Roger Parry (1905-1977) part I

Né en 1905, Roger Parry se forme à l’Ecole nationale des Arts décoratifs avant de découvrir la photographie. Il devient l’assistant de Maurice Tabard en 1928, au studio de photographie publicitaire Deberny-Peignot. A l’aide d’images aussi dépouillées qu’efficaces, il introduit dans cet art appliqué qu’est la photographie publicitaire les audaces formelles des avant-gardes (photogrammes, photomontages, solarisations…).

Très vite, il prépare avec Fabien Loris l’illustration photographique d’un recueil de poèmes de Léon-Paul Fargue, Banalité. Sa publication en 1931 va le faire apprécier des milieux intellectuels ; il participe alors aux expositions collectives qui réunissent de nombreux talents de l’époque comme Kertész ou Man Ray.

A partir de 1931, Parry est chargé de la promotion de romans publiés à la NRF (Nouvelle Revue Française) qui lui commande plus de 200 couvertures pour des collections populaires.

Il est aussi photographe de plateau sur L’Atalante de Jean Vigo, illustrateur et portraitiste pour Gallimard ou collaborateur de Voilà et Détective.

En 1932, il s’embarque pour un long voyage vers les îles de la Polynésie française, où il réalise un reportage « tendant simplement à présenter un tableau aussi fidèle que possible de la vie actuelle à Tahiti et aux Iles sous le Vent» (Préface de « Tahiti »).
Ces photographies sont publiées dans Tahiti en 1934, ouvrage élaboré avec la complicité de Malraux.

En 1938, utilisant le prétexte de la publication de Zuyderzee (roman de Jeff Last aux éditions Gallimard), il effectue un reportage dans les polders hollandais. Dans une recherche constante de l’envers du décor, il y affine l’orientation documentaire de sa pratique personnelle.

Réformé en 1939, il intègre pendant la guerre la rédaction de Match et de Marie-Claire, avant de publier régulièrement dans La Semaine, principal hebdomadaire de divertissement sous l’Occupation. Il photographie alors les galas, les expositions ou les pièces de théâtre d’un Paris occupé dont la vie culturelle continue malgré tout.

En août 1944, il rejoint le Comité de Libération des reporters photographes de presse après avoir photographié le soulèvement populaire de Paris.

En tant que correspondant de guerre, il suit ensuite les Alliés jusqu’au printemps 1945, de l’Alsace à la poche de Royan.

Après la guerre, il couvre pour l’AFP la visite officielle du Général de Gaulle à New York en 1945 et la Conférence de Moscou en 1947. A la fin des années 1940 il délaisse progressivement le reportage de presse.

A partir de 1948, aux côtés d’André Malraux, il collabore aux collections de la « Galerie de La Pléiade » et surtout de « l’Univers des formes » dont il est le directeur technique pour les premiers volumes, révélant ainsi la vaste palette de ses talents d’illustrateur, de graphiste, de maquettiste et de photographe.

Il décède en 1977, quelques mois après André Malraux.

 Voir tous les articles sur Roger Parry

Roger Parry -Etude pour la couverture de Les Trois jeunes filles de Vienne (fumeuse d'opium), 1934

Roger Parry -Etude pour la couverture de Les Trois jeunes filles de Vienne (fumeuse d’opium), 1934

Roger Parry - Sans Titre, 1933-1934

Roger Parry – Sans Titre, 1933-1934

Roger Parry-Nu couché , 1933-34

Roger Parry -Nu (bras allongés°, 1930

Roger Parry -Nu (bras allongés°, 1930

Roger Parry-Nu, années 1930

Roger Parry-Nu, années 1930

Roger Parry- Une femme aux seins nus brandit un sabre à cheval sur une peau de bête, 1933-34( Etudes ; Illustrations de romans populaires, Collection Détective de Gallimard

Roger Parry- Une femme aux seins nus brandit un sabre à cheval sur une peau de bête, 1933-34( Etudes ; Illustrations de romans populaires, Collection Détective de Gallimard

Roger Parry-Bas et porte-jarretelles, 1935

Roger Parry-Bas et porte-jarretelles, 1935

Roger Parry-Femme les jambes croisées portant des bas, 1935

Roger Parry-Femme les jambes croisées portant des bas, 1935

Roger Parry Femme s'habillant devant un miroir, Reportage. Publicité pour grande maison de blanc - Mode vers 1930

Roger Parry Femme s’habillant devant un miroir, Reportage. Publicité pour grande maison de blanc – Mode vers 1930

Roger Parry- Ludmilla Tcherina pour un spectacle de danse à Nice-Monte-Carlo , novembre 1943

Roger Parry- Ludmilla Tcherina pour un spectacle de danse à Nice-Monte-Carlo , novembre 1943

Roger Parry -Portrait de Femme Double Image, 1928

Roger Parry -Portrait de Femme Double Image, 1928

Roger Parry -Nu, 1928

Roger Parry -Nu, 1928

Roger Parry - Sans Titre, 1928 - 1930

Roger Parry – Sans Titre, 1928 – 1930

Roger Parry. Double Exposure, Robert Couturier, 1931© Ministère de la Culture - Médiathèque du Patrimoine

Roger Parry. Double Exposure, Robert Couturier, 1931© Ministère de la Culture – Médiathèque du Patrimoine

Roger Parry.- femme dans un lit, double exposition 1933.© Ministère de la Culture - Médiathèque du Patrimoine.&

Roger Parry.- femme dans un lit, double exposition 1933.© Ministère de la Culture – Médiathèque du Patrimoine.&

Roger Parry- La Malle,vers 1929

Roger Parry- La Malle,vers 1929

Roger Parry- Untitled, 1930s

Roger Parry- Untitled, 1930s

Roger Parry -Pièce vide et œil (double exposition), 1929

Roger Parry -Pièce vide et œil (double exposition), 1929

Roger Parry-Banalité 3, 1930

Roger Parry-Banalité 3, 1930

Roger Parry- Mains avec boule de cristal, Variation, 1930 © Ministère de la Culture - Médiathèque du Patrimoine edité pour for André Maurois’ Le peseur d’âmes en1932

Roger Parry- Mains avec boule de cristal, Variation, 1930 © Ministère de la Culture – Médiathèque du Patrimoine edité pour for André Maurois’ Le peseur d’âmes en1932

Roger Parry- Nature morte, 1929

Roger Parry- Nature morte, 1929

Roger Parry- Etude, 1930

Roger Parry- Etude, 1930

Roger Parry Main sur crépis avec traînée, 1928

Roger Parry Main sur crépis avec traînée, 1928

Roger Parry-Un serpent s'enroule autour des doigts et du poignet d'un homme 1933

Roger Parry-Un serpent s’enroule autour des doigts et du poignet d’un homme 1933

Roger Parry -Illustration pour la couverture d'un roman de Sidney Fairway , Un serpent et une main crispée,1933

Roger Parry -Illustration pour la couverture d’un roman de Sidney Fairway , Un serpent et une main crispée,1933

Roger Parry- Un serpent dans des draps et deux mains crispées, 1933

Roger Parry- Un serpent dans des draps et deux mains crispées, 1933

Roger Parry-Illustration de la couverture d'un roman de Maurice Marrou ; Une femme renversée et une valise1933

Roger Parry-Illustration de la couverture d’un roman de Maurice Marrou ; Une femme renversée et une valise, 1933

Roger Parry- Une femme étendue sur le dos, les yeux ouverts, la tête contre une valise et une revue de tauromachie dans une main1933

Roger Parry- Une femme étendue sur le dos, les yeux ouverts, la tête contre une valise et une revue de tauromachie dans une main, 1933

Roger Parry Une femme inconsciente est soutenue par une rambarde 1934

Roger Parry Une femme inconsciente est soutenue par une rambarde 1934

Roger Parry- Femme soufflant dans un gros coquillage,nd1

Roger Parry- Femme soufflant dans un gros coquillage,nd1

Roger Parry- Femme soufflant dans un gros coquillage,nd

Roger Parry- Femme soufflant dans un gros coquillage,nd

Roger Parry-autoportrait, , 1942

Roger Parry-autoportrait, , 1942

Josef Breitenbach (1896 – 1984) Part II

Je vous propose aujourd’hui de poursuivre la découverte de Josef Breitenbach. Cette fois-ci nous laisserons de côté ses influences surréalistes et nous admirons ses fabuleux portraits, et nus et quelques photographies de voyages .

[Je vous suggère de ne pas manquer le premier article qui complète ce dernier, et qui vous permettra d’avoir une vue d’ensemble de l’entendue de son oeuvre ]

En 1932, Breitenbach ouvre son premier studio de photographie. Ses clients étaient des membres éminents de la bohème de Munich, (y compris les acteurs et actrices de la scène dans le théâtre de Munich.)  qui était alors un bastion des défenseurs des libertés et des personnes raffinées. Mais ce  monde a disparu en 1933 avec la prise de pouvoir d’Hitler.Plus que ses racines juives, le passé politique du photographe fait de  lui une cible à persécuter.  En Août 1933, avec son passeport, Breitenbach arrive en France, rejoignant d’autres exilés Allemands qui cherchent refuge à Paris.

La «révolution» surréaliste allait alors devenir dominante dans la scène artistique parisienne. Peu après son arrivée, Breitenbach est entré en contact avec André Breton et son entourage. Préférant conserver son indépendance, il n’a jamais été un membre du groupe surréaliste, mais a participé à des expositions importantes de la photographie surréaliste aux côtés de Man Ray, Jacques-André Boiffard, Brassaï, Eli Lotar, Henri Cartier-Bresson, et Roger Parry.

Breitenbach n’a vécu à Paris  que six ans, jusqu’à ce que la guerre  éclate en 1939, et pourtant, pendant cette période , il a produit certains de ses travaux les plus inventifs.  (Il a adopté plusieurs techniques favorisées par de nouveaux photographes tels que la surimpression, le montage, la solarisation, l’impression en négatif, et le photogramme. Plus important encore, il était l’un des rares artistes des années d’avant-guerre à produire des photographies en couleurs, ce qu’il a fait en utilisant des procédés tels que le blanchiment, la tonification et la pigmentation.)

La guerre interrompit ce deuxième chapitre de la vie du photographe. Interné par les Français comme un étranger suspect, puis rédigé dans un corps civil composé d’étrangers, Breitenbach finalement échappé à la France  de Marseille en 1941 pour New York . Il parvient à retenir l’attention de Walker Evans, qui  publie ses travaux  dans Fortune .

À l’été 1944,  à l’invitation de Josef Albers,  Breitenbach enseigne la photographie au Black Mountain College.  En 1946, il est devenu un citoyen des États-Unis et a rejoint la faculté de la Cooper Union .

For a biography in English go down Article

 

Josef Breitenbach- Night, Paris (Edith Schultze-Westrum)c. 1935, Vintage gelatin silver print collage

Josef Breitenbach- Night, Paris (Edith Schultze-Westrum), 1935, Vintage gelatin silver print collage ©The Josef Breitenbach Trust.

Josef Breitenbach-Edith Schultze-Westrum, 1932, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach-Edith Schultze-Westrum, 1932, Gelatin silver print© The Josef Breitenbach Trust.


Josef Breitenbach- Portrait of the  actress Sybille Binder, Munich, Before 1933, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach- Portrait of the actress Sybille Binder, Munich, Before 1933, Gelatin silver print© The Josef Breitenbach Trust.


Josef Breitenbach- Portrait of the  actress Sybille Binder, Munich, Before 1933, Gelatin silver print© The Josef Breitenbach Trust

Josef Breitenbach- Portrait of the actress Sybille Binder, Munich, Before 1933, Gelatin silver print© The Josef Breitenbach Trust


Josef Breitenbach- Portrait of the  actress Sybille Binder and Paul Robeson, in Othello, Munich,  1932, Gelatin silver print© The Josef Breitenbach Trust

Josef Breitenbach- Portrait of the actress Sybille Binder and Paul Robeson, in Othello, Munich, 1932, Gelatin silver print© The Josef Breitenbach Trust


Josef Breitenbach- Portrait of the  actressSybille Binder  Circa 1932, gelatin silver print, © The Josef Breitenbach Trust.

Josef Breitenbach- Portrait of the actressSybille Binder Circa 1932, gelatin silver print, © The Josef Breitenbach Trust.


Josef Breitenbach – Portrait of the actress Marianne Hoppe, 1933

Josef Breitenbach – Portrait of the actress Marianne Hoppe, 1933 ©The Josef Breitenbach Trust.


Josef Breitenbach-  Sheila ,New York, 1942

Josef Breitenbach- Sheila ,New York, 1942 ©The Josef Breitenbach Trust.


Josef Breitenbach-Aktportrait, Paris, 1933-1939 ©The Josef Breitenbach Trust.

Josef Breitenbach-Aktportrait, Paris, 1933-1939. © The Josef Breitenbach Trust.


Josef Breitenbach-Portrait,  1930s , Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach-Portrait, 1930s , Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-Portrait,  1930s , Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach-Portrait, 1930s , Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach- Portrait of a lady, Munich, 1932,  Munich,, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach- Portrait of a lady, Munich, 1932, Munich,, Gelatin silver print© The Josef Breitenbach Trust.


Josef Breitenbach-untitled , Paris 1936

Josef Breitenbach-Untitled , Paris 1936 © The Josef Breitenbach Trust.


Josef Breitenbach-Edith d'Amara, 1932,  Munich,, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach-Edith d’Amara, 1932, Munich,, Gelatin silver print© The Josef Breitenbach Trust.


Josef Breitenbach- Patricia, New York, 1942, Vintage toned gelatin silver print © The Josef Breitenbach Trust

Josef Breitenbach- Patricia, New York, 1942, Vintage toned gelatin silver print © The Josef Breitenbach Trust


Josef Breitenbach- A Woman and Her Conscience, New York, 1945, Vintage toned gelatin silver print ©The Josef Breitenbach Trust.

Josef Breitenbach- A Woman and Her Conscience, New York, 1945, Vintage toned gelatin silver print ©The Josef Breitenbach Trust.


Josef Breitenbach- Annabella, 1933-39, Vintage gelatin silver print ©The Josef Breitenbach Trust.

Josef Breitenbach- Annabella, 1933-39, Vintage gelatin silver print ©The Josef Breitenbach Trust.


Josef Breitenbach-woman in costume of shiny material with cape and hood, 1930s

Josef Breitenbach- Woman in costume of shiny material with cape and hood, 1930s © The Josef Breitenbach Trust


Josef Breitenbach-Sybille Binder, in fur coat. 1932

Josef Breitenbach-Sybille Binder, 1932 © The Josef Breitenbach Trust


Josef Breitenbach-Portrait ofSchoura Alperin, 1934 Paris, Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach-Portrait ofSchoura Alperin, 1934 Paris, Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-Portrait,  1935 Paris, Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach-Portrait, 1935 Paris, Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-Portrait of Ruth Harris 1933-39 Paris, Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach-Portrait of Ruth Harris 1933-39 Paris, Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-Aristide Maillol, Marly-Le-Roy, 1934  © The Josef Breitenbach Trust

Josef Breitenbach-Aristide Maillol, Marly-Le-Roy, 1934 © The Josef Breitenbach Trust


Josef Breitenbach- Portrait of Man Ray, 1967, Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach- Portrait of Man Ray, 1967, Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-Portrait of Max Ernst and Marie-Berthe Aurenche, 1936 Paris, Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach-Portrait of Max Ernst and Marie-Berthe Aurenche, 1936 Paris, Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-Portrait of Max Ernst and Marie-Berthe Aurenche, 1936 Paris, Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach-Portrait of Max Ernst and Marie-Berthe Aurenche, 1936 Paris, Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-Portrait of Max Ernst , 1938 Paris, Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach-Portrait of Max Ernst , 1938 Paris, Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach- Max Ernst and his wife, Marie-Berthe Aurenche, Paris, 1936, Early gelatin silver print; printed c. 1942-1948 © The Josef Breitenbach Trust

Josef Breitenbach- Max Ernst and his wife, Marie-Berthe Aurenche, Paris, 1936, Early gelatin silver print; printed c. 1942-1948 © The Josef Breitenbach Trust


Josef Breitenbach-James Joyce, Paris , 1937

Josef Breitenbach- James Joyce, Paris, 1937 © The Josef Breitenbach Trust


Josef Breitenbach-Wassily Kandinsky, Neuilly-sur-Seine 1938

Josef Breitenbach-Wassily Kandinsky, Neuilly-sur-Seine 1938 © The Josef Breitenbach Trust

 

Josef Breitenbach- Portrait  of the Actor Sacha Guitry, Paris, 1938, Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach- Portrait of the Actor Sacha Guitry, Paris, 1938, Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-Japanese female mask, fabric background], ca. 1940s

Josef Breitenbach-Japanese female mask, fabric background], ca. 1940s


Josef Breitenbach-Close-up of woman’s eye, 1940s © The Josef Breitenbach Trust

 

Josef Breitenbach-Sculpture Academy, Paris,  1935, gelatin silver print © The Josef Breitenbach Trust

Josef Breitenbach-Sculpture Academy, Paris, 1935, gelatin silver print © The Josef Breitenbach Trust


Josef Breitenbach-Sculpture Academy, Paris,  1935, gelatin silver print © The Josef Breitenbach Trust

Josef Breitenbach-Sculpture Academy, Paris, 1935, gelatin silver print © The Josef Breitenbach Trust


Josef Breitenbach-Standing Nude (Back), 1930-39, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach-Standing Nude (Back), 1930-39, Gelatin silver print© The Josef Breitenbach Trust.


Josef Breitenbach-Dr. Riegler & J. Greno, Munich 1933 © The Josef Breitenbach Trust. from Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008

Josef Breitenbach-Dr. Riegler & J. Greno, Munich 1933 © The Josef Breitenbach Trust. from Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008


Josef Breitenbach, Dr. Riegler and J. Greno, Munich, 1933

Josef Breitenbach, Dr. Riegler and J. Greno, Munich, 1933  © The Josef Breitenbach Trust


Josef Breitenbach.Dr. Riegler and J. Greno - Munich,1933 Photogravure on wove paper

Josef Breitenbach.Dr. Riegler and J. Greno – Munich,1933 Photogravure on wove paper © The Josef Breitenbach Trust


Josef Breitenbach-Dr. Riegler & J. Greno, Munich 1933 © The Josef Breitenbach Trust. from Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008

Josef Breitenbach-Dr. Riegler & J. Greno, Munich 1933 © The Josef Breitenbach Trust. from Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008


Josef Breitenbach - Self-Portrait with J. Greno ,1933 © The Josef Breitenbach Trust

Josef Breitenbach – Self-Portrait with J. Greno ,1933 © The Josef Breitenbach Trust


Josef Breitenbach-Female Nude posing, , Nd,, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach-Female Nude posing, , Nd,, Gelatin silver print© The Josef Breitenbach Trust.


Josef Breitenbach-soft-focus bust of nude woman holding grapes, Paris, . 1933

Josef Breitenbach- Soft-focus bust of nude woman holding grapes, Paris, 1933   © The Josef Breitenbach Trust


Josef Breitenbach-Sonja, Munich, 1930-33, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach-Sonja, Munich, 1930-33, Gelatin silver print© The Josef Breitenbach Trust.


Josef Breitenbach- Female nude sitting on blanket,  1935, Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach- Female nude sitting on blanket, 1935, Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-standing female nude - front view, furnishings, 1932

Josef Breitenbach- Standing female nude – front view, furnishings, 1932 © The Josef Breitenbach Trust


Josef Breitenbach-untitled , female nude with dark fur and ornaments, 1940s

Josef Breitenbach- Untitled , female nude with dark fur and ornaments, 1940s © The Josef Breitenbach Trust


Josef Breitenbach-untitled , female nude with dark fur and ornaments, 1940s

Josef Breitenbach- Untitled , female nude with dark fur and ornaments, 1940s  © The Josef Breitenbach Trust


Josef Breitenbach -untitled, 1940s

Josef Breitenbach -Untitled, 1940s © The Josef Breitenbach Trust

 

Josef Breitenbach-We New Yorkers, 1942 © The Josef Breitenbach Trust


Josef Breitenbach- Electric Back, New York, 1949  toned gelatin silver print , montage © The Josef Breitenbach Trust

Josef Breitenbach- Electric Back, New York, 1949 toned gelatin silver print , montage © The Josef Breitenbach Trust


Josef Breitenbach- Medical Illustration, New York, 1949 Aus einer Serie für McCalls Magazine © The Josef Breitenbach Trust

Josef Breitenbach- Medical Illustration, New York, 1949 Aus einer Serie für McCalls Magazine © The Josef Breitenbach Trust


Josef Breitenbach- Emerging Torso, 1942-48, toned gelatin silver print © The Josef Breitenbach Trust

Josef Breitenbach- Emerging Torso, 1942-48, toned gelatin silver print © The Josef Breitenbach Trust


Josef Breitenbach-Adirondacks, , 1948,, Gelatin silver print© The Josef Breitenbach Trust.

Josef Breitenbach-Adirondacks, , 1948,, Gelatin silver print© The Josef Breitenbach Trust.


Josef Breitenbach-  Portraits with Make Up,model Patricia & Josef Breitenbach,  New York, 1945, Vintage gelatin silver print© The Josef Breitenbach Trust

Josef Breitenbach- Portraits with Make Up,model Patricia & Josef Breitenbach, New York, 1945, Vintage gelatin silver print© The Josef Breitenbach Trust


Josef Breitenbach-  Woman Transformed, model Patricia, New York  1942

Josef Breitenbach- Woman Transformed, model Patricia, New York 1942 © The Josef Breitenbach Trust


Josef Breitenbach -Morning, 1950

Josef Breitenbach -Morning, 1950 © The Josef Breitenbach Trust


Josef Breitenbach - Nu, 1950s

Josef Breitenbach – Untitled, 1950s  © The Josef Breitenbach Trust


Josef Breitenbach-Untitled , 1950s

Josef Breitenbach- Untitled ,Nude, 1950s  © The Josef Breitenbach Trust


Josef Breitenbach- Portrait, Paris, 1933-39, Vintage gelatin silver print ©The Josef Breitenbach Trust.

Josef Breitenbach- Portrait, Paris, 1933-39, Vintage gelatin silver print ©The Josef Breitenbach Trust.


Josef Breitenbach- Untitled , 1935  © The Josef Breitenbach Trust


Josef Breitenbach-Untitled , Germany, Munich, 1932

Josef Breitenbach- Untitled , Germany, Munich, 1933  © The Josef Breitenbach Trust


Josef Breitenbach- Akt, München, 1933 © The Josef Breitenbach Trust

Josef Breitenbach- Nu, Germany, Munich, , 1933 © The Josef Breitenbach Trust


Josef Breitenbach-nude girl lying in gras, 1950s

Josef Breitenbach-nude girl lying in gras, 1950s  © The Josef Breitenbach Trust


Josef Breitenbach- Nude woman in the river,New York, 1953, , Gelatin silver print © The Josef Breitenbach Trust.

Josef Breitenbach- Nude woman in the river,New York, 1953, , Gelatin silver print © The Josef Breitenbach Trust.


Josef Breitenbach-female nude with long dark hair lying on side on grass, 1961

Josef Breitenbach-female nude with long dark hair lying on side on grass, USA, 1961  © The Josef Breitenbach Trust


Josef Breitenbach-back view of female nude with long dark hair lying curled on grass, 1961

Josef Breitenbach-back view of female nude with long dark hair lying curled on grass, USA, 1961 © The Josef Breitenbach Trust


Josef Breitenbach-back of female nude with long dark hair, seated outdoors on branching log, Sept. 1961

Josef Breitenbach-back of female nude with long dark hair, seated outdoors on branching log, USA, Sept. 1961 © The Josef Breitenbach Trust


Josef Breitenbach-female nude with long dark hair, lying face-down on grass, full length with feet at left, 1961

Josef Breitenbach-Untitlrd (Female nude with long dark hair, lying face-down on grass, full length with feet at left), USA, 1961  © The Josef Breitenbach Trust


Josef Breitenbach- Untitled ,  (Female nude with long dark hair, lying face-down on grass,) USA , 1961 © The Josef Breitenbach Trust

Josef Breitenbach – Untitled , (Female nude with long dark hair, lying face-down on grass,) USA , 1961 © The Josef Breitenbach Trust


Josef Breitenbach -buttocks and back of female nude with long dark hair, kneeling outdoors, , 1961

Josef Breitenbach -Untitled (Buttocks and back of female nude with long dark hair,kneeling outdoors), USA, 1961. © The Josef Breitenbach Trust


Josef Breitenbach-untitled ,female nude with long dark hair lying face-down on grass , USA  1961

Josef Breitenbach-Untitled (female nude with long dark hair lying face-down on grass) ,USA ,1961.           © The Josef Breitenbach Trust


Josef Breitenbach-untitled ,female nude with long dark hair lying face-down on grass , USA  1961

Josef Breitenbach-Untitled (emale nude with long dark hair lying face-down on grass), USA ,1961.            © The Josef Breitenbach Trust

 

Josef Breitenbach -back of female nude bending over in water, Sept. 1961 © The Josef Breitenbach Trust

Josef Breitenbach -Untitled (Back of female nude bending over in water), USA, Sept 1961. © The Josef Breitenbach Trust

Les années 1950 et 1960 ont été des années d’intense activité pour Breitenbach.  Il a fait reportage photographique en Asie pour les Nations Unies et d’autres entreprises variées, documentant le travail des secours.

Il exposera ses photographies largement dans les Etats-Unis à partir des années 1940 jusqu’au milieu des années 1960, notamment au Museum of Modern Art et le Metropolitan Museum of Art

Josef Breitenbach-untitled ,woman curled on side in dried grass,  1952 Korea or Japan

Josef Breitenbach-Untitled (woman curled on side in dried grass), Korea or Japan , 1952 © The Josef Breitenbach Trust


Josef Breitenbach- nude woman in black, Tokyo, 1953, Chromogenic print. © The Josef Breitenbach Trust.

Josef Breitenbach- nude woman in black, Tokyo, 1953, Chromogenic print. © The Josef Breitenbach Trust.


Josef Breitenbach-Sleeping Japanese Girl, Japan, 1968.        © The Josef Breitenbach Trust

Josef Breitenbach-Sleeping Japanese Girl, Japan, 1968. © The Josef Breitenbach Trust


Josef Breitenbach- Dancing in the Streets (Bon Odori), Kyoto, 1956

Josef Breitenbach- Dancing in the Streets (Bon Odori), Kyoto, 1956 © The Josef Breitenbach Trust


Josef Breitenbach-Eels and octopus. Pusan, Korea, 1953

Josef Breitenbach-Eels and octopus. Pusan, Korea, 1953 © The Josef Breitenbach Trust


Josef Breitenbach-India, Construction Worker, Bombay, 1960

Josef Breitenbach-India, Construction Worker, Bombay, 1960  © The Josef Breitenbach Trust


Josef Breitenbach-  Woman Transformed, New York  1942

Josef Breitenbach- Woman Transformed, New York 1942  © The Josef Breitenbach Trust

 

Josef Breitenbach-Mother with Sick Child, Patan, Nepal,Nepal, Patan, 1968, Gelatin silver print © The Josef Breitenbach Trust.

You can see more on Gitterman Gallery

Des portraits du photographe par des anonymes ici  sur wordpress sur le blog  A la loupe

  Voir les résultats des actions le concernant sur Mutualart

Conseil de lecture  :

Manifesto By Josef Breitenbach , Ed° Nazraeli Press , 2008

Josef Breitenbach: by Josef Breitenbach Photographs and text (in German) by Josef Breitenbach. Essays (in German) by Peter C. Jones, and Others , Published on the occasion of the 1996-1997 exhibition Josef Breitenbach: Photographien at the Staatliche Galerie Moritzburg Halle and the Fotomuseum im Münchner Stadtmuseum, Ed° Schirmer-Mosel, 1996

Munich, Paris, New York Paperback – 2003 by Josef and Paul Berlanga, Exhibit Catalogue, edition Stephen Daiter Gallery, 2003

Josef Breitenbach » by Larisa Dryansky, Editions de l’Amateur, 2001

Cover of the Book "Josef Breitenbach" by Larisa Dryansky,  Editions de l'Amateur, 2001

Cover of the Book « Josef Breitenbach » by Larisa Dryansky, Editions de l’Amateur, 2001

 English Bio

Josef Breitenbach was born on the 3rd of April 1896. He attended Ludwig-Maximillian University in Munich (philosophy and art history, 1914 to 1917) and became active in the Youth Section and later the Pacifist wing of the Social Democratic Party. In 1918, he took part in the Soviet-inspired Bavarian coup d’état, which was the first spark of the revolutionary fire that swept over Germany in the wake of the armistice. For a few months, Breitenbach also occupied an official position in the new government. Although the revolution was short-lived, the ties he forged with the radical circles of Munich’s intelligentsia later helped him establish his reputation as a photographer.

In 1932, Breitenbach opened his first photographic studio. His clients were prominent members of Munich’s bohemia, including actors and actresses performing in the Munich theater. Munich was a stronghold of libertarians and refined people, whose spirit Breitenbach captured in theatrical portraits of his friend, the journalist Theo Riegler. This world vanished in 1933 with Hitler’s takeover.

More than his Jewish roots, the photographer’s political past made him a target for persecution. In August, 1933, with his passport , Breitenbach made his way to France , joining other German exiles seeking refuge in Paris.

The Surrealist “revolution” had by then become dominant in the Parisian art scene. Soon after his arrival, Breitenbach came into contact with André Breton and his circle. Preferring to retain his independence, he never became a member of the Surrealist group, but did show work in important exhibitions of Surrealist photography alongside Man Ray, Jacques-André Boiffard, Brassaï, Eli Lotar, Henri Cartier-Bresson, et Roger Parry.

Breitenbach only lived in Paris for six years, until the war broke out in 1939. During this period, he produced some of his most inventive work. He adopted several techniques favored by new photographers such as superimpression, montage, solarization, printing in negative, and the photogram. More importantly, he was one of the rare artists of the pre-War years to produce color photographs, which he did by using processes of bleaching, toning and pigmentation. Examples are the images “Montparnasse”, or Forever and Ever.

During his years in Paris, he was also an active member of the German exile community, which alerted the democratic world to the threat of fascism. He participated in the 1938 exhibition by the Union des Artistes Allemandes Libres, “Five Years of Hitler Dictatorship”. A high point for Breitenbach was his collaboration with Bertolt Brecht, summarized by portraits of the playwright. The war interrupted this second chapter of the photographer’s life. Interned by the French as a suspicious alien, then drafted into a civilian corps composed of foreigners, Breitenbach eventually escaped to New York from Marseille in 1941.He came to the attention of Walker Evans, who published his work in Fortune. In the summer of 1944, at the invitation of Josef Albers, Breitenbach taught photography at Black Mountain College. In 1946 he became a United States citizen and joined the faculty at Cooper Union and later The New School. Breitenbach continued to create distinctive and innovative work, including a striking group of camera-less photographs. These works hover in the liminal space between Surrealism and Abstract Expressionism. The 1950s and 1960s were years of intense activity for Breitenbach. He did photographic reportage in Asia for the United Nations and other varied businesses, documenting relief work. He exhibited his photographs extensively in the United States from the 1940s to the mid-1960s, including at the Museum of Modern Art and the Metropolitan Museum of Art.

I proposed today to browse some facets Josef Breitenbach left us behind. This was mainly the result of the encounter with the Surrealists and accompanied throughout his adventure. Through his portraits, montages , collage, photogram , naked, and some memories , moreover

Portrait of Vera Vasilyevna Kholodnaya, (1893-1919), the first star of Russian silent cinema

Vera Vasilyevna Kholodnaya (en russe: Вера Васильевна Холодная, 30 Août, 1893 – le 16 Février 1919), Actrice, Surnommé «La Reine de l’écran», elle a fût le premier film star féminine de la Russie. Bien que la plupart de ses films soient perdus, sa beauté envoûtante et sa mort prématurée ont fait d’elle une figure du cinema russe. Seulement cinq films mettant en vedette sa existent encore de nos jours sur les cinquante à quatre-vingts films, elle a joué en Ils sont les suivants: «Les enfants de l’âge » (1915), « Les mirages » (1916), Une vie pour une vie « (1916), « Le cadavre vivant» (adapté de la pièce de Tolstoï, 1918), et «Taisez-vous, ma douleur, le silence » (1918). Elle est plus souvent associé à des films du début du directeur Evgenii Bauer.

Vera Vasilyevna Levchenko est né à Poltava, en Ukraine, et en grande partie élevée par sa grand-mère à Moscou. Petite fille, elle rêvait d’une carrière en ballet classique et même inscrit à l’école de ballet du théâtre Bolchoï. En 1908, Vera assiste à un spectacle de Francesca da Rimini, avec Vera Komissarzhevskaya dans le rôle-titre. Elle fût profondément impressionné par l’art de Komissarzhevskaya et décide de s’aventurer dans le film d’action. Elle s’approcha de Vladimir Gardin, un grand metteur en scène russe.
En 1910, elle a épousé Vladimir Kholodny, dit être l’un des premiers coureurs automobiles russes et l’éditeur d’un quotidien de sport. Vera serait souvent l’accompagner dans les courses qui ont abouti à des accidents de la route. Elle a également adopté son nom de famille, ce qui se traduit par «une froide ». Plus tard, beaucoup ont pris pour un pseudonyme bien choisi. Leur fille Evgeniya est né en 1912, et ils adoptent un autre enfant un an plus tard.

Elle a commencé à apparaître dans de petits rôles à l’AA Kanjonkov studio de cinéma à la fin de 1914. Evgueni Bauer l’a repéré et prend le pari de lui donner le premier rôle féminin dans ‘Chanson de l’amour triomphant» (1915), une adaptation d’une histoire Tourgueniev, ce qui fait d’elle une star du jour au lendemain. Durant les les trois prochaines années Kholodnaya sera en haut du box-office de la Russie.

Les documents officiels russes affirment que Vera Kholodnaya est mort de la grippe espagnole durant la pandémie de 1919. Bien que cela semble tout à fait probable, il ya beaucoup de spéculations autour de sa mort. Histoires Sexe autre prétendent qu’elle a été empoisonnée par l’ambassadeur français avec qui elle aurait eu une liaison et qui croyait qu’elle était un espion pour les bolcheviks.
Héritage

Portait of The Russian Actress Vera Vasilyevna Kholodnaya (Russian: Вера Васильевна Холодная; August 30, 1893 – February 16, 1919), 1918

 

Portait of The Russian Actress Vera Vasilyevna Kholodnaya (Russian: Вера Васильевна Холодная; August 30, 1893 – February 16, 1919), 1918

Vera Kholodnaya Photo Postcard, 1920s

Vera Kholodnaya Photo Postcard, 1918

Vera Kholodnaya Photo Postcard, 1920s.

Vera Kholodnaya Photo Postcard, 1920s.

 

Portrait of Vera Vasilyevna Kholodnaya (1893-1919), the first star of Russian silent cinema, 1917

Vera Kholodnaya Photo Postcard, 1918-20s

Vera Kholodnaya Photo Postcard, 1918-20s

vera kholodnaya 1917

vera kholodnaya 1917

Vera Kholodnaya Photo Postcard, 1918-20s (Vera KARALLI (Krisantemi. 1914)

Vera Kholodnaya Photo Postcard, 1918-20s (Vera KARALLI (Krisantemi. 1914)

 

Vera Kholodnaya Photo Postcard, 1919.1

Vera Kholodnaya Photo Postcard, 1919.

Vera Kholodnaya Photo Postcard, 1917

Vera Kholodnaya Photo Postcard, 1917

Vera Kholodnaya Photo Postcard,by LEONIDOV

Vera Kholodnaya Photo Postcard,by LEONIDOV

Vera Kholodnaya as a gypsy Photo Postcard, 1918-20s

Vera Kholodnaya as a gypsy Photo Postcard, 1918-20s

Vera Kholodnaya Photo Postcard, 1920s.2

Vera Kholodnaya Photo Postcard, 1920s.

Vera Kholodnaya Photo Postcard, 1919

Vera Kholodnaya Photo Postcard, 1919

Vera Kholodnaya Photo Postcard, 1920s 1

Vera Kholodnaya Photo Postcard, 1920s

Vera-Kholodnaya

Vera-Kholodnaya

Vera Kholodnaya Photo Postcard, in Wig

Vera Kholodnaya Photo Postcard, in Wig

 

Elio Luxardo (1908-1969)

Elio Luxardo- Nudo, c. 1937

 

Elio Luxardo- Sinuose armonie (Sinuous harmonies) , 1936

« The history of the Luxardos began in the first years of the 20th century when the young photographer Aldo Luxardo decided to leave Pise (Pisa) and set his lens on far objects: America. Alfredo, with his wife Margherita, stopped at S. Paul in Brazil – country that will mark the destiny of the whole Luxardo family. His subject changed, from the American myth to the Amazonian tribes: group photos and portraits developed and printed in absolute empirical ways. In Brazil his three children were born: Elio, Elda and Aldo. In 1928 Alfredo Luxardo returned in Italy where he took over the photo studio Sam Bosch (Photographer of the Royal House) in via XX Settembre. Here began the history of the liaison Rome-Luxardo.The three children, Elio, who previusly joined the Experimental Center of Cinematography, Aldo and Elda worked in their father’s studio. It was the thirties and the famous studio in via del Tritone fixed some features that developped a following and signed a epoch. Diffuse lights, combined with reflexes, dark settings and light cuttings that carved faces and designed bodies. In few words the Myth of Beauty was born, the cult of the body. The studio was populated of divas and sports champions, intellectuals and artists, from Pirandello to Marinetti, from Assia Noris to Isa Miranda, from Valentina Cortese to Alida Valli, to the world champion Primo Carnera. In the postwar period there was a cooperation with the « Folie de Broadway » and than the beginning of the contest Miss Italia from which came celebrities like Loren and Lollobrigida. The Dolce Vita – the intense friendship with Federico Fellini – movies like « Poveri ma Belli » (« Poor but Beautiful »), actors like Mastrianni and Gassmann. These were the images of the sixties. The last dream of Elio Luxardo has been Sperlonga, where he retired to live. On the Mediterranean coast, the photographer looked for the lights and colors of the native country, but in vain. He died in 1969 at the age of 59. His brother Aldo continued to work alone in the family studio – that his sister Elda left marrying the producer Argento, father of the director, Dario. But the recall of the land of origin became stronger and stronger and, at the end, Aldo decided to go back to Brazil. » Luxario gallery

Elio Luxardo -Nudo femminile , 1932

Elio Luxardo -Nudo femminile , 1932

Elio Luxardo -Nudo femminile , 1932

Elio Luxardo -Nudo femminile , 1932

Elio Luxardo -Nudo femminile , 1932

Elio Luxardo -Nudo femminile , 1932

Elio Luxardo - Nudo femminile, 1940s

Elio Luxardo – Nudo femminile, 1940s

Elio Luxardo- Nudo, 1935

Elio Luxardo- Nudo, 1935

Elio Luxardo – Nudo femminile N.2 – 1935

 

Elio Luxardo-Nudo femminile N. 3 - 1935

Elio Luxardo-Nudo femminile N. 3 – 1935

Elio Luxardo-Nudo femminile N. 4 – 1935

Elio Luxardo - Nudo di donna, ca. 1930, Galleria Luxardo, Roma

Elio Luxardo – Nudo di donna, ca. 1930, Galleria Luxardo, Roma

Elio Luxardo- Nudo femminile, Roma, 1940

Elio Luxardo- Nudo femminile, Roma, 1940

Elio Luxardo- Nudo con drappo, 1937

Elio Luxardo- Sin titulo, c.1930~1950

Elio Luxardo- Sguardo in fiore, (Look in bloom) 1939

Elio Luxardo- Ritratto,c.1930~1950

Elio Luxardo- Ritratto, c.1930~1950

Elio Luxardo- Confessione nd

Elio Luxardo- Aria, 1941

Elio Luxardo- Silhouette, 1939-40

Elio Luxardo- Nudo femminile , 1940

Elio Luxardo- Nudo femminile , 1940

Elio Luxardo - nudo 1940s

Elio Luxardo – nudo 1940s

Elio Luxardo – Girandole di fuoco, (Laura Nucci), 1939

Elio Luxardo – Girandole di fuoco, (Laura Nucci), 1939

Elio Luxardo - Marisa Maresca, 1955

Elio Luxardo – Marisa Maresca, 1955

Elio Luxardo – Marina Maresca, 1955

Elio Luxardo - Portrait of the photographer Ghitta Carell, 1955

Elio Luxardo – Portrait of the photographer Ghitta Carell, 1955

Elio Luxardo Doris Duranti Luxardo Mazzota fotografia L’italica Bellezza Turroni (Giuseppe), 1960 Gabriele Mazzotta editore

Elio Luxardo Doris Duranti Luxardo Mazzota fotografia L’italica Bellezza Turroni (Giuseppe), 1960 Gabriele Mazzotta editore

Elio Luxardo- Isa Barzizza,from Luxardo Mazzota fotografia L’italica Bellezza Turroni (Giuseppe), 1960 Gabriele Mazzotta editore

Elio Luxardo- Isa Barzizza,from Luxardo Mazzota fotografia L’italica Bellezza Turroni (Giuseppe), 1960 Gabriele Mazzotta editore

Elio Luxardo Ritratto femminile 1950′s

Elio Luxardo Ritratto femminile 1950′s

Elio Luxardo- Doris Duranti,1940

Elio Luxardo- Doris Duranti,1940

Elio Luxardo- L'attrice Marisa Maresca,1955

Elio Luxardo- L’attrice Marisa Maresca,1955

Elio Luxardo - Isa Pola “La signora dell’Oves

Elio Luxardo – Isa Pola “La signora dell’Oves

Elio Luxardo -Germana Paolieri, 1937

Elio Luxardo -Germana Paolieri, 1937

Elio Luxardo- ritrato per conecorso, 1941

Elio Luxardo- ritrato per conecorso, 1941

Elio Luxardo- Giungla Luxardo Mazzota fotografia L’italica Bellezza Turroni (Giuseppe), 1960 Gabriele Mazzotta editore

Elio Luxardo- Giungla Luxardo Mazzota fotografia L’italica Bellezza Turroni (Giuseppe), 1960 Gabriele Mazzotta editore

Elio Luxardo - Pamela Palma' 1940

Elio Luxardo – Pamela Palma’ 1940

Elio Luxardo, Modella indossa un abito nero con paillettes fuma, Italia, 1948

Elio Luxardo, Modella indossa un abito nero con paillettes fuma, Italia, 1948

Elio Luxardo- L'Italia Bellezza, 1950

Elio Luxardo- L’Italia Bellezza, 1950

Elio Luxardo- Valentina Cortese, 1950

Elio Luxardo- Valentina Cortese, 1950

Elio Luxardo- Valentina Cortese, 1950

Elio Luxardo- Valentina Cortese, 1950

Elio Luxardo -Portrait of a lady, ca. 1940

Elio Luxardo -Portrait of a lady, ca. 1940

Elio Luxardo - Una soubrette , 1945

Elio Luxardo – Una soubrette , 1945

Elio Luxardo-Leda Gloria, 1940

Elio Luxardo-Leda Gloria, 1940

 

Elio Luxardo - Bellezza Italica, ca. 1930 Vintage gelatin silver print Galleria Luxardo, Roma

Elio Luxardo – Bellezza Italica, ca. 1930 Vintage gelatin silver print Galleria Luxardo, Roma

Elio Luxardo - Bellezza Italica, ca. 1930 Vintage gelatin silver print Galleria Luxardo, Roma

Elio Luxardo – Bellezza Italica, ca. 1930 Vintage gelatin silver print Galleria Luxardo, Roma

Elio Luxardo biographie

More gallery

 

 

Edwin Bower Hesser-Portrait of the actress Jetta Bgoudal, 1925

Edwin Bower Hesser-Portrait of the actress Jetta Bgoudal, 1925

 

Edwin Bower Hesser- Theda Bara , 1910s

Edwin Bower Hesser- Theda Bara , 1910s


John Gutmann Part I

« John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-journalist. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an outsider—a Jew in Germany, a naturalized citizen in the United States—informed his focus on individuals from the Asian-American, African-American, and gay communities, as well as his photography in India, Burma, and China during World War II. Gutmann’s interests in painting and filmmaking, his collections of non-Western art and artifacts, and his pedagogy, all figure in a body of work at once celebratory and mysterious.

Gutmann was born to prosperous German-Jewish parents, in Breslau, Germany (since 1945, Wrocław, Poland). At age twenty-two, he graduated from the regional Academy of Arts and Crafts, where he studied with leading Expressionist painter Otto Müller. In 1927 Gutmann moved to Berlin, where he taught art to schoolchildren, participated in group exhibitions, and in 1931 had a solo show at the prestigious Gurlitt Gallery. However, his career was interrupted by the rise to power of the National Socialists in early 1933. While his family made plans to immigrate to New York, Gutmann set out on his own with San Francisco as his destination, and photography as his new profession. Before departing Germany, he acquired a Rolleiflex camera, hastily shot three rolls of film, and managed to secure a contract from the Berlin office of Presse-Photo. Making the most of a bad situation, he explored a new life as a foreign correspondent who would supply the very modern European illustrated press with views and reports from the American West.

By 1936, he had broken his contract with the Berlin press agency and made a new one with Pix in New York. By 1937, he had begun to teach art regularly at San Francisco College (later San Francisco State University), and this became his primary profession after a World War II era stint in the U.S. army. Gutmann retired his professorship in 1973 and began to reassess his body of work, sorting through boxes of negatives and making new prints of selected examples from the 1930s. It was a well-timed exercise: not only did Gutmann’s images satisfy a growing historical appetite for Depression-era photography, they also seemed compatible with certain kinds of experimental photography then emerging in the contemporary art scene. Before his death in 1998, Gutmann had seen his work featured in gallery and museum exhibitions, catalogues, and monographs.

By bequeathing his rich archive of nearly 5000 modern photographic prints, negatives, tearsheets, letters, and some drawings and early art prints to the CCP, John Gutmann has left us with the task of pursuing the rich knots, braids, tangles and threads in his complex life and work that unfolded over a most tumultuous and provocative century of modernity  » ccp-emuseum.

John Gutmann- “Memory”,1939

John Gutmann- “Memory”,1939 © Arizona Board of Regents

John Gutmann-Veiled Nude with Raised Arms,1939

John Gutmann-In Veiled Face, Blue Eyes, 1939

John Gutmann-In Veiled Face, Blue Eyes, 1939

John Gutmann-Half-Nude with Veiled Face 1939

John Gutmann-Half-Nude with Veiled Face ,1939 © Arizona Board of Regents

John Gutmann - Oracle, 1949

John Gutmann – Oracle,( Gerrie von Pribosic- Gutmann, on right 1949 © Arizona Board of Regents

John Gutmann-Rhinestones and Pearls( gerrie von pribosic gutmann), 1954

John Gutmann-Rhinestones and Pearls( gerrie von pribosic gutmann), 1954

John Gutmann-Behind the Fan, 1935

John Gutmann-Behind the Fan, 1935 © Arizona Board of Regents

John Gutmann-The Fan, 1935

John Gutmann-The Fan, 1935

John Gutmann-Feather Hat and Black Lace( gerrie von pribosic gutmann), 1951

John Gutmann-Feather Hat and Black Lace( gerrie von pribosic gutmann), 1951 © Arizona Board of Regents

John Gutmann- Turning to look, 1935 1

John Gutmann- Turning to look, 1935 © Arizona Board of Regents

John Gutmann-Closed eyes, 1935

John Gutmann-Closed eyes, 1935 © Arizona Board of Regents

John Gutmann- Above the Veil, Her Eyes, 1935 11

John Gutmann- Above the Veil, Her Eyes, 1935 © Arizona Board of Regents

John Gutmann- Dancer Topless, 1939 © Arizona Board of Regents

John Gutmann- Dancer Topless, 1939 © Arizona Board of Regents

 

John Gutmann- Dancer Topless, 1939 © Arizona Board of Regents

John Gutmann- Dancer Topless, 1939 © Arizona Board of Regents

John Gutmann-Blonde Topless in Black Space, 1939

John Gutmann-Blonde Topless in Black Space, 1939 © Arizona Board of Regents

John Gutmann-Close- up, 1935 1

John Gutmann-Close- up, 1935 © Arizona Board of Regents

John Gutmann-Web of Light (Akiko), 1934

John Gutmann-Web of Light (Akiko), 1934

John Gutmann - Web of Light, 1934

John Gutmann – Web of Light, 1934 © Arizona Board of Regents

John Gutmann- Face Behind Curtain, 1937 © Arizona Board of Regents

John Gutmann- Face Behind Curtain, 1937 © Arizona Board of Regents

John Gutmann- Double Portrait, 1938-39_

John Gutmann- Double Portrait, 1938-39 © Arizona Board of Regents

John Gutmann-Hands on Teleface, 1938

John Gutmann-Hands on Teleface, 1938

 

John Gutmann-J.G. Searching for Distant Views, 1938

John Gutmann-J.G. Searching for Distant Views, 1938

John Gutmann- Post-Surgical Portrait of an Artist, 1952

John Gutmann- Post-Surgical Portrait of an Artist, 1952 [Gerrie von Pribosic- Gutmann , with head wrapped in white bandage, dark framed work in background] © Arizona Board of Regents

John Gutmann, The Cigarette, ( gerrie von pribosic gutmann),1950

John Gutmann, The Cigarette, ( gerrie von pribosic gutmann),1950

John Gutmann - The game , New orleans, 1937

John Gutmann – The game , New orleans, 1937 © Arizona Board of Regents

John Gutmann-Death at the Mardi Gras, New Orleans, 1937

John Gutmann-Death at the Mardi Gras, New Orleans, 1937

John Gutmann-Death with Flowers, New Orleans, 1937

John Gutmann-Death with Flowers, New Orleans, 1937

John Gutmann-Man Placing Hat Over Mask, Mardi Gras, New Orleans, 1937

John Gutmann-Man Placing Hat Over Mask, Mardi Gras, New Orleans, 1937

 

John Gutmann-The Father, New Orleans, 1937

John Gutmann-The Father, New Orleans, 1937

John Gutmann-The trip, 1955

John Gutmann-The trip, 1955 © Arizona Board of Regents

John Gutmann - Out of the pool, 1934

John Gutmann – Out of the pool, 1934 © Arizona Board of Regents

John Gutmann- After Her Dive, Watching a Rival, 1936

John Gutmann- After Her Dive, Watching a Rival, 1936 © Arizona Board of Regents

John Gutmann - Sailor girl Tatoo, 1945

John Gutmann – Sailor girl Tatoo, 1945 © Arizona Board of Regents

John Gutmann - That Inner Eye, 1940’s

John Gutmann – That Inner Eye, 1940 © Arizona Board of Regents

John Gutmann-Self Portrait with Irene, 1940

John Gutmann-Self Portrait with Irene, 1940

John Gutmann - Self -portrait , with his paintings Nude and Still Life with Apples , 1932

John Gutmann – Self -portrait , with his paintings Nude and Still Life with Apples , 1932 © Arizona Board of Regents

John Gutmann-Self portrait with LoveBird, 1934

John Gutmann-Self portrait with LoveBird, 1934 © Arizona Board of Regents

John Gutmann-Father Doll, 1951

John Gutmann-Father Doll, 1951

John Gutmann-Very Beautiful in Feather Hat, 1951

John Gutmann-Very Beautiful in Feather Hat, 1951

John Gutmann-Gerrie and Circular Drawing 1951

johngutmann.org

Moma Collection