František Vobecký (1902 – 1991)

« A strong wave of Surrealism hit Czechoslovakia in the 1930’s, and Frantisek Vobecky (1902-1991), a painter who used photography to document his images, got caught up in it. He began to explore photomontage in 1935. His early assemblages were of items with logical connections, like the pins, cloth and string in  »Composition » (1935). But logic was soon supplanted by fantasy. Light, shadows (particularly those cast by items outside of the picture) and disparate objects were juxtaposed in dreamy arrangements that often had an erotic component.

A striking one is  »A Melancholic Day » (1936), in which a morose looking part of a face (the brow, eye and nose) shares a cloudy ground with a silver spoon, a large floating drape of black cloth, the carefully coiffed back of a woman’s head, a small nosegay and a tiny round table. A perhaps more celebratory arrangement is  »The Errant Equestrian » (1936), in which a cutout image of a ballet dancer, tutu flaring, is poised on the back of a horse, against a background of grassy rocks. A nearby candlestick sprouts a phallic flower.

Of more interest though are works by Vobecky’s Surrealist contemporaries Jindrich Styrsky (1899-1942) and Jindrich Heisler (1914-1953), which appear in a companion show,  »Czech Avant-Garde. » Unlike Vobecky’s, Styrsky’s images were taken directly from life, but he managed to find the offbeat and quixotic at every turn. A dead-white Japanese mask hanging near a ceiling and a beatific-looking nude mannequin without arms are two that stand out.

Heisler, who hid from the Nazis in Prague for five years, somehow managed — with little in the way of photographic materials — to turn out searing  »photographiques. » On light-sensitive glass plates, he poured rubber cement, then manipulated it into shapes. The plates were exposed to light to make  »camera-less » images. One, from a 1944 cycle titled  »De la Meme Farine » (roughly,  »cut from the same cloth »), shows three groping humanoid figures in a devastated landscape. It is an affecting image.  » by  Grace Glueck the New-York Time

 

František Vobecký (1902 - 1991) Flood, 1936

František Vobecký Flood, 1936

František Vobecký- Tanec, (Dance) 1932

František Vobecký- Tanec, (Dance) 1932

František Vobecký- Untitled,

František Vobecký- Untitled,

František Vobecký- melancholický den (Melancholy Day) 1936

František Vobecký- melancholický den (Melancholy Day) 1936

František Vobecký - untitled, 1936.

František Vobecký- Untitled, 1936

František Vobecký -  Künstliches Paradies, 1936

František Vobecký – Künstliches Paradies, 1936

František Vobecký - Composition, 1936

František Vobecký – Composition, 1936

František Vobecký -  The Moment of Miracles (OKAMžIK ZÁZRAKŮ) 1936.

František Vobecký – The Moment of Miracles (OKAMžIK ZÁZRAKŮ) 1936.

František Vobecký - Notions collage, 1935-36

František Vobecký– Notions collage, 1935/36

František Vobecký - The Ernest Equestrienne , 1936-1937

František Vobecký – The Errant Equestrienne , 1936

František Vobecký- Girl in Flowers , 1936

František Vobecký- Girl in Flowers , 1936

František Vobecký -  A Melancholic Day, 1936 photomontage

František Vobecký – A Melancholic Day, 1936 photomontage

František Vobecký -  After the Low Tide, 1936 photomontage

František Vobecký-After the Low Tide, 1936 ( via Ubu Gallery)

František Vobecký - untitled,

František Vobecký – untitled,

František Vobecký-Flower with nude, 1970

František Vobecký-Flower with nude, 1970

 

 

Osamu Shiihara Japanese (1905-1974

Osamu Shiihara est né à Osaka en 1905, et est diplômé de la Tokyo School of Fine Arts (connue comme « Geidai ») en 1932 au département peinture. Alors qu’il tentait d’établir lui-même comme un peintre dans la préfecture de Hyogo, il s’initieà  la photographie et est devenu un des principaux membres du « Tampei Club » de photographie avec Nakaji Yasui et d’autres. Ce groupe est connu pour sa production avant-gardiste,  travaillant par l’entremise d’une variété de techniques. Shiihara  lui-même utilisera la solarisation , les expositions multiples, le photogramme comme techniques, ainsi que la combinaison unique de la photographie et la peinture.

Cet artiste reste peu connu en occident malgrè sont avant gardisme notoire. Sa vison du féminin est d’une grande délicatesse, laissant place à l’imagination. On ne décèle plus ce qui relève du rêve où de la réalité, mélant les images, brouillant les contours, effaçant les formes, ou les surexposant tout au contraire, jusqu’à faire disparaitre les traits les plus fin des sujets. Il en est tout autant pour la vie de tous les jours où il laisse place à l’imaginaire sur le regard porté sur les objets du quotidien

Osamu Shiihara - Nude  vers 1930

Osamu Shiihara – Nude vers 1930 The National Museum of Modern Art, Tokyo

Osamu Shiihara - ConstructionB, sans date

Osamu Shiihara – ConstructionB, sans date ( 1930-1940) The National Museum of Modern Art, Tokyo

Osamu Shiihara- Breast, 1935-39

Osamu Shiihara- Breast, 1935-39 The National Museum of Modern Art, Tokyo

Osamu Shiihara- Movement   n.d.

Osamu Shiihara- Movement n.d. The National Museum of Modern Art, Tokyo

Osamu Shiihara-Title Unknown [Mannequins ]]   n.d.

Osamu Shiihara-Title Unknown [Mannequins ]] n.d.

Osamu Shiihara- Sans titre,, 1930s. 2

Osamu Shiihara- Sans titre,, 1930s The National Museum of Modern Art, Tokyo

Osamu Shiihara- Sans titre,, 1930s.

Osamu Shiihara- Sans titre,, 1930s. The National Museum of Modern Art, Tokyo

Osamu Shiihara- Sans titre,, 1930s.

Osamu Shiihara- Sans titre,, 1930s. The National Museum of Modern Art, Tokyo

Osamu Shiihara- Woman and Horse(Photo-peinture), c.1938

Osamu Shiihara- Woman and Horse(Photo-peinture), c.1938 The National Museum of Modern Art, Tokyo

Osamu Shiihara- Title Unknown ,1930s

Osamu Shiihara- Title Unknown ,1930sThe National Museum of Modern Art, Tokyo

Osamu Shiihara, nu multile exposition ca. 1930sThe National Museum of Modern Art, Tokyo

Osamu Shiihara, sans titre, 1930sThe National Museum of Modern Art, Tokyo

Osamu Shiihara- Sans titre,, 1930s.  4

Osamu Shiihara- Sans titre, 1930s.  The National Museum of Modern Art, Tokyo

Osamu Shiihara- Arabesque ,1937

Osamu Shiihara- Arabesque ,1937 The National Museum of Modern Art, Tokyo

Osamu Shiihara- Title Unknown (Nude) , 1937

Osamu Shiihara- Title Unknown (Nude) , 1937

Osamu Shiihara- Construction 5   n.d.

Osamu Shiihara- Construction 5, n.d. The National Museum of Modern Art, Tokyo

Osamu Shiihara - nude ( solarisation), vers 1930

Osamu Shiihara – nude ( solarisation), 1930s © Estate of Osamu Shiihara, care of Tomatsu Shiihara, Japan

Osamu Shiihara-  Nude Circa 1930-1940 ariant of this print is in the collections of The Art Institute of Chicago The Museum of Modern Art, New-York The Tokyo Museum of Modern Art

Osamu Shiihara- Nude Circa 1930-1940 ariant of this print is in the collections of The Art Institute of Chicago The Museum of Modern Art, New-York The Tokyo Museum of Modern Art

amu Shiihara- Le shampoing, 1930s.

amu Shiihara- Le shampoing, 1930s.

Osamu Shiihara - Three Dimentions, 1938

Osamu Shiihara – Three Dimentions, 1938

Osamu Shiihara – sans titre ( Nu) , 1930s © Estate of Osamu Shiihara, care of Tomatsu Shiihara, Japan

Osamu Shiihara - Nude Study, 1930s

Osamu Shiihara -Etude de nu, 1930s © Estate of Osamu Shiihara, care of Tomatsu Shiihara, Japan

Osamu Shiihara - Sans titre, 1939

Osamu Shiihara – Sans titre, 1939 The National Museum of Modern Art, Tokyo

Osamu Shiihara- Sans titre,, 1930s.

Osamu Shiihara- Sans titre,1930s. The National Museum of Modern Art, Tokyo

Osamu Shiihara,- Sans titre , 1930sThe National Museum of Modern Art, Tokyo

Osamu Shiihara,- Sans titre , 1930sThe National Museum of Modern Art, Tokyo

Osamu Shiihara- Ecstasy (1), fin 1930

Osamu Shiihara- Ecstasy (1), fin 1930

Osamu Shiihara-Light   1938

Osamu Shiihara- Light, 1938 The National Museum of Modern Art, Tokyo

Osamu Shiihara-[Variant of 'Ecstasy'],1 fin 1930

Osamu Shiihara-[Variant of ‘Ecstasy’],1 fin 1930 The National Museum of Modern Art, Tokyo

Osamu Shiihara-[Variant of 'Ecstasy'], fin 1930

Osamu Shiihara-[Variant of ‘Ecstasy’], fin 1930 The National Museum of Modern Art, Tokyo

Title Unknown [variant of 'The Hand'] , 1938

Title Unknown [variant of ‘The Hand’] , 1938 The National Museum of Modern Art, Tokyo

Osamu Shiihara- Composition, 1938

Osamu Shiihara- Osamu Shiihara- Composition, 1938 The National Museum of Modern Art, Tokyo

Osamu Shiihara- untitled, 1930s.

Osamu Shiihara- untitled, 1930s.

Osamu Shiihara-Title Unknown [Mannequins by the Roadside]]   n.d.

Osamu Shiihara-Title Unknown [Mannequins by the Roadside]] n.d. The National Museum of Modern Art, Tokyo

Osamu Shiihara- Esperance (hope), 1938

Osamu Shiihara- Esperance (hope), 1938 The National Museum of Modern Art, Tokyo

Osamu Shiihara- self- portrait, nd

Osamu Shiihara- self- portrait, nd The National Museum of Modern Art, Tokyo

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

 

Frédérique Jouval

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Frédérique Jouval -Apparitions

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Frédérique Jouval -Apparitions

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Frédérique Jouval -Apparitions

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Frédérique Jouval -Apparitions

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Frédérique Jouval -Apparitions
Son site Frederique Jouval

Pierre Molinier – Marie-Therese, n.d

Pierre Molinier – Marie-Therese, n.d. from Pierre Molinier by Jean-Luc Mercie, les presses du réel Paris 2010.

 

 

Alphonse Maria Mucha – Modèles

« Mucha began to take photographs in the early 1880s, probably in Vienna, with a borrowed camera. It was not until he had gained some recognition in Paris and sufficient funds that he purchased his first camera. Mucha’s photographic output grew dramatically after his move to a large studio in the rue du Val de Grâce in 1896. In the new studio, where he had considerably more light thanks to large windows and a glass ceiling, he photographed on a virtually daily basis.

Between 1896 and the early 1900s Mucha made a remarkable series of photographs of the models posing for him. The use of photography as an inexpensive medium for preliminary studies was common among Mucha’s Parisian contemporaries. However, Mucha’s photographs are more than just an alternative to sketches because they also capture the inimitable atmosphere of Mucha’s studio – a world of art in its own right. It was in his studio that that Mucha entertained countless Parisian artists, writers and musicians. It was also the setting for one of the earliest cinematic projections given by the Lumière brothers, whom Mucha had met in 1895, and for psychic experiments with Camille Flammarion and Albert de Rochas. In the background of the studies of models, examples of Mucha’s work may be seen, surrounded by his collection of objets d’art, books and furniture, many of which survive to this day.

The majority of Mucha’s Parisian photographs were not taken for a specific project – he preferred to improvise a number of poses in front of the camera, creating an archive of variants from which he could select what he considered most suitable for the subject of each new commission. However, some photographs were obviously directed, with his friends and models posing as characters for book illustration. Later this practice grew into a part of his experimentation with his models to express his philosophical ideas through theatrical poses and gestures.

Mucha’s theatrical approach culminated in his preparatory work for the Slav Epic canvases. Before working on each canvas Mucha produced numerous staged photographs documenting costumed models posing under his ‘theatre’ directions. From these photographs he selected appropriate images and synthesised them to create a complicated historical event on a single canvas. Although the images were intended as studies for his final paintings, Mucha’s approach to image-making has much in common with filmmaking.
Read less »  Conservatoire Musée Mucha Prague.

Alphonse Maria Mucha - female moel wearing crow and holding sword, negative 1900s; print about 1980

Alphonse Maria Mucha – female moel wearing crow and holding sword, negative 1900s; print about 1980

Alphonse Maria Mucha - Reclining Nude, about 1900s

Alphonse Maria Mucha – Reclining Nude, about 1900s

Alphonse Maria Mucha – Model in studio, 1900s From the book  “Osobnosti české fotografie  I », by  Fárová Anna 1974, ed° UPM Praha typo by Libor Fara © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce for Documents Décoratifs, Paris,  1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce for Documents Décoratifs, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce for Documents Décoratifs, Paris,  1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce for Documents Décoratifs, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce for Documents Décoratifs, Paris,  1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce for Documents Décoratifs, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -  Model-Study for Figures Decoratives Rue du Val de Grace, 1901© Alphonse Mucha Trust

Alphonse Maria Mucha – Model-Study for Figures Decoratives Rue du Val de Grace, 1901© Alphonse Mucha Trust

Alphonse Maria Mucha - Model for Medee -1898 (1)

Alphonse Maria Mucha – Model for Medee -1898 (1)

Alphonse Maria Mucha - -Model for Medee ,1898 © Alphonse Mucha Trust

Alphonse Maria Mucha – -Model for Medee ,1898 © Alphonse Mucha Trust

Alphonse Maria Mucha -  Model posing , 1898-89

Alphonse Maria Mucha – Model posing , 1898-89 © Alphonse Mucha Trust

Alphonse Maria Mucha - Model called “La Bise”, pour Cocorico N 3 du 1er fevrier 1899.© Alphonse Mucha Trust

Alphonse Maria Mucha – Model called “La Bise”, pour Cocorico N 3 du 1er fevrier 1899.© Alphonse Mucha Trust

Alphonse Maria Mucha -H ands pose  Paris,  1908 © Alphonse Mucha Trust

Alphonse Maria Mucha -Hands pose Paris, 1908 © Alphonse Mucha Trust

Alphonse Maria Mucha -Ce modèle servit à illustrer l’article de Maurice Pillard Verneuil De l’emploi de la couleur en impression Trois impressions paru en 1902 dans Art et Décoration. Atelier Mucha, Paris, 1900. © Alphonse Mucha Trust

Alphonse Maria Mucha –  Photographie du modèle , Atelier Mucha, Paris. 1900 m^me chose que la photo précédente  Ce modèle servit à illustrer l’article de Maurice Pillard Verneuil De l’emploi de la couleur en impression Trois impressions paru en 1902 dans Art et Décoration © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust (2)

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1901

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1901

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1899 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1899 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust (3)

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1900 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1_çè © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1897 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1899 © Alphonse Mucha Trust (4)

Alphonse Maria Mucha -Model , Studio du Val de grâce, Paris, 1899 © Alphonse Mucha Trust

Alphonse Maria Mucha - Model posing  1918 © Alphonse Mucha Trust

Alphonse Maria Mucha – Model posing 1918 © Alphonse Mucha Trust

Alphonse Maria Mucha – Reclining Half-Nude Model, posing, nd, (1890s) © Alphonse Mucha Trust

Alphonse Maria Mucha –  Model Draped in a Shawl posed against Mucha posters, after 1896 © Alphonse Mucha Trust

Alphonse Maria Mucha -Model (  to illustrated the E. Gebhart New York , 1908   © Alphonse Mucha Trust

Alphonse Maria Mucha -Miss Reichl (Max Reinhardt’s Company’s leading actress) posing for ‘Tragedy’, a German Theatre mural, in Mucha’s studio, New York 1908 © Alphonse Mucha Trust

Alphonse Maria Mucha -Studio photography  His Daughter 1925s© Alphonse Mucha Trust

Alphonse Maria Mucha -Studio photography His Daughter 1925s© Alphonse Mucha Trust

Alphonse Maria Mucha - 1919© Alphonse Mucha Trust

Alphonse Maria Mucha – 1919© Alphonse Mucha Trust

Alphonse Marie Mucha, 1908© Alphonse Mucha Trust

Alphonse Marie Mucha, 1908© Alphonse Mucha Trust

Alphonse Maria Mucha  and his daughter, Jaroslava 1926 © Alphonse Mucha Trust (2)

Alphonse Maria Mucha and his daughter, Jaroslava 1926 © Alphonse Mucha Trust

Plus de Photos Ici

Edwin Bower Hesser (1893-1962) Magazines et études de nus

De 1923  jusqu’au milieu des années 1930, Edwin Bower Hesser, [éminent photographe qui a travaillé à New York et Los Angeles pendant l’âge d’or d’Hollywood et mis au point son propre système de photographie couleur appelée Hessercolor] a édité et produit  des photographies pour 7  Magazines d’Art conçus et pensés  pour aider Les étudiants  en Art ( sous toutes ses formes) et notamment ceux de l’ Art Institute of Chicago , par lequel il est passé, autour de la question du nu et des formes du corps humain  « the Hesser Arts Monthly « Art classic », « Art Studies » , « Camera Art », « Classic Art », « Real Art studies », « Screen art studies », « Studio art studies ». Hesser aimait les parcs , les plages, il aimait le plein air , il aimait les filles nues, et il aimait l’art et cela se trouve dans toutes ses photographies , même celles de portraits de stars du cinéma).

Edwin Bower Hesser-for Daw Physiology, Eugenics, Art &Love, 1928

Edwin Bower Hesser-Facing the East. for Daw Physiology, Eugenics, Art &; Love, 1928

Edwin Bower Hesser-Fruit for Daw Physiology, Eugenics, Art & Love, 1928

Edwin Bower Hesser-Rejuvenation for Daw Physiology, Eugenics, Art &; Love, 1928

Edwin Bower Hesser-Spoils of the Sea for Daw Physiology, Eugenics, Art &Love, 1928

Edwin Bower Hesser-The Sea for Daw Physiology, Eugenics, Art &; Love, 1928

Edwin Bower Hesser-Thoughts in Solitude. for Daw Physiology, Eugenics, Art & Love, 1928

Edwin Bower Hesser- The Enchanted Forest for Daw Physiology, Eugenics, Art &Love, 1928

Edwin Bower Hesser- Sunlight & Shadow. for Daw Physiology, Eugenics, Art &; Love, 1928

Edwin Bower Hesser-Anatomical Study for Daw Physiology, Eugenics, Art & Love, 1928

Edwin Bower Hesser-Curse of India for Daw Physiology, Eugenics, Art & Love, 1928

Edwin Bower Hesser-Hesser-Maid of Araby for Daw Physiology, Eugenics, Art & Love, 1928

Edwin Bower Hesser-Julie De Valeria for Daw Physiology, Eugenics, Art & Love, 1928

Edwin Bower Hesser-Palm Beach for Daw Physiology, Eugenics, Art & Love, 1928

Edwin Bower Hesser-Pensively Pretty. for Daw Physiology, Eugenics, Art &Love, 1928

****************

Edward Bower Hesser- Nude Study , Gri.. park, La, 1922 Arts (Monthly Pictorial)

Edward Bower Hesser- Nude Study , Gri.. park, La, 1922 Arts (Monthly Pictorial) – The magazine of Pictures for Artists ans Art Students founded and edited in 1922 by Edward Bower Hesser

Edward Bower Hesser- Nude Study , Gri.. park, La, 1922 Arts (Monthly Pictorial) – The magazine of Pictures for Artists ans Art Students founded and edited in 1922 by Edward Bower Hesser

Edward Bower Hesser- Nude Study , Gri.. park, La, 1922 Arts (Monthly Pictorial) – The magazine of Pictures for Artists ans Art Students founded and edited in 1922 by Edward Bower Hesser

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Edwin Bower Hesser – Artist’s notebook , 1931

Edwin Bower Hesser –two plates from Atrist’s NoteBook, 1930

*************

Edward Bower Hesser -Mercy Robbins, with mask of W.T. Benda, 1920 sart-studies-magazine-january-1926

Edwin Bower Hesser- The Toe Dancer, Frances Mildern, 1926 art-studies-magazine-january-1926

Edward Bower-Mignon Laird Night Club Star, 1926 art-studies-magazine-january-1926

il est indéniable qu’ Edwin Bower Hesser fût très inspiré par Les photographies faites autour d’Isadora Duncan et ses danseurs ( mouvement de la danse grecque)  aux modèles  en plein air, ( plage, parc, bois) nus ou avec de légers voiles. Il existait à cette époque une très forte croyance en les idéaux du mouvement de culture physique, du corps parfait  , de la beauté corporelle, de l hygiène et de la sexualité expressive qui émanait du corps. Isadora Duncan, tout comme Ted Shawn, Annette Kellerman, Margaret Edwards, ou Douglas Fairbanks en étaient les portes paroles, avec cette volonté  de montrer au  public ce à quoi ressemblerait la splendeur de ce qu’ils nommaient le « Temple de Dieu, » le physique humain.Heisser s’accrochant à se mouvement en est devenu ce qu’on pourrait qualifié de  » fanatique », espérant proposer un modèle parfait de la « future race humaine » ( propos quelque peu discutables et emprunt d’un certain eugénisme, ce qui lui fût reproché….). Ceci dit, On ne peut pas lui enlever le fait qu’il a su mettre en scène une harmonie entre formes humaines et formes de la nature.

Edward Bower Hesser – Jean Harlow, 1929

 

Edward Bower Hesser – Jean Harlow, 1930s

Edward Bower Hesser – Jean Harlow, 1930s

Edward Bower Hesser – Jean Harlow, 1930s

Edwin Bower Hesser Jean Harlow, Griffith Park, 1929

Edward Bower- Studies in Type of Body,1926,

Edward Bower Hesser- Nude Study , Gri.. park, La, 1922

Edwin Bower Hesser- Female Nude, 1929

Edwin Bower Hesser- Female Nude-, 1929

Edwin Bower Hesser- Female Nude at Griffith Park L.A, 1920s

Edwin Bower Hesser- Flapper in Pool, 1920

Edwin Bower Hesser – nude in lake , 1920

Edwin Bower Hesser- nude in lake , 1920

Edwin Bower Hesser – nude in lake , 1920

Edwin Bower Hesser – The Lady of the rocks , a Study in consrasts Magazine Theatre october, 1922

Edwin Bower Hesser- nude CALIFORNIA COAST , 1920

Edwin Bower Hesser- Nude at Griffith Park L.A, 1920s

Edwin Bower Hesser- Nude study outdoor , 1920s

Edwin Bower Hesser- Nymph, 1922

Edwin Bower Hesser- The Three Graces,Norma Talmadge Marion Davies Irene Castles 1925

Edwin Bower Hesser- Nude study , 1930

Edwin Bower Hesser Marjorie Leet in Garden of Girls November,1925

Edwin Bower Hesser- Nude, 1920s

Edwin Bower Hesser bessie love 1919

Edwin Bower Hesser Bessie Love in Garden of Girls 1920’s

Source ici et Ebay où vous pouvez trouvez des clichés peu cher, et parfois ses magazines.

 

 

 

Curtis Moffat ( American 1887-1949)

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

Version 1.0.0

                                                                                                          Curtis Moffat – Mrs Hamilton, 1925-1930

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

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

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

Curtis Moffat-Female Nude, c.1925

Curtis Moffat-Female Nude, c.1925

Curtis Moffat Female Nude with a Mirror 1920’s

Curtis Moffat Female Nude with a Mirror 1920’s

Curtis Moffat- Figure study, london, 1

Curtis Moffat- Figure study, london,

Curtis Moffat- woman relaxing 1920

Curtis Moffat- woman relaxing 1920

Curtis Moffat- figure study, london, 1920s

Curtis Moffat- figure study, london, 1920s

Curtis Moffat-Woman's legs, about 1925

Curtis Moffat-Woman’s legs, about 1925

Curtis Moffat-Woman under water spout, about 1925

Curtis Moffat-Woman under water spout, about 1925

Curtis Moffat-Figure study, about 1925 1

Curtis Moffat-Figure study, about 1925

Curtis Moffat-Figure study, about 1925

Curtis Moffat-Figure study, about 1925

Curtis Moffat -Woman choosing her clothes

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

Curtis Moffat- Nancy Cunard, detail of diptych, 1925

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 1

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 & 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/Estate of Curtis Moffat

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

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

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

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

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

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

Curtis Moffat-Lady Diana Cooperl,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-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

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

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

Curtis Moffat- Rossemary Fothergill,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 – Portrait of a woman

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

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

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

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

Curtis Moffat, 'Snapshot', About 1925-1930

Curtis Moffat, ‘Snapshot’, About 1925-1930

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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',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

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Curtis Moffat-‘Cecil Beaton’, 1928

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

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

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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

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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-Nancy Beaton, matte bromide print, 1920s

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

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

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

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

Curtis Moffat- Ms Greville Gelatin silver print. London, UK, c.1925. © Curtis Moffat Victoria and Albert Museum 2

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

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, ‘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

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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

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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, ‘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 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

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

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

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Curtis Moffat- about 1925

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Curtis Moffat- about 1925

Curtis Moffat - about 1925

Curtis Moffat – about 1925

Curtis Moffat - Untitled, about 1925

Curtis Moffat – Untitled, about 1925

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Curtis Moffat- about 1925-29

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Curtis Moffat- about 1925-29

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Curtis Moffat- about 1925-1929

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Curtis Moffat- about 1925-29

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

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

© Frédéric Delangle- Série Coït, 2008

 

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

 

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

 

© Frédéric Delangle- Série Coït, 2008

© Frédéric Delangle- Série Coït, 2008

Clarence H. White

 Clarence H. White- Dancers from Barnard College Greek Games ,1911 Platinum print

Clarence H. White- Dancers from Barnard College Greek Games ,1911 Platinum print

 Clarence H. White- United States Larsen Dancers , ca. 1923 – 1924 Platinum print

Clarence H. White- United States Larsen Dancers , ca. 1923 – 1924 Platinum print

 Clarence H. White- Dancers from Barnard College Greek Games ,1911 Platinum print

Clarence H. White- Dancers from Barnard College Greek Games ,1911 Platinum print

Clarence H. White- Dancers from Barnard College Greek Games, 1911

Clarence H. White- Dancers from Barnard College Greek Games, 1911

 Clarence H. White- Dancers from Barnard College Greek Games ,1910s Platinum print

Clarence H. White- Dancers from Barnard College Greek Games ,1910s Platinum print

 Clarence H. White- Dancers from Barnard College Greek Games ,1910s Platinum print

Clarence H. White- Dancers from Barnard College Greek Games ,1910s Platinum print

 Clarence H. White- Young woman nude ,1910 s

Clarence H. White- Young woman nude ,1910 s

Clarence H. White- Nude posed indoors, 1900-10

Clarence H. White- Nude posed indoors, 1920

 Clarence H. White- Nude posed indoors , 1920 – 1925

Clarence H. White- Nude posed indoors , 1920 – 1925

 Clarence H. White- Nude posed indoors,1910

Clarence H. White- Nude posed indoors,1920

 Clarence H. Clarence H. White- Nude posed indoors,1910

Clarence H. White- Nude posed indoors,1920

 Clarence H. White- Nude posed indoors , 1920 s

Clarence H. White- Nude posed indoors , 1920 s

Clarence H. White- Study - Mother and Child, 1900-1910

Clarence H. White- Study – Mother and Child, 1900-1910

Clarence H. White- Nude, 1900s

Clarence H. White- Nude, 1900s

 Clarence H. White- Nude on rocks and in woods,1910

Clarence H. White- Nude on rocks and in woods,1910

 Clarence H. Untitled (Miss Thompson, nude, in doorway holding white fabric),1910

Clarence H. Untitled (Miss Thompson, nude, in doorway holding white fabric),1910

 Clarence H. White- nude ,1910

Clarence H. White- nude ,1910

 Clarence H. White- Untitled (Female nude),1907 Platinum print with graphite

Clarence H. White- Untitled (Female nude),1907 Platinum print with graphite

 Clarence H. White- Portrait of Annette Kellermann diving, 1909, Princeton University Art Museum

Clarence H. White- Portrait of Annette Kellermann diving, 1909, Princeton University Art Museum

 Clarence H. White- Portrait of Annette Kellermann diving, 1909, Princeton University Art Museum

Clarence H. White- Portrait of Annette Kellermann diving, 1909, Princeton University Art Museum

 Clarence H. White- Portrait of Alla Nazimova

Clarence H. White- Portrait of Alla Nazimova

 Clarence H. White- Woman with flowers, 1900s

Clarence H. White- Woman with flowers, 1900s

James Abbe

James Abbe Folies Bergère tableau vivant  spectacle des Ziegfeld Follies ( costumes designed by James Ben Ali Haggi)

James Abbe Folies Bergère « tableau vivant spectacle desZiegfeld Follies ( costumes designed by James Ben Ali Haggi)


James Edward Abbe The Dolly Sisters 1927

James Edward Abbe The Dolly Sisters 1927


James Abbe - Backstage, French and English girls at the Moulin Rouge, 1926

James Abbe – Backstage, French and English girls at the Moulin Rouge, 1926


James Abbe -Backstage at the Folies Bergère, Paris,1926.

James Abbe -Backstage at the Folies Bergère, Paris,1926.


James Abbe - Sisters G, 1920

James Abbe – Sisters G, 1920

 

Augustus Edwin John

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Augustus Edwin John -Seated nude with raised arm, nd ( 1910-1930s)

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Augustus Edwin John (1878 – 1961) Nude, standing signed, dated 1924, pencil, inscribed To Bernard Adams

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Lady Ottoline Morrell – Unknown man, Augustus Edwin John & Philip Edward Morrell, 1900-1910

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Augustus Edwin John-Portrait of Iris Tree ( Iris Motaff wife of curtis Motaff ,Wales, c.1919

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Augustus Edwin John-Study Of Two Nudes,

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Augustus Edwin John- Female Nude,

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Augustus Edwin John-Louise Salaman, 1899 Pencil and grey wash on paper

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Augustus Edwin John-The Marchesa Casati , 1919

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Augustus Edwin John-The Marchesa Casati ,

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Augustus Edwin John-Portrait of the Marchioness of Winchester, 1930

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Augustus Edwin John-Lily on the mountainside, 1911

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Augustus Edwin John-Study of a seated nude, 1900

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Augustus Edwin John- Virginia, 1906

Laure Albin-Guillot – « Étude de nu », en noir et blanc

Etude de nu by Laure Albin-Guillot, 1930

Laure Albin guillot- Buste nu 1937

Laure Albin guillot- Buste de femme, ca. 1927

Laure Albin-Guillot- Nu, ca. 1938

Laure Albin-Guillot- Nu , photogravure. c1939

Laure Albin Guillot – Etude de nu au feminin., années 1940

Laure Albin guillot- Buste de femme, nd

Laure Albin Guillot – Etude de nu , 1940

Laure Albin Guillot – Etude de nu au feminin, 1936

Laure Albin Guillot – Etude de nu au feminin, 1940

Laure Albin Guillot – Etude de nu au feminin,1937

Laure Albin Guillot – nu féminin, 1940

Laure Albin Guillot – Nu assis, 1938

Laure Albin Guillot – Portrait de femme , 1940

 

Laure Albin Guillot -Nu. Paris, vers 1930

Laure Albin Guillot -Untitled (Nude, Kneeling), 1930

Laure Albin Guillot -Etude de nu féminin. France, vers 1940.

More articles about Laure Albin- Guillot

Laure Albin-Guillot pour « Douze Chansons de Bilitis » de Pierre Louÿs 1937

Laure Albin-Guillot (French, 1892 – 1962). Nude #18. Vintage photogravure. c1936

Laure Albin-Guillot (French, 1892 - 1962). Nude #18. Vintage photogravure. c1936

Laure Albin-Guillot (French, 1892 – 1962). Nude #18. Vintage photogravure. c1936

Laure Albin Guillot - Nu Douze Chansons de Bilitis de Pierre Louÿs en 1937

Laure Albin Guillot – Nu Douze Chansons de Bilitis de Pierre Louÿs en 1937

Laure Albin Guillot - Les remords , Douze Chansons de Bilitis.Pierre Louÿs's erotic classic, illustrated by Albin-Guillot's delicate nudes Paris, J. Dumoulin, 1937.

Laure Albin Guillot – Les remords , Douze Chansons de Bilitis.Pierre Louÿs’s erotic classic, illustrated by Albin-Guillot’s delicate nudes Paris, J. Dumoulin, 1937.

 

 

Laure Albin Guillot - La dormeuseDouze Chansons de Bilitis.Pierre Louÿs's erotic classic, illustrated by Albin-Guillot's delicate nudes Paris, J. Dumoulin, 1937.

Laure Albin Guillot – La dormeuse, Douze Chansons de Bilitis. Pierre Louÿs’s erotic classic, illustrated by Albin-Guillot’s delicate nudes Paris, J. Dumoulin, 1937.

Laure Albin-Guillot- DOUZE CHANSONS DE BILITIS DE PIERRE LOUYS ILLUSTRÉES DE PHOTOGRAPHIES PAR LAURE ALBIN-GUILLO,1937

Laure Albin Guillot – La berceuse Mnaskidika ,  Douze Chansons de Bilitis.Pierre Louÿs’s erotic classic, illustrated by Albin-Guillot’s delicate nudes Paris, J. Dumoulin, 1937.

Laure Albin Guillot - Douze Chansons de Bilitis.Pierre Louÿs's erotic classic, illustrated by Albin-Guillot's delicate nudes Paris, J. Dumoulin, 1937.

Laure Albin Guillot – La berceuse Mnaskidika , de Douze Chansons de Bilitis.Pierre Louÿs’s erotic classic, illustrated by Albin-Guillot’s delicate nudes Paris, J. Dumoulin, 1937.

 

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Laure Albin Guillot – La Cantate du Narcisse, Paul Valéry, Paris, imp. Artra, 1942

Laure Albin Guillot- Planche 44  , issue de Paul Valéry, La Cantate du Narcisse, Paris, imp. Artra, 1942

Laure Albin Guillot - La Cantate du narcisse ,1934

Laure Albin Guillot – Nu masculin, 1934, La Cantate du Narcisse, Paul Valéry, Paris, imp. Artra, 1942

Laure Albin Guillot - les Yeux Mêmes et Noirs de Leur Âme, from Paul Valéry’s La Cantate du Narcisse, 1942 (2)

Laure Albin Guillot – les Yeux Mêmes et Noirs de Leur Âme, La Cantate du Narcisse, Paul Valéry, Paris, imp. Artra, 1942

Laure Albin Guillot - Etude pour La Cantate du Narcisse (Paul Valery), 1941

Laure Albin Guillot – Etude , 1941 pur La Cantate du Narcisse, Paul Valéry, Paris, imp. Artra, 1942

Laure Albin Guillot - Etude pour La Cantate du Narcisse 1931 (Paul Valery), 1941

Laure Albin Guillot – Nu, 1931La Cantate du Narcisse, Paul Valéry, Paris, imp. Artra, 1942

Laure Albin Guillot - Etude, nd pour La Cantate du Narcisse (Paul Valery), 1941

Laure Albin Guillot – Etude, nd La Cantate du Narcisse, Paul Valéry, Paris, imp. Artra, 1942

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