Francesco Viscuso- Pandaenium ( the best contemporary for me)

Francesco Viscuso- Pandaenium, chapitre III Divoratori d'Ombre 16

Francesco Viscuso- Pandaenium, chapitre III Divoratori d’Ombre 16

Francesco Viscuso- Pandaenium, chapitre III Divoratori d'Ombre 04

Francesco Viscuso- Pandaenium, chapitre III Divoratori d’Ombre 04

Francesco Viscuso- Pandaenium, chapitre II THE PRISONER

Francesco Viscuso- Pandaenium, chapitre II THE PRISONER

Francesco Viscuso- Pandaenium, chapitre II Sogni e Allucinazioni Est-ce qu'il n'y aura pas de pleine lune ce soir- TRITTICO

Francesco Viscuso- Pandaenium, chapitre II Sogni e Allucinazioni Est-ce qu’il n’y aura pas de pleine lune ce soir- TRITTICO

Francesco Viscuso- Pandaenium, chapitre II Sogni e Allucinazioni IL TERZO PASSO TRITTICO

Francesco Viscuso- Pandaenium, chapitre II Sogni e Allucinazioni IL TERZO PASSO TRITTICO

Francesco Viscuso- Pandaenium, chapitre II Sogni e Allucinazioni Il Sonno 1

Francesco Viscuso- Pandaenium, chapitre II Sogni e Allucinazioni Il Sonno 1

Francesco Viscuso- Pandaenium, chapitre I

Francesco Viscuso- Pandaenium, chapitre I

 

- Francesco Viscuso Francesco Viscuso- Pandaenium, chapitre II  Sogni e Allucinazioni - The Bride

– Francesco Viscuso Francesco Viscuso- Pandaenium, chapitre II Sogni e Allucinazioni – The Bride

 

Francesco Viscuso – PANDAEMONIUM – Photomontage – (accoucher des visions) comme dire voir et être vu, 2012.

Francesco Viscuso – PANDAEMONIUM – Photomontage – (accoucher des visions) comme dire voir et être vu, 2012.

 

His Site

Francesca Woodman- Study with fox, 1980

Francesca Woodman- Study with fox, 1980

{a unique object, a positive photographic transparency showing The Photographer Posed with a Fox Skin, taped to a handmade postcard, superimposed with the photographer’s return address and the inscription ‘a combination fox tripod carrying case and a girl imitating it’ by the photographer in ink, addressed by her to Lee Witkin in ink and with postage stamp and 3 March 1980 postmark on the reverse} @ mutualart

Egon Schiele -Graphites

 

Egon Schiele, Kümmernis ( grief) , 1914

Egon Schiele, Kümmernis ( grief) , 1914

Egon Schiele - Kauernde (Squatting Woman); from the portfolio "Das graphische Werk von Egon Schiele (The Graphic Work of Egon Schiele)"

Egon Schiele – Kauernde (Squatting Woman), from the portfolio « Das graphische Werk von Egon Schiele (The Graphic Work of Egon Schiele)

Egon Schiele, Fille couchée sur le dos, les bras et les jambes croisées 1918

Egon Schiele- Mädchen auf dem Rücken, die Arme und Beine gekreuzt liegen (Fille couchée sur le dos, les bras et les jambes croisées ), 1918

Egon Schiele, Mädchen auf dem Rücken liegend ( fille couché sur le dos ) 1911

Egon Schiele, Mädchen auf dem Rücken liegend ( fille couché sur le dos ) 1911

Egon Schiele, Porträt einer Dame( Portrait of a Lady), 1908

Egon Schiele, Porträt einer Dame( Portrait of a Lady), 1908

Egon Schiele 1910

Egon Schiele- Frau eingewickelt (femme enveloppée ) 1910

Egon Schiele- nackte Mädchen mit Socken( fille nue avec des chaussette), 1912

Egon Schiele- nackte Mädchen mit Socken( fille nue avec des chaussette), 1912

Schiele Egon -Nu allongé chaussé de bottines (Reclining Nude with Boots),1918

Schiele Egon -Nu allongé chaussé de bottines (Reclining Nude with Boots),1918

Egon Schiele -Zwei Akte mit Stiefeln (Two nudes with boots) 1911

Egon Schiele -Zwei Akte mit Stiefeln (Two nudes with boots) 1911

Egon Schiele -Der Kuss (The Kiss) , 1911

Egon Schiele -Der Kuss (The Kiss) , 1911

 More Egon Schiele

Walery

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Walery for A.Noyer ed°- French Nude Snake Dancer, 1910s { French postcard}

La Belle Dherlys

The topless performer La Belle Dherlys, wearing a long string of pearls around her head, during a performance at the Revue du Casino de Paris.1st March 1921.

Sabourin for A Noyer Studio -French Nude La belle DHERLYS  et Harry Pilcer Dancer ,1921{French postcard}

Sabourin for A Noyer Ed°-French Nude La belle DHERLYS et Harry Pilcer Dancer ,1921{French postcard}

Sabourin for A Noyer Studio -French Nude La belle DHERLYS  et Harry Pilcer Dancer ,1921{French postcard}

Sabourin for A Noyer Ed° -French Nude La belle DHERLYS et Harry Pilcer Dancer ,1921{French postcard}

Sabourin for A Noyer Studio -French Nude La belle DHERLYS Dancer,1910s {French postcard}

Sabourin for A Noyer Ed° -French Nude La belle DHERLYS Dancer,1910s {French postcard}

Unkwonw- photomontage [based on photography of alfred cheney johnston, 1920’s]

Unkwonw- photomontage [based on photography of alfred cheney johnston, 1920’s]

Berenice Abbott – The dancer Lucia Joyce

Berenice Abbott- The dancer James Joyce's daughter  Lucia Joyce , 1928

Berenice Abbott- The dancer James Joyce’s daughter Lucia Joyce , 1928

Berenice Abbott- The dancer James Joyce's daughter  Lucia Joyce , 1928

Berenice Abbott- The dancer James Joyce’s daughter Lucia Joyce , 1928

Berenice Abbott- The dancer James Joyce's daughter  Lucia Joyce , 1928

Berenice Abbott- The dancer James Joyce’s daughter Lucia Joyce , 1928

Lucia Joyce ( James Joyce’s daughter)- Bal de Bullier- Paris, 1929. (Lucia Joyce dansant dans un costume fait par elle-même pour une compétition au Bal Bullier à Paris en mai 1929.
Courtesy The Stuart Gilbert Collection, Harry Ransom Center, University of Texas at Austin.Photographe inconnu / but by this serie we can imagine that was Berenice Abbott]

 

Studio Harcourt- Lucienne Boyer, 1940

Studio Harcourt- Lucienne Boyer, 1940

Studio Harcourt- Lucienne Boyer, 1940

Studio Harcourt- Lucienne Boyer, 1940

Studio Harcourt- Lucienne Boyer, 1940

Studio Harcourt- Lucienne Boyer, 1940

Brassaï -Corset & Résilles

Brassaï -Les resilles , 1931-32

Brassaï –Les Résilles , 1931-32

Brassai-Le corset noir, vers 1934 probablement plus 1932 (cf photo au dessus)

Brassai-Le corset noir, vers 1934 probablement plus 1932 (cf photo au dessus)

Brassaï, La Casque de Cuir, 1932.

Brassaï, La Casque de Cuir, 1932.

Brassaï, La Casque de Cuir, 1932

Brassaï, La Casque de Cuir, 1932

Brassai -Nu,( les Résilles), 1932

Brassai -Nu,( les Résilles), 1932

Brassaï- Le phénomène de l’extase, 1933

 

Brassaï – Le phénomène de l_extase, 1933

 

Pierre Bonnard

Bonnard Pierre- Marthe assise, la main gauche à la nuque, 1900-1901. Jardin de Montval.

Bonnard Pierre- Marthe debout au soleil, Jardin de Montval, lieu-dit de Marly-le-Roi, 1900- 01

Bonnard Pierre- Marthe debout au soleil, Jardin de Montval, lieu-dit de Marly-le-Roi, 1900/ 01

Bonnard Pierre- Marthe debout au soleil, Jardin de Montval, lieu-dit de Marly-le-Roi, 1900- 01 positif

Bonnard Pierre- Marthe debout au soleil, Jardin de Montval, lieu-dit de Marly-le-Roi, 1900- 01 positif

Studio Harcourt Nu féminin, c. 1950.

Studio Harcourt  Nu féminin, c. 1950.

Studio Harcourt  Nu féminin, c. 1950.

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922

Man Ray – Portrait of the dancer/ choregrapher Bronislava Nijinska, Paris, circa 1922

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922; November 1922 issue; Courtesy Condé Nast Archive

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922; November 1922 issue; Courtesy Condé Nast Archive

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922; November 1922 issue; Courtesy Condé Nast Archive

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922; November 1922 issue; Courtesy Condé Nast Archive

Man Ray – Portrait of the dancer/ choregrapher Bronislava Nijinska, Paris, circa 1922

Man Ray- Portrait of the Dancer Helen Tamiris, 1925

Helen Tamiris was a pioneer of American modern dance.

American choreographer, modern dancer, and teacher, one of the first to make use of jazz, African American spirituals, and social-protest themes in her work.

« Helen Tamiris (1903-1966), a founder of modern dance in the 1920s and 1930s, always kept a foot firmly planted in the commercial theater. She was trained in ballet at the Metropolitan Opera and by Michel Fokine, as well as in natural dancing at New York’s Isadora Duncan Studio. Her early career combined a soloist position in the Bracale Opera Company with appearances in nightclub and Broadway revues. Yet her first recital in 1927 demonstrated a personal expression of abstract movement and frank social analysis. A year later she adopted the Negro spiritual as a métier for life as conflict. Politically active, Tamiris helped to lead development of the Dance Repertory Theatre and dance initiatives under the Works Progress Administration Federal Art Project. She founded and chaired the American Dance Association and helped to set up the Federal Dance Project. Following World War II, she turned to Broadway to attract large audiences for a modern dance aesthetic that aspired to shape consciousness of the people. Tamiris choreographed eighteen musicals between 1943-1957, artfully integrating dance into such productions as Up in Central Park, Annie Get Your Gun, and Fanny. She taught movement to dancers and actors and formed the Tamiris-Nagrin Dance Workshop in 1957 with Daniel Nagrin, who was her husband at the time. » Helen Tamiris, an essay by Elizabeth McPherson.

Man Ray- Portrait of the Dancer Helen Tamiris, 1925-1929

 

Man Ray- Portrait of the Dancer Helen Tamiris, 1925

Man Ray- Portrait of the Dancer Helen Tamiris, 1925-1929

Man Ray- Portrait of the Dancer Helen Tamiris, 1925

Man Ray- Portrait of the Dancer Helen Tamiris, 1925-1929