenbaas -De honderd gezichten van Esther Hartog, ed° DuoDuo 2002 ( mais c’est en néerlandais, ceci dit vous y trouvez bon nombre de travail photographique ainsi que celui de sa femme Esther)
Max Ernst – Midnight Passes above the Clouds. 1920
Max Ernst (French, born Germany, 1891–1976). Midnight Passes above the Clouds. 1920 via MoMa
via MoMa
Domicelė Tarabildienė (1912–1985)
« Domicele Tarabildiene was a well known interwar artist whose spectrum of creative means and expression was wide – engraving, book illustration and applied graphics, painting, and sculpture. Her poetic and surreal photography, however, has only recently attracted public attention in Europe. This exhibition is the first time this work has been seen in Scotland – indeed the UK – and presents 34 signficant photographs from the early 30s, most using the photomontage technique. “What is fascinating is not just the artist’s courage in exploring experimental forms of expression, but also her decision to be her own model in the photographs. Her artistic exploration crossed the line of experimentation, and testifies to her interest in the avant-garde constructivist ideas of the time, as well as her exceptional ability to express herself creatively in various art forms. Tarabildiene is a symbol of human emancipation; although she was born in the countryside, she matured as an artist in the town, and used it as a source of creative inspiration.” Text By Ieva Mazuraite-Novickiene, National Gallery of Art of Lithuania.
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Domitsele Tarabildené / Domicele Tarabildiené était une artiste Lituanienne ( qui a aujourd’hui son portrait qui orne les timbre) extrêmement polyvalente. Au cours de sa longue carrière professionnelle, elle a aussi expérimenté la peinture et la gravure et le dessin et la sculpture, mais elle a surtout gagné sa notoriété notamment grâce à ses illustrations de livres. La simplicité et l’harmonie de ces œuvres réalisées principalement pour des publications pour enfants, elle les a adoptées dans ses compositions photographiques, et ce au début des années 1930. Les photos de l’artiste lituanien, dont la plupart ont été faites en utilisant la technique du photomontage, sont romantiques et poétique. Neanmoins, on peu noter qu’il ya malgrès tout des références à l’avant-garde constructivistes et surréalistes. Elle apparaît la plupart du temps sur ses photographies sous la forme d’une jeune fille pensive, où avec des ailes de fée et les quelques rares nus qui existent sont toujours d’une grande délicatesse.
Domicelė Tarabildienė -Ni su gipso modeliu, 1931
Domicelė Tarabildienė –Laumžirgis, 1931
Domicelė Tarabildienė 1932
Domicelė Tarabildienė -Nosis Menuliui II. 1932
Domicelė Tarabildienė -Nosis Menuliui 1932
Domicelė Tarabildienė -Žvaigždė, 1932
Domicelė Tarabildienė – vertus , 1932
Domicelė Tarabildienė 1932
Domicelė Tarabildienė – Laumžirgis, 1931
Domicelė Tarabildienė – fotomontažas, 1931
Domicelė Tarabildienė – fotomontažas , 1931
Domicelė Tarabildienė – Photomontage with Lillian Roth skirt, 1932
Domicelė Tarabildienė Vakarine suknele, 1930
Domicelė Tarabildienė – Jočiūnuose, 1932
Domicelė Tarabildienė- Portretas kelias, Kaunas, 1932
Domicėlė Tarabildaitė-Tarabildienė. Domicėlė prie savo skulptūros darbų Meno mokykloje. behind her to his sculpture works of art school Kaunas.1932–1933
Watch her drawings and painting Here
Oscar Gustave Rejlander
Oscar Gustave Rejlander (1813-1875) was part of a generation of radical, young photographers working in the 19th century. Rejlander was also an important pioneer of photomontage, a technique that was later embraced by artists as well as photographers. Photomontage has been used by some of the most influential artists of the 20th century. It is a stylistic element that has been utilised by movements that include the Russian avant-garde, Cubism, Futurism, Surrealism, Pop Art, and that continues to be popular among many contemporary artists.
Rejlander was born in Sweden and is widely regarded as the ‘father of art photography’. Rejlander received his general education in Sweden, and studied painting and sculpture in Rome. After considerable travel he settled in England, where from 1853 he practiced photography. Rejlander rejected contemporary conceptions of photography as a scientific or technical medium. In his efforts to elevate photography to the status of a fine art, he made photographs that imitated painting. He looked to the example of the Old Masters for their use of composition and pose, and often set up his own elaborate compositions in his studio. In many of his works he sought painterly effects by combining and superimposing several negatives to make one print, resulting in a final image that moved beyond the results achieved by traditional photography printing techniques. Rejlander was well known for his ability to capture an emotion or sentiment in his work. A series of photographs of facial expressions and gestures made by Rejlander was used by Charles Darwin in his Expression of the Emotions in Man and Animals (1872).
Although he enjoyed a period of critical acclaim, Rejlander died impoverished. However, his influence extended for decades in the form of increasingly frequent debates regarding the merits of pictorialism, painterly effects and the value of more sharply detailed work. A large collection of Rejlander’s work is currently on display at The National Media Museum, Bradford.
Oscar G. Rejlander- Two Ways of Life, 1857
Oscar Gustave Rejlander- Reclining female nude artists’ study, dorsal’, 1857
Oscar Gustave Rejlander Draped nude on animal-skin rug, 1855s
Oscar Gustave Rejlander, Untitled, c 1864
Oscar Gustave Rejlander Woman reading a letter , Wolverhampton 1860
Oscar Gustave Rejlander- Woman with black lace veil 1860
Oscar Gustave Rejlander- The Goddess Nicotina, 1856-59
Oscar Gustav Rejlander – The Dream, 1860
Oscar Gustav Rejlander – Hard Times, 1860
Oscar Gustav Rejlander -Two Ways of Life, 1857 (print 1920s)
Rude Britannnia – Oscar Gustave Rejlander from Henry Lambourne on Vimeo.
More Here
Edmund Kesting Portraits double exposition et photomontage
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
Laurence Le Guay ( Australian 1917-1990)
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](https://lapetiitemelancolie.files.wordpress.com/2012/10/laurence-le-guay-future-fashion-1960s-vintage-silver-gelatin-print_e.jpg)
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, Half-Indonesian Model, c1960s. Vintage silver gelatin
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
Claude Cahun
« Dans la nuit noire. En attendant de voir clair, je veux me traquer, me débattre […]. Je ne voudrais coudre, piquer, tuer qu’avec l’extrême pointe. Le reste du corps, la suite, quelle perte de temps ! Ne voyager qu’à la proue de moi-même. »
Claude Cahun, Aveux non avenus
Claude Cahun – Aveux non avenus , photomontage ( réalisé entre 1919 et 1929), publié en 1929
Arturo H. Medrano
Arturo H. Medrano -246, 2011
La Petite Mélancolie 
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