Archives de Tag: dance

Herta Moselsio – Martha Graham in Lamentation, 1930

Publié par Lapetitemelancolie le

« Lamentation (Ballet choreographed by Martha Graham) Performed to music by Zoltán Kodály, Lamentation premiered on January 8, 1930, at New York’s Maxine Elliott’s Theatre. The solo work was performed by Martha Graham in a concert given by the Dance Repertory Theatre. Graham joined dancer/choreographers Doris Humphrey, Charles Weidman, and [Helen] Tamiris to form the Dance Repertory Theatre. The goal was « to give annually a season of continuous dance programs which will be representative of the art of dance in American and will give native artists an outlet for their creative work. » Dance Magazine (April 1930) noted that the work was « a statuesque composition, which relied for much of its eloquence upon an ingenious and simple costume arrangement. » The November 20, 1932, Record (Philadelphia) reviewed a later performance and noted, « When Miss Graham in her Lamentation depicts the dumb agony of grief she does not droop like a flower or attitudinize like Patience on a monument, she is grief from the first stricken bewildered gropings of her head and torso to the last moment when she averts her covered head with a finality that is pitiful and terrible. »by  log

 

Herta Moselsio Martha Graham in Lamentation, No. 1 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 1 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 2 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 2 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 3 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 3 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 4 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 4 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 5 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 5 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 7 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 7 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 9 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 9 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 10 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 10 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 11 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 11 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 12 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 12 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 13 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 13 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 14 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 14 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 15 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 15 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 16 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 16 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 17 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 17 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 18 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 18 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 20 coll martha graham

Herta Moselsio Martha Graham in Lamentation, No. 20 coll martha graham

Edward Steichen – Dancers

Publié par Lapetitemelancolie le

 

Edward Steichen (1879-1973) -Isadora Duncan sous le portique du Parthénon à Athènes, 1920 Toulon, musée d’Art

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.

Dancer, Gilda Gray, in character as a Javanese dancer, wearing a dark, beaded costume with bare legs, and standing on one leg, spreading her arms. Edward SteichenPublication in Vanity Fair, 1923

Edward Steichen- Julia Brokow, Barbara Brokow, and Mrs. Adee Bradley in dance costumes by William Weaver.February 15th, 1925

Edward Steichen- Melissa Yuille, Frances Colby, Mrs. M. Dorland Doyle, Mrs. Martin Littleton Jr., and Mrs. Fal de Saint Phalle pose , wearing dance costumes at the Hotel Plaza for the Persian Fete; Costumes designed by William Weave

Gilda Gray In Priestess Of Night’s High Mysteries by Edward Steichen , Published in Vanity Fair December 1st, 1923

Edward Steichen – The Isadora Duncan dancers of Moscow,1929

Edward Steichen- Dancer Harriet Hoctor , for Vanity Fair, nd

Edward Steichen- Martha Graham 1931

Edward Steichen- The Dancer Martha Graham during a performance of her Primitive Mysteries.February 15th, 1933

Edward Steichen-Martha Graham, NY 1931

Edward Steichen-Cyclamen – Isadora Duncan , Camera Work XLII-XLIII, 1913

Edward Steichen- Margaret Severn , 1923

A. Bert- Sahary Djèli Danseuse orientale, 1920

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A. Bert- Sahary Djèli Danseuse orientale, 1920

A. Bert- Sahary Djèli Danseuse orientale, 1920

 

Madame d’ Ora (d’Ora-Benda) – Gertrude Kraus, 1927

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Madame d’ Ora (d’Ora-Benda) - Gertrude Kraus, 1927

Madame d’ Ora (d’Ora-Benda) – Gertrude Kraus, 1927

Madame d’ Ora (d’Ora-Benda) - Gertrude Kraus, 1927 1

Madame d’ Ora (d’Ora-Benda) – Gertrude Kraus, 1927

 

Madame d’Ora

Publié par Lapetitemelancolie le
Madame D’Ora - Tilly Losch, 1926

Madame D’Ora – Tilly Losch, 1926

 

 

 

Ruth St. Denis in Legend of the Peacock, 1914

Publié par Lapetitemelancolie le
Ruth St. Denis in Legend of the Peacock, 1914 . (Photograph from the Jacob's Pillow Dance Festival Archives, Becket, Massachusetts.)

Ruth St. Denis in Legend of the Peacock, 1914 (Photograph from the Jacob’s Pillow Dance Festival Archives, Becket, Massachusetts.)

 

Barbara Morgan- Doris Humphrey – My Red Fires, 1938

Publié par Lapetitemelancolie le

Barbara Morgan- Doris Humphrey – My Red Fires, 1938

Karl F. Struss (1886 – 1981)

Publié par Lapetitemelancolie le

La réputation de Karl Struss (1886 – 1981) s’est faite lorsque Alfred Stieglitz choisi son travail en 1910 pour le  Salon International de Photographie picturale et par la suite pour le publier publié au sein du celèbre Camera Work en 1912.

Après avoir étudié avec Clarence White, ( avec qui il a travaillé sur la photographie de nu) et collaborer avec  Stieglitz , Karl Struss s’ installe  dans un studio en 1914. Il se spécialise dans le portrait, la publicité, et illustration de magazine. En 1919, Il ‘installe à Hollywood et  devient cameraman de Cecil B. DeMille. Il deviendra plus tard l’un des premiers cinéastes de la génération des fimls dits artistique tels que  Ben Hur (1925) et Sunrise (1927), pour lequel il a reçu le premier prix de l’Académie de la cinématographie.

Ses nus  représentent un changement radical par rapport aux photographies de  paysages architecturaux qui ont défini Sruss comme l’un des plus grands photographes de photo-sécessionniste du XXe siècle, mais ouvrent la voie aux générations futures de photographes de nu.

Publié & parF. Kotausek New York Cit en 1917 est un Portfolio de 48  images, comme l’indique  le titre. Certaines photos sont estampillées avec « Photo prise par Nicholas Muray » ( formidable photographe de la même époque) au verso, je vous indiquerai lesquelles ( avec les liens vers les musées attestant du fait.  Dans Female Figure Struss présente des études de nus, dont la majorité sont  tonalité sepia , mais quelques-unes sont été tirées à l’aide du processus expérimental de couleur Hess-Ives : une première tentative afin d’opérer des séparations de couleurs grâce à l’utilisation de  filtres colorés. Dans ces photographies, Karl Struss abandonne les propriétés du portrait de studio de routine et utilise un appareil photo 4×5 pouces afin  de créer un sentiment d’urgence et de mouvement. La série Female Figure  a libéré le corps de la femme des contraintes vestimentaires et du mouvement « classique », suggérant un retour à la nature.

En raison de sa technique, de nombreuses expositions ont été laissés un peu floue. Toutes les photos représentées dans Female Figure sont contre un mur ou en tissu (toile de fond), parfois drapé dans de la gaze transparente, tenant parfois un objet.

Bien que l’inspiration de M. Struss pour la figure féminine ne soit pas  claire, on soupçonne qu’il a été clairement influencé par le mouvement de la danse moderne, qui, s’est avéré extrêmement populaire auprès des photographes picturales de l’époque. En 1916, Karl Struss a travaillé pour la Compagnie d’opéra Metropolitan et le Ballet Russe, photographiant divers artistes.
Alors que Female Figure  a contribué à établir la norme pour la photographie de nu, elle passa sous contrôle judiciaire pendant cette période. En fait, l’éditeur de Struss a été menacé de poursuites pour distribution de pornographie.   Peu de temps après, les nus de grands artistes comme Frantisek Drtikol, Edward Weston, Man Ray et deviendraient des piliers de l’histoire du nu. mais Karl Kruss est donc le pionnier de cette nouvelle approche.

Il fût aussi très connu en tant que cinéaste des années 1900 aux années 1950 et a également été l’un des premiers pionniers de films en 3-D.

Karl F. Struss- Untitled, From the Series, The Female Figure (Nude in Profile with Arms Outstretched), 1917 published in 48 photographs of the female

Karl F. Struss- Untitled, From the Series, The Female Figure (Nude in Profile with Arms Outstretched), 1917 published in 48 photographs of the female

From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female Karl Struss -Nude Kicking, 1917

From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female Karl Struss -Nude Kicking, 1917 ( format impression individuelle)

Karl F. Struss- Untitled, From the Series, The Female Figure (Nude in Profile Walking like an Egyptian), 1917 published in 48 photographs of the female

Karl F. Struss- Untitled, From the Series, The Female Figure (Nude in Profile Walking like an Egyptian), 1917 published in 48 photographs of the female

Karl F. Struss - A Costumed Dancer, 1917

Karl F. Struss – A Costumed Dancer, 1917

Karl F. Struss Nude Draped in Gauze, plate 32 from the Series, The Female Figure, 1917

Karl F. Struss Nude Draped in Gauze, plate 32 from the Series, The Female Figure, 1917 here  other version

Karl Struss-Untitled, 1917 published in 48 photographs of the female

Karl Struss-Untitled, 1917 published in 48 photographs of the female

Karl Struss-Untitled, From the Series, The Female Figure , 1917published in Karl Struss. From 48 photographs of the female

Karl Struss-Untitled, From the Series, The Female Figure , 1917  variante tirage individuel ( complètement différent)

Karl F. Struss Untitled, (Standing Nude With Drapery), 1917published in 48 photographs of the female

Karl F. Struss Untitled, (Standing Nude With Drapery), 1917published in 48 photographs of the female

Karl F. Struss- Untitled, , 1915 From the Series, The Female Figure, 1917 published in 48 photographs of the female

Karl F. Struss- Untitled, , 1915 From the Series, The Female Figure, 1917 published in 48 photographs of the female

Karl F. Struss- Untitled, From the Series, The Female Figure (Standing Nude With Drapery), 1917 1MURAY, NICHOLAS published in Karl Struss. From 48 photographs of the female

Karl F. Struss- Untitled, From the Series, The Female Figure (Standing Nude With Drapery), 1917 1MURAY, NICHOLAS published in Karl Struss. From 48 photographs of the female ( livre)

Karl F. Struss- Untitled, From the Series, The Female Figure (Standing Nude With Drapery), 1917 1MURAY, NICHOLAS_e

Karl F. Struss- Untitled, From the Series, The Female Figure (Standing Nude With Drapery), 1917 1MURAY, NICHOLAS (livre)

Karl F. Struss- Untitled, From the Series, The Female Figure (Standing Nude With Drapery), 1917 1MURAY, NICHOLAS_e

Karl F. Struss- Untitled, From the Series, The Female Figure (Standing Nude With Drapery), 1917 1MURAY, NICHOLAS ( livre)

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the femaleMURAY, NICHOLAS cf Desha Delteil Performing by Nickolas Muray for Vanity Fair,1921

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the femaleMURAY, NICHOLAS cf Desha Delteil Performing by Nickolas Muray for Vanity Fair,1921 getty.org

Karl Struss -Nudes Kicking, From the Series, The Female Figure ,1917published in 48 photographs of the female

Karl Struss -Nudes Kicking, From the Series, The Female Figure ,1917published in 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss - Semi nude with a fan, 1915 From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss – Semi nude with a fan, 1915 From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss - Nude with a fan, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss – Nude with a fan, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss Untitled, From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl Struss -Nude Kicking, From the Series, The Female Figure ,1917published in 48 photographs of the female figure

Karl Struss -Nude Kicking, From the Series, The Female Figure ,1917published in 48 photographs of the female figure

Karl Struss -Nude Kicking, From the Series, The Female Figure ,1917published in 48 photographs of the female figure

Karl Struss -Nude Kicking, From the Series, The Female Figure ,1917published in 48 photographs of the female figure

Karl Struss -Nude Kicking, From the Series, The Female Figure ,1917published in 48 photographs of the female figure

Karl Struss -Nude Kicking, From the Series, The Female Figure ,1917published in 48 photographs of the female figure

Karl Struss -Nude Walking Like an Egyptian,1917published in 48 photographs of the female

Karl Struss -Nude Walking Like an Egyptian,1917published in 48 photographs of the female

Karl Struss-Untitled, From the Series, The Female Figure , 1917

Karl Struss-Untitled, From the Series, The Female Figure , 1917 ( format impression individuelle)

Karl F. Struss - Female Figure, First Series #9, - 1915. From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss – Female Figure, First Series #9, – 1915. From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female ( format impression individuelle)

Karl Struss -Nude study c.1917 First Series 9 Plate n 6 From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl Struss -Nude study c.1917 First Series 9 Plate n 6 From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss - Female Figure, First Series #9, Plate #12 - Photograph (Vintage toned silver gelatin print) - 1915.

Karl F. Struss – Female Figure, First Series #9, Plate #12 – Photograph (Vintage toned silver gelatin print) – 1915.

Karl F. Struss - Female Figure, First Series #9, 1915. From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl F. Struss – Female Figure, First Series #9, 1915. From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl Struss-Untitled, From the Series, The Female Figure , 1917

Karl Struss-Untitled, From the Series, The Female Figure , 1917

Karl Struss- Reclining Nude ,1917 From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Karl Struss- Reclining Nude ,1917 From the Series, The Female Figure , 1917 published in Karl Struss. From 48 photographs of the female

Vous pouvez retrouvez une partie des planches dans un portfolio vendu avec 24 des planches ( ce qui arrivent souvent, des planches manquent…) mais néanmoins, c’est toujours précieux , c’est quand même 1917 Ici   bukowskis.com ( rubrique auctions)    qui avait était venu aux enchères à Stockholm, en Novembre 2011

Karl F. Struss - Self-Portrait, Grand Canyon, nd

Karl F. Struss – Self-Portrait, Grand Canyon, nd

photof-struss-by-clarence-white-1912_e

Struss by Clarence White, 1912

Karl F. Struss - A Costumed Dancer, 1917

Karl F. Struss – A Costumed Dancer, 1917

Karl Struss- The wave, 1920

Karl Struss- The wave, 1920

Karl Struss -Storm Clouds-192

Karl Struss -Storm Clouds-192

Karl Struss -Dancer -nd

Karl Struss -Dancer -nd

Karl Struss -dance study- 1930

Karl Struss -dance study- 1930

Karl Struss-Standing Nude in Chiffon Draperies- 1915

Karl Struss-Standing Nude in Chiffon Draperies- 1915

Karl F. Struss - Annette.Kellerman.nd

Karl F. Struss – Annette.Kellerman.nd

Karl Struss -Agnes Ayres, 1919-20

Karl Struss -Agnes Ayres, 1919-20

Karl Struss - The Attic Window, Dresden, 1909 -

Karl Struss – The Attic Window, Dresden, 1909

Karl Struss -Rhythm -1921

Karl Struss -Rhythm -1921

Karl F. Struss - Woman And Branch, 1912

Karl F. Struss – Woman And Branch, 1912

Karl F. Struss - landscape 1910

Karl F. Struss -Woman in Field, 1910

Nickolas Muray -Ann Douglas – Denishawn Dancer

Publié par Lapetitemelancolie le

Les planches sont de mauvaises qualités , surexposées, floues. ceux sont les négatifs , ce n’est pas dû à un agrandissement, elles ne l’ont pas étées.

Nickolas Muray -Ann Douglas - Denishawn Dancer 1922

Nickolas Muray -Ann Douglas – Denishawn Dancer 1922

Nickolas Muray -Ann Douglas - Denishawn Dancer 1922

Nickolas Muray -Ann Douglas – Denishawn Dancer 1922

Nickolas Muray -Ann Douglas - Denishawn Dancer 1922

Nickolas Muray -Ann Douglas – Denishawn Dancer 1922

Nickolas Muray -Ann Douglas - Denishawn Dancer,1922

Nickolas Muray -Ann Douglas – Denishawn Dancer,1922

Nickolas Muray -Ann Douglas - Denishawn Dancer,1922.

Nickolas Muray -Ann Douglas – Denishawn Dancer,1922.

Nikolas Muray - Ann Douglas- Denishawn , 1924

Nikolas Muray – Ann Douglas- Denishawn , 1924

Nickolas Muray -Ann Douglas - Denishawn Dancer 1922

Nickolas Muray -Ann Douglas – Denishawn Dancer 1922

Nikolas Muray - Ann Douglas- Denishawn , 1924

Nikolas Muray – Ann Douglas- Denishawn , 1924

Nikolas Muray - Ann Douglas- Denishawn , 1924

Nikolas Muray – Ann Douglas- Denishawn , 1924

Nikolas Muray - Ann Douglas- Denishawn , 1924

Nikolas Muray – Ann Douglas- Denishawn , 1924

Nikolas Muray - Ann Douglas- Denishawn , 1924

Nikolas Muray – Ann Douglas- Denishawn , 1924

Nickolas Muray -Ann Douglas - Denishawn Dancer 1921

Nickolas Muray -Ann Douglas – Denishawn Dancer 1921

source The George Eastman House

Lejaren A. Hiller

Publié par Lapetitemelancolie le

Lejaren Hiller Sr. / Lejaren à Hiller / John Hiller (3 July 1880 – 23 May 1969) was an accomplished American illustrator and photographer.

 

Born as John Hiller in Milwaukee, Wisconsin, he changed his name to Lejaren à Hiller when he moved from New York City. He studied painting and illustration at the Chicago Art Institute and travelled to Paris where he found work in a number of studios. By the early 1900s his attention turned to photography and he was widely regarded as the « creator of American photographic illustration ».

Hiller was known for dramatically staged tableaux. He would spend considerable time and effort in arranging the set and models, while an assistant took the photograph, making Hiller’s contribution more directorial than photographic. He was more interested in the final result than the means used to achieve it and is remembered for saying:

« If a man wants to strangle his wife and throw her in the kitchen sink, let him do it any way he wants to. If he’s doing it awkwardly, or not the way I’d do it, all right — it’s a good job so long as he gets her into the sink, completely strangled.« 

From 1927-50 Hiller was commissioned by Davis & Geck to produce the prints for a series of historic advertisements entitled “Sutures in Ancient Surgery,” and published in 1944 as “Surgery through the Ages”. Hiller used elaborate costumes, dramatic backdrops and lighting, and had half-clad models posing as patients. The images depicted a broad range from mediaeval and Aztec surgeons, to surgeons from ancient Egypt and India. The collection was widely acclaimed, and in 1937 won the Edward Bok Award for advertising. The originals of this series were donated to the Art Institute of Chicago.

Hiller also created a series of photographic posters for the US Armed Forces during World War II.

See the first article HERE

                                                                       Lejaren A. Hiller- Woman in Costume, ca. 1920

Lejaren A Hiller Woman in Costume,1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A Hiller Semi-Nude Woman In Costume Dancing 1920 positive, gelatin on glass

Lejaren A Hiller Semi-Nude Woman, Man In Costume Dancing 1920 positive, gelatin on glass

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A Hiller Woman in Costume,1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Nude Woman Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A Hiller -Nude Woman ith veil, 1920 positive, gelatin on glass

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Lejaren A. Hiller -Semi-Nude Woman in Costume and Pose ca. 1920

Underwood & Underwood Studio -Roshanara (Olive Craddock) with her luxurious hair ,1910-15.

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Underwood & Underwood Studio -Roshanara ( Olive Craddock) with her luxurious hair , 1910-15 .
[She danced with Loie Fuller’s company and in 1911 and She joined Anna Pavlova’s company in 1912)

More works Underwood & Underwood Studio  HERE

 

Harold F. Kells (1904-1986 )

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Harold F. Kells est un photographe ( mais aussi peintre….Beaucoup de ses peintures à l’huile ont été utilisés comme des vignettes pour les billets de banque, actions et obligations en Grande-Bretagne, Etats-Unis Australie)  Canadien actif dans les années 1930 .Kells a gagné une notoriété internationale à cette époque pour ses études de figures composites de nus et ses paysages picturaux. sa technique était d’utiliser des colorants impression par transfert et également l’utilisation de la gélatine argentique dans son travail. Kells à produit toute une série de photographie autour de la mythologie grèque dans le milieu des années 30, ceux sont quelques unes deces dernières que je présente aujourd’hui.

Kells fût à l’origine de l’organisation du premier « Salon international canadien de l’art photographique ».

Harold F. Kells - Soul of the Dance ,1933

Harold F. Kells –  Soul of the Dance ,1933

Harold F. Kells - Salome (Remorse) ,1933

Harold F. Kells – Salome (Remorse) ,1933

Harold F. Kells - Freedom 1934

Harold F. Kells – Freedom 1934

Harold F. Kells - Andromeda 1932

Harold F. Kells – Andromeda 1932

Harold F. Kells Andromeda II 1933

Harold F. Kells Andromeda II 1933

Harold F. Kells - Maid of Athens, 1934

Harold F. Kells – Maid of Athens, 1934

Harold F. Kells- Roman Bather 1933

Harold F. Kells- Roman Bather 1933

Harold F. Kells -Grecian Nocturne 1935

Harold F. Kells -Grecian Nocturne 1935

Harold F. Kells- Death of Cleopatra 1934

Harold F. Kells- Death of Cleopatra 1934

Harold F. Kells- Clytie 1934

Harold F. Kells- Clytie 1934

Harold F. Kells - Soul of the Dance ,1933

Harold F. Kells – Soul of the Dance ,1933

Meinard Woldringh -Dancer 1940-1942

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Meinard Woldringh -Dancer 1940-1942 via

 

 

Willy Zielke – Dance (Olympia Part One: Festival of the Nations ),1936

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WILLY ZIELKE – Dance (Olympia Part One: Festival of the Nations ),1936 ( Willy Zielke, who – as director, photographer and camera operator – was responsible for the shooting of the “Prologue » of the movie “Olympia. Teil 1 – Fest der Völker (« Olympia Part One: Festival of the Nations ),1938 by Leni Riefenstahl.)

 

Barbara Morgan- Martha Graham in “Sarabande », 1939

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Barbara Morgan- Martha Graham in “Sarabande », 1939