Curtis Moffat ( American 1887-1949)

Publié par Lapetitemelancolie le 23/09/2013

Edwin Curtis Moffat (11 Octobre 1887 – 1949), mieux connu sous le nom Curtis Moffat, était un photographe , mais aussi un peintre et architecte d’intérieur moderne. originaire de New York. Moffat a étudié la peinture à New York et à Paris avant d’exposer son travail à New York pendant la Première Guerre mondiale.Il a épousé l’actrice et poète Iris Arbre, et le couple s’installe à Londres après la guerre.

Parmi les nombreuses influences artistiques surréalistes, a eu une relation très étroite avec Man Ray, avec qui il a collaboré à Paris échanger des idées, des styles et des installations. Outre sa collaboration avec Man Ray, il fût également très proche de Cecil Beaton avec qui il a travaillé à de nombreuses reprises tout au long de sa carrière.

Il a ouvert un studio de photographie à Londres en 1925( date à laquelle a été publié dans une édition de 20 exemplaires par Factum Art des célèbres portraits de Nancy Cunard, écrivaine) .

Quatre ans plus tard, il a ouvert une salle d’exposition de design d’intérieur et une galerie, affichant un mélange de mobilier moderne tribales, antique et africains. Sa maison est devenue un salon populaire pour les artistes, les intellectuels et les gourmands.
Il est revenu à l’Amérique en 1939 avec sa seconde épouse, de s’installer sur Vignoble Martha, où il a continué à peindre.

curtis moffat mrs hamilton, 1930

Curtis Moffat – Mrs Hamilton, 1925-1930

Curtis Moffat – Mrs Hamilton, 1925-1930

Curtis Moffat -‘Nude’ About 1925-1930
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat -‘Nude’ About 1925-1930 © Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat- Female nude, about 1930
© Victoria and Albert Museum

Curtis Moffat-Female Nude, c.1925

Curtis Moffat Female Nude with a Mirror 1920’s

Curtis Moffat- Figure study, london,

Curtis Moffat- woman relaxing 1920

Curtis Moffat- figure study, london, 1920s

Curtis Moffat-Woman’s legs, about 1925

Curtis Moffat-Woman under water spout, about 1925

Curtis Moffat-Figure study, about 1925

Curtis Moffat -Woman choosing her clothes

Curtis Moffat-‘Lady Diana Cooper’ (Viscountess Norwich), About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat- ‘Lady Diana Cooper’ (Viscountess Norwich), About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat, ‘Nancy Cunard’, About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat- Nancy Cunard, detail of diptych, 1925

Curtis Moffat -Nancy Cunard (1898-1965), writer, diptych, London, UK, c.1925. © Curtis Moffat Victoria and Albert Museum

Curtis Moffat & Olivia Wyndham- Nancy Cunard and Louis Aragon, 1926

Curtis Moffat, ‘Tallulah Bankhead’, About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat-Tallulah Bankhead,About 1925 © Victoria and Albert Museum, London

Curtis Moffat, ‘Daphne Du Maurier’, About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat, ‘Daphne Du Maurier’, About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat-Ms Hamilton ,About 1925 © Victoria and Albert Museum, London

Curtis Moffat-Mrs Geoffrey Fry,About 1925 © Victoria and Albert Museum, London

Curtis Moffat-Miss Dean Paul,About 1925 © Victoria and Albert Museum, London

Curtis Moffat-Lady Diana Cooperl,About 1925 © Victoria and Albert Museum, London

Curtis Moffat-Figure study,About 1925 © Victoria and Albert Museum, London

Curtis Moffat -Lady Diana Cooper devant un portrait de man Ray

Curtis Moffat -Lady Diana Cooper devant un portrait de man Ray et dans l’atelier de Motaff, où l’on aperçoit le portrait d’Isis sa femme, 1925

Curtis Moffat- Woman’s back, About 1925 © Victoria and Albert Museum, London

Curtis Moffat- Rossemary Fothergill,About 1925 © Victoria and Albert Museum, London

Curtis Moffat – Portrait of a woman

Curtis Moffat, ‘Ms Greville’ About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat, Portrait of a woman, About 1925 © Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat- Mrs Earp (one of a diptych) london, 1925-30

Curtis Moffat, ‘Tallulah Bankhead’, About 1925 © Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat, ‘Snapshot’, About 1925-1930

Curtis Moffat- Dame Gladys Cooper, chlorobromide print, circa 1924

Curtis Moffat-‘Cecil Beaton’, About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat-‘Cecil Beaton’,About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat-‘Cecil Beaton’, 1928

Curtis Moffat-Cecil Beaton ,About 1920 © Victoria and Albert Museum, London

Curtis Moffat, and Olivia Wyndham- Cecil Beaton, bromide print, circa 1928

Curtis Moffat, and Olivia Wyndham bromide print on card mount with green tint, circa 1928

Curtis Moffat, and Olivia Wyndham, bromide print on card mount with red tint, circa 1928

Curtis Moffat, and Olivia Wyndham, bromide print on card mount with green tint, circa 1928

Curtis Moffat-Nancy Beaton, matte bromide print, 1920s

Curtis Moffat, ‘Still life’,About 1925-1930
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat- a pair of acrobatic dancers of the Jazz Age,’Hoffman and Greville’,About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat, ‘Hoffman’, About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat, Ms Hoffman, About 1925 © Victoria and Albert Museum, London

Curtis Moffat- Ms Greville Gelatin silver print. London, UK, c.1925. © Curtis Moffat Victoria and Albert Museum

Curtis Moffat-Ms Greville, diptych,About 1925 © Victoria and Albert Museum, London

De nombreuses études de nus de Moffat comprennent une série de modèles féminins posant avec des masques africains. Bien qu’elles aient étées inspirées par les célèbres photographies « Noir et Blanche de Man Ray » (1926), l’intérêt pour l’Afrique et ses sculpture était aussi la dernière tendance avant-garde de cette période.

Curtis Moffat, ‘Nudes with African masks’, About 1930
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat, ‘Nudes with African masks’, About 1930 © Victoria and Albert Museum, London /Estate of Curtis Moffat

Curtis Moffat, ‘Osbert and Sacheverell Sitwell’, (the literary brothers Sitwell as a pair of doubles, seated back-to-back.), About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat- ‘Osbert and Sacheverell Sitwell’ ( the literary brothers Sitwell as a pair of doubles, seated side-by-side) .About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat, ‘Unidentified couple’, about 1925.
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat- Portrait of a man, Gelatin silver print. London, UK, c.1925. © Curtis Moffat Victoria and Albert Museum

Curtis Moffat, ‘Portrait in mirror’, about 1930.
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Moffat a fait sans appareil photo ces photogrammes en plaçant des objets directement sur papier photographique, qu’il a ensuite brièvement exposé à la lumière. Il a appris la technique de Many Ray, qu’il appelait les Rayographes de « ses photogrammes » ils ont étés publiés par par Factum Art.

Curtis Moffat, ‘Abstract Composition’, About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat
To make this striking image of a dragonfly, Moffat placed the specimen in the photographic enlarger head (in place of a negative) and projected the image onto photographic paper

Curtis Moffat, ‘Abstract Composition, Photogram, About 1925
© Victoria and Albert Museum, London/Estate of Curtis Moffat

Curtis Moffat- about 1925

Curtis Moffat – about 1925

Curtis Moffat – Untitled, about 1925

Curtis Moffat- about 1925-29

Curtis Moffat- about 1925-1929

Curtis Moffat- about 1925-29

Curtis Moffat-Figure study,About 1925 © Victoria and Albert Museum, London

Mareille Baum by Hans Natge, Berlin around 1915

Publié par Lapetitemelancolie le 10/09/2013

Mareille Baum by Hans Natge, Berlin around 1915

Mareille Baum by Hans Natge, Berlin around 1915

Mareille Baum by Hans Natge, Berlin around 1915

Baron Adolf de Meyer

Publié par Lapetitemelancolie le 09/09/2013

Adolf de Meyer- Maenad dancing, half-length, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Adolf de Meyer-Maenad dancing, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Adolf de Meyer- Torso of maenad, frontal, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Adolf de Meyer- maenad,, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Adolf de Meyer- Three maenads, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Adolf de Meyer-Maenad, back view, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Adolf de Meyer-Maenad dancing, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Adolf de Meyer-Two maenads, bust-length, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Adolf de Meyer-Maenad, 3-4 length, frontal, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Adolf de Meyer-Maenad, profile to right, bending lower, from Nijinsky, L’Apres-midi d’un Faune, 1912 Palladium print

Laure Albin-Guillot Quelques portraits

Publié par Lapetitemelancolie le 01/09/2013

Laure Albin Guillot –Portrait présume de La princesse Maria Klavdievna Tenicheva (княгина Мария Клавдевна Тенишева), 1908-10

Laure Albin Guillot -Lucienne Boyer, 1935

Laure Albin Guillot – Odile Bagge, 1930

Laure Albin Guillot – Suzy Solidor, vers 1930.

Laure Albin Guillot 1926 Profils et Coiffures Modernes, Hairstyle

Laure Albin Guillot – sans titre (Portrait d’homme) vers 1935

Laure Albin Guillot- Madame Eynard, 23 décembre 1944

Laure Albin-Guillot- Geneviéve Guillot, 1950

Laure Albin-Guillot-Jacqueline Rayet Première ballerine à l’ opera de Paris , 1946

Laure Albin-Guillot-Janine Charrat ( french dancer, choreographer, and ballet director) c.1946

Laure Albin Guillot – Portrait de l’ecrivain Colette photogravure, 1939

Laure Albin-Guillot- André Gide près du masque mortuaire de Pascal, .photogravurec1930-35

Laure Albin-Guillot- Daniel Rops (1901-1965 Ecrivain et historien français, allumant une cigarette, 1950

Laure Albin-Guillot- Jean Cocteau fumant une cigarette, 1939

Laure Albin-Guillot-Jean Cocteau, 1935

Laure Albin Guillot – Hubert de Givenchy par Laure Albin Guillot en 1948.

Laure Albin Guillot – Hubert de Givenchy par Laure Albin Guillot en 1948.

Laure Albin-Guillot- Portrait de Paul Valéry 1935

Laure Albin-Guillot- Portrait de Paul Valéry 1935, dédicacé

Laure Albin Guillot – Paul Valéry, 1935

Laure Albin Guillot Autoportrait, 1935

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

Publié par Lapetitemelancolie le 23/08/2013

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

Nelly’s – Nelly Sougioultzoglou, Mona Paeva, 1927

Publié par Lapetitemelancolie le 16/08/2013

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

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] -Nikolska, a hungarian dancer at the Parthenon, Acropolis-Athens, Greece -1929

Martha Graham Photomontages

Publié par Lapetitemelancolie le 05/08/2013

Martha Graham double exposure, ( photographer unnkwon, probably Barbara Morgan), date unknown, ( probably after 1945)
(Harvard University, Houghton Library)

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Paul Himmel

Publié par Lapetitemelancolie le 04/07/2013

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-® Paul Himmel -Ballet Serenade- 1951-52

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Basil Bailey

Publié par Lapetitemelancolie le 03/07/2013

Basil Bailey était un photographe Englais qui travaillait pour des journaux et magazines notamment « The British Journal », durant le milieu des années 30. Il avait son propre studio « Basil Bailey », sur Parc road Londres n8.