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Exhibition: 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art (MoMA), New York
By Dr Marcus Bunyan Leave a Comment
Categories: American, american photographers, beauty, black and white photography, colour photography, digital photography, documentary photography, exhibition, existence, gallery website, landscape, light, Man Ray, memory, photographic series, photography, pictorialism, portrait, psychological, quotation, reality, sculpture, space, street photography, time and works on paper
Tags: 29 Palms: Infantry Platoon (Machine Gunners), 29 Palms: Mortar Impact, Aaron Siskind, Aaron Siskind Chicago 30, Aaron Siskind Jalapa 30 (Homage to Franz Kline), Aaron Siskind Jalapa 38 (Homage to Franz Kline), Aaron Siskind Lima 89 (Homage to Franz Klein), Aaron Siskind North Carolina 30, abstract expressionist, Alfred Stieglitz, Alfred Stieglitz The Terminal, An-My Lê, An-My Lê 29 Palms: Infantry Platoon (Machine Gunners), An-My Lê 29 Palms: Mortar Impact, André Kertész New York, Andre Kertesz, Berenice Abbot Gunsmith, Berenice Abbott, Berenice Abbott George Washington Bridge, Bernd and Hilla Becher, Bernd and Hilla Becher Cooling Towers, Bernd and Hilla Becher Duisburg-Bruckhausen, Bernd and Hilla Becher Hannover Mine 1/2/5, Carrie Mae Weems, Carrie Mae Weems The Shape of Things, Cathedral of Notre Dame, Charles Harry Jones, Charles Harry Jones Onions, Charles Harry Jones Peapods, Charles Marville, Charles Marville Pont Neuf, Charles Marville Rue des Prêtres-Saint-Germain-l'Auxerrois, Charles Marville Rue du Cygne, Chicago 1951, Chicago 30, Clarence John Laughlin, Clarence John Laughlin Spectre of Coca-Cola, Contemplating the Bust of Man Ray from the portfolio Man Ray, Cooling Towers, David Levinthal, David Levinthal Hitler Moves East, Design Angles, directorial modes, directorial modes in photography, directorial modes of production, double exposures, Dr. Hortensio Verdeprado, Duisburg-Bruckhausen, Eleanor and Barbara Chicago, Exhibition of the Witch, figures, fine art photography, forms, frame of reference, Frederick Sommer, Frederick Sommer I Adore You, George Washington Bridge, Germaine Krull, Germaine Krull Le Metal Inspirateur d'Art, Germaine Krull Metal Inspiration of Art, Germaine Krull Rails, Giliandria Escoliforcia, Greek Hero, Hannover Mine 1/2/5, Harry Callahan, Harry Callahan Chicago, Harry Callahan Chicago 1951, Harry Callahan Chicago c. 1949, Harry Callahan Chicago c. 1952, Harry Callahan Eleanor and Barbara Chicago, Harry Callahan Providence, Harry Callahan Siena, Hôtel de Douvres, Hitler Moves East, Hugh W. Diamond, Hugh W. Diamond Untitled c. 1852-55, I Adore You, images, Jalapa 30 (Homage to Franz Kline), Jalapa 38 (Homage to Franz Kline), Jan Groover, Jan Groover Untitled 1983, Joan Fontcuberta, Joan Fontcuberta Giliandria Escoliforcia, Joan Fontcuberta Mullerpolis Plunfis, John Coplans, John Coplans Self-Portrait (Back with Arms Above), John Gossage, John Gossage Monumentenbricke, L'Atlas de photographies solaires, Le Metal Inspirateur d'Art, Lee Friedlander, Lee Friedlander Glenwood Springs Colorado, Lima 89 (Homage to Franz Klein), Louis-Auguste Bisson, Louis-Auguste Bisson Cathedral of Notre Dame, Margaret Watkins, Margaret Watkins Design Angles, masks, Metal Inspiration of Art, Michael Spano, Michael Spano Photogram-Michael Spano, MOMA, Monumentenbricke, Mullerpolis Plunfis, Museum of Modern Art, North Carolina 30, Peapods, Personal experiences, Photogram-Michael Spano, photographic image as evidence of truth, photosphere, Robert B. Menschel, Roger Fenton, Roger Fenton Greek Hero, Rue Basse des Remparts, Rue des Prêtres-Saint-Germain-l'Auxerrois, Rue du Cygne, Self-Portrait (Back with Arms Above), shapes, space environment, Spectre of Coca-Cola, The Directorial Mode, The Gay Deceiver, The Museum of Modern Art, The Shape of Things, The Shape of Things: Photographs from Robert B. Menschel, The Terminal, totems, Truthful representations, Val Telberg, Val Telberg Exhibition of the Witch, Weegee, Weegee The Gay Deceiver, William Henry Fox Talbot, William Henry Fox Talbot Rue Basse des Remparts, William Wegman, William Wegman Contemplating the Bust of Man Ray from the portfolio Man Ray
Exhibition dates: 29th October 2016 – 7th May 2017
Photography is … a language for asking questions about the world. The Shape of Things imbues this aphorism with a linear taxonomy in its written material (while the installation "occasionally diverges from a strict chronological progression"), no matter that each "moment" in the history of photography – historical, modern, contemporary – is never self contained or self sufficient, that each overlaps and informs one another, in a nexus of interweaving threads.
Charles Harry Jones' Peapods (c. 1900) are as modern as Bernd and Hilla Becher's Cooling Towers (1973); Margaret Watkins' Design Angles (1919) are as directorial as Jan Groover's Untitled (1983) or Charles Harry Jones' Onions (c. 1900). And so it goes…
The ideation "the shape of things" is rather a bald fundamental statement in relation to how we imagine and encounter the marvellous. No matter the era, the country or the person who makes them; no matter the meanings readable in photographs or their specific use value in a particular context – the photograph is still the footprint of an idea and, as John Berger asks, a trace naturally left by something that has past? That flicker of imagination in the mind's eye which has no time.
As Sartre says in Being and Nothingness, "Temporality is only a tool of vision."
Many thankx to MoMA for allowing me to publish the photographs in posting. Please click on the photographs for a larger version of the image.
The Shape of Things presents a compact and non-comprehensive history of photography, from its inception to the early twenty-first century, in one hundred images. The exhibition is drawn entirely from the 504 photographs that have entered The Museum of Modern Art's collection with the support of Robert B. Menschel over the past forty years, including a notable selection of works from his personal collection that were given in 2016 and are being shown here for the first time.
"Photography is less and less a cognitive process, in the traditional sense of the term, or an affirmative one, offering answers, but rather a language for asking questions about the world," wrote the Italian photographer and critic Luigi Ghirri in 1989. Echoing these words, the exhibition presents the history of the medium in three parts, emphasising the strengths of Menschel's collection and mirroring his equal interest in historical, modern, and contemporary photography. Each section focuses on a moment in photography's history and the conceptions of the medium that were dominant then: informational and documentary in the nineteenth and early twentieth centuries, more formal and subjective in the immediate postwar era, and questioning and self-referential from the 1970s onward. The installation occasionally diverges from a strict chronological progression, fuelled by the conviction that works from different periods, rather than being antagonistic, correspond with and enrich each other.
Installation views of The Shape of Things: Photographs from Robert B. Menschel at The Museum of Modern Art, New York, October 29, 2016 – May 7, 2017
© 2016 The Museum of Modern Art
Photo: John Wronn
The exhibition The Shape of Things: Photographs from Robert B. Menschel presents a compact history of photography, from its inception to the early 21st century, in 100 images. On view from October 29, 2016, through May 7, 2017, the exhibition is drawn entirely from the 504 photographs that have entered The Museum of Modern Art's collection over the past 40 years with the support of longtime Museum trustee Robert B. Menschel. It includes a notable selection of works from his personal collection that were given in 2016 and are being shown here for the first time. The Shape of Things is organised by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, MoMA.
Borrowing its title from the eponymous work by Carrie Mae Weems (American, b. 1953), the exhibition presents the history of the medium in three parts, emphasising the strengths of Menschel's collection and mirroring his equal interest in historical, modern, and contemporary photography. Each section focuses on a moment in photography's history and the conceptions of the medium that were dominant then: informational and documentary in the 19th and early 20th centuries, more formal and subjective in the immediate postwar era, and questioning and self-referential from the 1970s onward. The installation occasionally diverges from a strict chronological progression, fuelled by the conviction that works from different periods, rather than being antagonistic, correspond with and enrich each other.
From 1840 to 1900, in photography's infancy as a medium, artists principally sought to depict truthful representations of their surrounding environments. This primal stage is distinguished by a debate on the artistic-versus-scientific nature of the invention. Photographers engaged with the aesthetic and technical qualities of the medium, experimenting with tone, texture, and printing processes. The exhibition begins with seminal photographs such as William Henry Talbot Fox's (British, 1800-1877) 1843 picture Rue Basse des Remparts, Paris, taken from the windows of the Hôtel de Douvres. Also on view is the astronomer Jules Janssen's (French, 1824-1907) masterpiece L'Atlas de photographies solaires (Atlas of solar photographs), published in 1903. Summing up a quarter-century of daily photography at Janssen's observatory in Meudon, France, the volume on view contains 30 images of the photosphere, demonstrating photography's instrumental role in advancing the study of science. Other artists included in this section are Louis-August and Auguste-Rosalie Bisson (Bisson brothers), Eugène Cuvelier, Roger Fenton, Hugh W. Diamond, Charles Marville, and Henri Le Secq.
As photographers grappled with war and its aftermath, they began to turn their focus away from documenting the world around them and toward capturing their own personal experiences in a more formal, subjective way. A selection of works from 1940 to 1960 explores this theme, including works by two artists whose images Menschel collected extensively: Harry Callahan (American, 1912-1999) and Aaron Siskind (American, 1903-1991). A selection from Callahan's quintessential photographs of urban environments – from Chicago and New York to Aix-en Provence and Cuzco, Peru – double exposures of city views, and portraits of his wife Eleanor and daughter Barbara, underscore the breadth of his oeuvre. In the summer of 1951, while teaching alongside Callahan at Black Mountain College in North Carolina, Siskind began the series of pictures of the surfaces of walls for which he is best known. One of the early works in the series on view, North Carolina 30 (1951), shows the bare legs of a woman framed by the words "IN" and"AND" amid layers of peeling layers of posters. In their planarity and graphic quality, these pictures also have a kinship with paintings by the Abstract Expressionists, alongside whom Siskind began exhibiting in the late 1940s. Other artists in this section include Berenice Abbott, Robert Frank, Lee Friedlander, John Gossage, André Kertész, Clarence John Laughlin, and Dora Maar.
From the 1970s onward, photographers began working in what A. D. Coleman defined as "The Directorial Mode," wherein the photographer consciously creates events for the sole purpose of making images. John Coplans (British, 1920-2003) took his own body, naked and with the head invisible, as the subject of his work – both carrying on and contradicting the tradition of the self-portrait centered on the face – as seen in Self-Portrait (Back with Arms Above) (1984). Joan Fontcuberta's (Spanish, b. 1955) series Herbarium appears at first glance to be a collection of botanical studies, depicting plants with new and distinctive contours and rigorously scientific names. However, as revealed by his fictional character Dr. Hortensio Verdeprado ("green pasture" in Spanish), the "plants" are actually carefully composed by the photographer using scrap picked up in industrial areas around Barcelona. Made of bits of paper and plastic, small animal bones, and other detritus, these forms are not only non-vegetal – there is almost nothing natural about them at all. Fontcuberta is interested in the way data assumes meaning through its presentation and in the acceptance of the photographic image as evidence of truth. Other artists in this section include Jan Groover, David Levinthal, An-My Lê, Michael Spano, JoAnn Verburg, and William Wegman.
Press release from the Museum of Modern Art
Roger Fenton (British, 1819-1869)
Greek Hero
Salted-paper print from a wet-collodion glass negative
13 7/16 × 10 3/16″ (34.2 × 25.8 cm)
The Museum of Modern Art, New York
Robert and Joyce Menschel Fund
Hugh W. Diamond (British, 1809-1886)
c. 1852-55
Albumen silver print from a glass negative
6 1/2 x 5 5/16″ (16.6 x 13.5 cm)
Horace W. Goldsmith Fund through Robert B. Menschel
William Henry Fox Talbot (British, 1800-1877)
Rue Basse des Remparts, Paris
Salted paper print
6 11/16 × 6 3/4″ (17 × 17.2 cm)
Promised gift of Robert B. Menschel
Charles Marville (French, 1816-1879)
Albumen silver print
14 1/8 x 8 1/4″ (36 x 23.5 cm)
Rue des Prêtres-Saint-Germain-l'Auxerrois
11 13/16 × 10 1/2″ (30 × 26.6 cm)
Rue du Cygne
11 3/4 x 10 9/16″ (29.9 x 26.9 cm)
Alfred Stieglitz (American, 1864-1946)
Photogravure mounted to board
10 × 13 3/16″ (25.4 × 33.5 cm)
Truthful representations, 1840-1930
"One advantage of the discovery of the Photographic Art will be, that it will enable us to introduce into our pictures a multitude of minute details which add to the truth and reality of the representation, but which no artist would take the trouble to copy faithfully from nature.
Contenting himself with a general effect, he would probably deem it beneath his genius to copy every accident of light and shade; nor could he do so indeed, without a disproportionate expenditure of time and trouble, which might be otherwise much better employed.
Nevertheless, it is well to have the means at our disposal of introducing these minutiae without any additional trouble, for they will sometimes be found to give an air of variety beyond expectation to the scene represented."
William Henry Fox Talbot, The Pencil of Nature, 1844-46
"I was interested in a straightforward 19th-century way of photographing an object. To photograph things frontally creates the strongest presence and you can eliminate the possibilities of being too obviously subjective. If you photograph an octopus, you have to work out which approach will show the most typical character of the animal. But first you have to learn about the octopus. Does it have six legs or eight? You have to be able to understand the subject visually, through its visual appearance. You need clarity and not sentimentality."
Hilla Becher, in "The Music of the Blast Furnaces: Bernhard and Hilla Becher in Conversation with James Lingwood," Art Press, no. 209 (1996)
Charles Harry Jones (British, 1866-1959)
Gelatin silver printing-out-paper print
6 5/16 x 8 1/4″ (16 x 20.9 cm)
Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Each 15 3/4 × 11 13/16″ (40 × 30 cm)
© 2016 Estate Bernd and Hilla Becher
Berenice Abbott (American, 1898-1991)
George Washington Bridge, Riverside Drive and West 179th Street, Manhattan
9 9/16 x 7 5/8″ (24.3 x 19.3 cm)
© 2016 Berenice Abbott/Commerce Graphics
Gunsmith, 6 Centre Market Place, Manhattan
Gelatin silver print 9 5/8 x 7 9/16″ (24.4 x 19.1 cm)
Gift of the Robert and Joyce Menschel Foundation
Hannover Mine 1/2/5, Bochum-Hordel, Ruhr Region, Germany
18 7/16 x 22 11/16″ (46.9 x 57.6 cm)
Duisburg-Bruckhausen, Ruhr Region, Germany
19 5/16 x 24″ (49.1 x 60.9 cm)
Louis-Auguste Bisson (French, 1814-1876)
Cathedral of Notre Dame, Paris (detail of facade)
Acquired through the generosity of Robert B. Menschel
Germaine Krull (Dutch, born Germany. 1897-1985)
15 7/16 x 10 3/8″ (39.2 x 26.3 cm)
Le Metal Inspirateur d'Art (Metal Inspiration of Art)
Personal experiences, 1940-1960
"As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as you approach, group and regroup themselves as you shift your position. Relationships gradually emerge, and sometimes assert themselves with finality. And that's your picture.
What I have just described is an emotional experience. It is utterly personal: no one else can ever see quite what you have seen, and the picture that emerges is unique, never made and never to be repeated. The picture – and this is fundamental – has the unity of an organism. Its elements were not put together, with whatever skill or taste or ingenuity. It came into being as an instant act of sight."
Aaron Siskind, "The Drama of Objects," Minicam Photography 8, no. 9 (1945)
"The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together. First, and emphatically, I accept the flat plane of the picture surface as the primary frame of reference of the picture. The experience itself may be described as one of total absorption in the object. But the object serves only a personal need and the requirements of the picture. Thus rocks are sculptured forms; a section of common decorated ironwork, springing rhythmic shapes; fragments of paper sticking to a wall, a conversation piece. And these forms, totems, masks, figures, shapes, images must finally take their place in the tonal field of the picture and strictly conform to their space environment. The object has entered the picture in a sense; it has been photographed directly. But it is often unrecognizable; for it has been removed from its usual context, disassociated from its customary neighbours and forced into new relationships."
Aaron Siskind, "Credo," Spectrum 6, no. 2 (1956)
Weegee (Arthur Fellig) (American, born Austria. 1899-1968)
The Gay Deceiver
13 x 10 1/4″ (33 x 26 cm)
Harry Callahan (American, 1912-1999)
Dye transfer print
Clarence John Laughlin (American, 1905-1985)
Spectre of Coca-Cola
Gelatin silver print, printed 1981
13 1/4 x 10 3/8″ (33.6 x 26.4 cm)
Robert B. Menschel Fund
9 × 8 7/8″ (22.9 × 22.5 cm)
8 3/4 × 13 7/16″ (22.3 × 34.1 cm)
7 11/16 x 9 9/16″ (19.5 x 24.3 cm)
Gift of Robert and Joyce Menschel
Eleanor and Barbara, Chicago
7 11/16 x 9 11/16″ (19.5 x 24.6 cm)
6 9/16 × 6 7/16″ (16.6 × 16.3 cm)
André Kertész (American, born Hungary. 1894-1985)
13 11/16 x 9 3/4″ (34.7 x 24.7 cm)
Directorial modes, 1970s and beyond
"Here the photographer consciously and intentionally creates events for the express purpose of making images thereof. This may be achieved by intervening in ongoing 'real' events or by staging tableaux – in either case, by causing something to take place which would not have occurred had the photographer not made it happen.
Here the authenticity of the original event is not an issue, nor the photographer's fidelity to it, and the viewer would be expected to raise those questions only ironically. Such images use photography's overt veracity by evoking it for events and relationships generated by the photographer's deliberate structuring of what takes place in front of the lens as well as of the resulting image. There is an inherent ambiguity at work in such images, for even though what they purport to describe as 'slices of life' would not have occurred except for the photographer's instigation, nonetheless those events (or a reasonable facsimile thereof) did actually take place, as the photographs demonstrate.
… This mode I would define as the directorial."
A. D. Coleman, "The Directorial Mode: Notes Towards a Definition," Artforum 15, no. 1 (1976)
Aaron Siskind (American, 1903-1991)
14 x 17 13/16″ (35.6 x 45.3 cm)
13 1/16 × 9 11/16″ (33.2 × 24.6 cm)
Lee Friedlander (American, born 1934)
Glenwood Springs, Colorado
8 5/8 x 12 15/16″ (21.9 x 32.8 cm)
Jan Groover (American, 1943-2012)
Margaret Watkins (Canadian, 1884-1969)
Design Angles
5 7/8 x 8 1/4″ (15 x 21cm)
Jalapa 30 (Homage to Franz Kline)
9 1/2 x 9 15/16″ (24.1 x 23.6 cm)
Lima 89 (Homage to Franz Klein)
10 3/16 × 9 5/8″ (25.9 × 24.4 cm)
John Gossage (American, born 1946)
Monumentenbricke
12 3/16 x 9 11/16″ (30.9 x 24.6 cm)
Val Telberg (American, born Russia. 1910-1995)
Exhibition of the Witch
10 15/16 × 13 3/4″ (27.8 × 35 cm)
© 2016 Estate of Val Telberg
Frederick Sommer (American, born Italy. 1905-1999)
I Adore You
7 9/16 × 9 1/2″ (19.2 × 24.1 cm)
John Coplans (British, 1920-2003)
Self-Portrait (Back with Arms Above)
19 13/16 × 15″ (50.4 × 38.1 cm)
Joan Fontcuberta (Spanish, born 1955)
Giliandria Escoliforcia
10 9/16 x 8 1/2″ (26.8 x 21.5 cm)
Mullerpolis Plunfis
An-My Lê (American, born Vietnam 1960)
29 Palms: Mortar Impact
26 1/2 × 38 1/16″ (67.3 × 96.7 cm)
© 2016 An-My Lê
29 Palms: Infantry Platoon (Machine Gunners)
David Levinthal (American, born 1949)
Untitled from the series Hitler Moves East
10 9/16 x 13 7/16″ (26.8 x 34.1 cm)
The Fellows of Photography Fund and Horace W. Goldsmith Fund through Robert B. Menschel
William Wegman (American, born 1943)
Contemplating the Bust of Man Ray from the portfolio Man Ray
Michael Spano (American, born 1949)
Photogram-Michael Spano
57 7/8 x 23 15/16″ (145.2 x 60.8 cm) (irregular)
Carrie Mae Weems (American, born 1953)
a) 26 7/8 x 26 15/16″ (68.2 x 68.4 cm) b) 26 15/16 x 26 7/8″ (68.5 x 68.3 cm)
Gift of Robert B. Menschel
MoMA website
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Review: 'Victor Hugo: Les Misérables – From Page to Stage' at the State Library of Victoria, Melbourne
Categories: black and white photography, documentary photography, drawing, exhibition, existence, gallery website, intimacy, light, Melbourne, memory, painting, Paris, photographic series, photography, portrait, psychological, quotation, reality, review, space, time and works on paper
Tags: Adele Foucher, Auguste Rodin, Auguste Rodin Victor Hugo, Avenue d'Iéna, Boulevard Haussmann, buste dit À l'Illustre Maître, Charles Marville, Charles Marville Avenue d'Iéna, Charles Marville Boulevard Haussmann, Charles Marville Clearing of the Avenue de l'Opéra, Charles Marville Cour du Dragon, Charles Marville Percement de l'avenue de l'Opéra, Charles Marville Rue de Fontaines, Charles Marville Rue de Taranne, Charles Marville Rue du Marche aux fleurs, Charles Marville Rue Soufflot, Charles Marville Rue Soufflot (pendant la démolition), Charles Marville Rue Tirechape, Charles Méryon, Charles Méryon Le petit pont, Charles Méryon The Little Bridge, Clearing of the Avenue de l'Opéra, Cour du Dragon, Edmond Bacot, Edmond Bacot Victor Hugo en 1862, Edmond Bacot Victor Hugo in 1862, Episode du 29 juillet 1830, Event of 29 July 1830, french artist, French photographer, French photography, French writer, Hauterville House, Inspector Javert, Jean Valjean, Juliette Drouet, Le petit pont, Les Misérables, Les Misérables poster, Les Proscrits, Louvre, Ma destinée, My destiny, Napoleon III, Ode et poésies diverses, Ottavio Rodella Tavio, Ottavio Rodella Tavio poster for I Miserabili di Victor Hugo, Paul Carpentier, Paul Carpentier Episode du 29 juillet 1830, Paul Carpentier Event of 29 July 1830, Percement de l'avenue de l'Opéra, poster for Les Misérables by Victor Hugo, Rue de Fontaines, Rue du Marche aux fleurs, Rue Tirechape, Slawomir Kitowski, Slawomir Kitowski Les Misérables poster, State Library of Victoria, The Exiles, The Hunchback of Notre Dame, The Little Bridge, To the illustrious master, Victor Hugo, Victor Hugo in 1862, Victor Hugo in Guernsey and Jersey, Victor Hugo Les Misérables, Victor Hugo Les Proscrits, Victor Hugo Ma destinée, Victor Hugo My destiny, Victor Hugo Paris, Victor Hugo posing at his desk in his study, Victor Hugo The Exiles, Victor Hugo's hand
Exhibition dates: 18th July – 9th November 2014
Devour the main course but don't stay for dessert
This is an exhibition in two galleries. In the first you are not allowed to take photographs but in the second you can take as many as you want. You are told this as you enter the exhibition but the import of this incantation only becomes apparent much later in your visit.
The first gallery is a profound experience: manuscripts, letters, photographs, paintings, and posters that all relate to the great man and his work Les Misérables. The Charles Marville photographs are sublime (as always) with the width of the vertical prints being the element that I noticed most on this viewing. The space that Marville manages to capture in these vertical images makes them seem almost as wide as they are high giving them an almost panoramic feel, as though the space of the image goes on forever, from side to side and into the distance. There is a wonderful sense of volume in the atmosphere, tones and textures of these images. One juxtaposition is particularly tantalising, the pairing of Marville's Rue Tirechape (1865) with engravings such as the demolition work for constructing the Boulevard St. Germain by Maxine Lalanne (1827-1886). The illusion that one could be the other is enlightening, and there is an established association (especially in Pictorialist photography) between representation in etching and photography.1
As Philip Ebury observes,
"It has often been said that Pictorial photographs resemble works in other media. The analogy with etchings is especially striking and the comparison is more than physical. Between 1890 and the late 1920s, etching and Pictorial photography had a shared history and many similar aims. Parallels between the two disciplines in Australia had their antecedents in England. In the late nineteenth century many photographers in that country were consciously promoting artistic, as opposed to documentary work. At the same time, printmakers were reviving the art of original etching as an expressive rather than a reproductive medium."2
But the Charles Marville photographs are not the star of the show, oh no. That is left to five things:
a) An album of which you can see only one leaf in the exhibition, Les Proscrits ('The Exiles') (1856, below), but that one leaf is enough. The enigma, light and intimacy of this one page is just magnificent.
b) Equally impressive are the very small intense portraits of Victor Hugo such as the silver gelatin photograph attributed to Arsène Garnier (1820-1909) – dark, atmospheric with Neo-classical sculptures and chandeliers reflected in expansive mirrors, VH propped up by a favourite chair; or Charles Hugo's salted paper print from a collodion negative of his father in Jersey leaning on the back of a chair (1853-55). The intensity of these portraits is remarkable.
c) Victor Hugo's own paintings, usually pen and brown ink wash on paper, are also very powerful. In images such as Ma destinée (My destiny) (1867, below) where VH wrote in direct conversation with the ocean and The bowels of the Leviathan (1866) – dark, dank labyrinthine Parisian sewers – Hugo draws you into a world of the disenfranchised, the poor, the destitute and their (and his) destiny.
d) The beautiful theatre posters (1880s-1910s) worth the price of admission on their own
e) Leaving the best till last, the autographed manuscript Volume 1 of Les Misérables in all its glory (the first time it has ever left France), complete with revisions, crossings out and the final version in red, resting innocuously in a glass display cabinet. The psychological weight of the volume is immense. This is getting as close to the 'source' as you can possibly get without touching it. I remember once holding a first edition of Oscar Wilde's The Ballad of Reading Gaol in my hand. This had that same spine tingling effect.
The first gallery assembles this incredible story and builds a glorious intensity of experience. I was on such an elevated level it was great.
And then, in literally two minutes, it was gone… No, no, no, no!
The second gallery is such a let down. It features costumes, posters, pamphlets and video in an exploration of the musical 'phenomena' this is the (Disney-fied) Les Misérables. A stage set from the musical with cut our heads so people can have their photo taken, and for performances; very poor quality black and white images of the sets of the theatrical productions of Les Misérables; a cardboard cut-out two-wheeled cart that is the worst thing that you could possibly see; and videos of workshops with men explaining how they are using a bandsaw to create the stage for the musical (as if I want to see that after what has gone before!). From the sublime to the ridiculous. I'm sure the kids might like it but after seeing such an amazing first half of the exhibition, for me this was like being tied with a ball and chain and dropped over the side to sink like a stone. Why do curators insist on doing this. Do they think that they always have to have a "popular" space for the family and the kids these days. That more is really more?
In this case it quite ruined what was up till then an incredible experience. So visit the exhibition for the main course (and don't take any photos), but if I were you I would turn around after the first gallery and walk out the way I came in, thinking to myself 'less is more!
Dr Marcus Bunyan for the Art Blart blog
1. See Ebury, Frances. "Engravers and Etchers, Pictorialists and Photographers," Part 2, Chapter 2 in Making Pictures: Australian Pictorial Photography as Art 1897 – 1957 Volume 1. Phd thesis, The University of Melbourne, 2001, p. 73.
2. Ibid.,
Many thankx to the State Library of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
"As long as social damnation exists, through laws and customs, artificially creating hell at the heart of civilization and muddying a destiny that is divine with human calamity; as long as the three problems of the century – man's debasement through the proletariat, woman's demoralisation through hunger, the wasting of the child through darkness – are not resolved … as long as ignorance and misery exist in this world, books like the one you are about to read are, perhaps, not entirely useless."
Victor Hugo, Hauteville House, 1 January 1862
Les Misérables vol. 1
Autograph manuscript
Title page of Les Misérables vol. 1
Paris, 1867
Maison Littéraire de Victor Hugo
Ma destinée (My destiny)
Ink and brown-ink wash
© Maisons de Victor Hugo / Roger-Viollet
Les Proscrits ('The Exiles')
Album of photographs
Album The Exiles – Victor Hugo and his circle of friends in exile started in Guernsey on the 1st January 1856. The album creates an allegorical portrait of VH. His family is represented by Victor Hugo's hand (left), Adele's hand (right), Marine Terrace their home in Jersey 1852-56 (centre) and VH posing at his desk in his study at Hauterville House, Guernsey, where he completed Les Misérables surrounded by sunlight. The page appears in the posting the correct way up, as it appears in the album.
Victor Hugo's hand
From the album Les Proscrits ('The Exiles') (detail of page)
Victor Hugo posing at his desk in his study at Hauterville House, Guernsey
Edmond Bacot
Victor Hugo en 1862 (Victor Hugo in 1862)
Image © Edmond Bacot / Maisons de Victor Hugo / Roger-Viollet
Victor Hugo, buste dit À l'Illustre Maître (Victor Hugo, bust known as 'To the illustrious master')
Rodin states that Hugo would not pose. "I worked out on the veranda. I observed him swiftly, but carefully as he refused to pose. He accepted to be looked at, from all angles, but he would not pose. And so I looked at his conscience. And this is how I was able to capture the real Hugo."
When the first two volumes of Les Misérables arrived in Paris in April 1862, all 6000 copies sold in a day. Public readings were organised when copies sold out. Everyone was reading it, from the literary intelligentsia to the common people. It was also quickly translated into nine languages to reach a global audience. After only three months, 100,000 authorised copies (and countless editions on the black market) had been sold worldwide, making the novel into an unprecedented literary bestseller of western literature. In 1870 after the fall of Napoleon III, Hugo returned to France and was hailed a national hero.
Victor Hugo's legacy and the iconic story of Les Misérables endure to this day with various adaptations being created around the world. There have been at least 48 films, 14 animated films or TV series, radio plays, 12 television miniseries, numerous comic books, and at least 286 editions of Les Misérables published, sung and spoken. The stage musical of Boublil and Schönberg's Les Misérables is in itself a worldwide phenomenon. It is the longest running theatre performance in London and has been seen by over 65 million people in 43 countries and in 21 languages. It returns to Melbourne in June 2014.
About Victor Hugo
Victor Hugo is considered one of the most important and influential authors of the 19th century. Through his transformative literary works and political activism, French society's most vulnerable were given a voice in a nation ruled by those with power and privilege. Best known for his novels Les Misérables and The Hunchback of Notre Dame Hugo is also acclaimed for his theatre, essays, drawings and poetry.
Born in Besançon, France in 1802, Hugo was the son of an atheist and anti-monarchist French General and a Catholic pro-monarchist mother. A precocious talent, Hugo's first work was published at the age of 15. His debut as a professional writer soon followed with the release of his first volume of romantic poems; Ode et poésies diverses in 1822. Many of his early romantic works drew inspiration from his childhood sweetheart and wife Adele Foucher, with whom he had four children. Another powerful female influence on Hugo's writings was his mistress of more than fifty years, Juliette Drouet.
As Hugo's career progressed, his aptitude and fondness for romantic literature was matched by his passion for addressing themes of disadvantage and poverty. Hugo's first major masterpiece The Hunchback of Notre Dame published in 1831 reflected his interest in highlighting such prejudices. However, it was his greatest masterpiece, Les Misérables, that first challenged and then changed the social and political understanding of poverty, disadvantage and inherited privilege in society. In Les Misérables Hugo casts an ex-convict, Jean Valjean, as the revered protagonist and paints a villain of the character representing authority and privilege, Inspector Javert.
Hugo dedicated 17 years of his life to plan and write the epic three part story beginning in the early 1840s and finally publishing the novel in 1862. In addition to his social and political sympathies, Hugo drew from many of his own personal experiences and professional turmoil to inform the characters and themes in Les Misérables. These included the tragic drowning of his eldest daughter, Leopoldine, in a boating accident in 1843, and Hugo's exile from France by Louis Napoleon III in 1851 – a result of his public opposition to the increasingly authoritarian rule of the self-declared emperor.
From his exile on the Channel Islands of Jersey and Guernsey where he lived for 19 years, Hugo maintained his trenchent opposition to the political status quo and the death penalty, while also publishing widely and spending three years finishing his magnum opus Les Misérables. When Les Misérables finally hit the stands in Paris in 1862 the response by the public was explosive. All 6000 copies sold out in a day, and three months later the book was an international best seller and had been translated into nine languages. Following the success of Les Misérables Hugo returned to France in 1870 after the fall of Napoleon III and was hailed a national hero. He continued to work until he died on 22 May 1885. At his state funeral it was estimated that close to two million people attended. Hugo's wish to be buried in a pauper's coffin was granted and his body lay in state under the Arc de Triomphe until he was interred in the Panthéon.
Today Victor Hugo's extraordinary legacy continues. Les Misérables has been published in at least 250 editions since 1862, 48 films have been made of the story and the Boublil and Schönberg Les Misérables musical has been seen by over 65 million people worldwide in 42 countries and 22 languages, and is one of the most popular musicals of all time. Victor Hugo is remembered as an international literary giant and a French national hero.
The possibility that the condemned can rise above poverty and degradation to become good and honourable, and perhaps above all to fight for freedom of body and soul.
Charles Marville
Percement de l'avenue de l'Opéra (Clearing of the Avenue de l'Opéra)
Rue Soufflot (pendant la démolition) (Rue Soufflot [during demolition])
Avenue d'Iéna
Cour du Dragon, Rue de Taranne
Rue Tirechape
Rue de Fontaines
Rue du Marche aux fleurs
Paul Carpentier
Episode du 29 juillet 1830, rue Chilperic, face á la colonnade du Louvre (Event of 29 July 1830, rue Chilperic, before the colonnade of the Louvre)
© Musée Carnavalet / Roger-Viollet
Charles Méryon
Le petit pont (The little bridge)
National Gallery of Victoria, purchased 1891
Ottavio Rodella Tavio
Poster for I Miserabili di Victor Hugo (Les Misérables by Victor Hugo)
Les Misérables by Victor Hugo
New York, Classics Illustrated no. 9
Design by Slawomir Kitowski
Les Misérables poster
Teatr Muzyczny, Gdynia, Poland
Courtesy Cameron Mackintosh Ltd
328 Swanston St,
Sunday 10.00 am – 6.00 pm
State Library of Victoria website
Exhibition: 'Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960' at the Städel Museum, Frankfurt
Categories: beauty, black and white photography, documentary photography, English artist, exhibition, existence, gallery website, landscape, light, memory, Paul Outerbridge, photographic series, photography, portrait, reality, space, surrealism, time and works on paper
Tags: abstract and constructivist photography, Albert Renger-Patzsch, Albert Renger-Patzsch Buchenwald in November, Albert Renger-Patzsch Close-up of a Zip Fastener, Albert Renger-Patzsch Tropical Orchis, Alexandra "Xie" Kitchin, Andre Kertesz, August Sander, August Sander Country Girls, August Sander Ret Bearbeitet, Édouard Baldus Orange: The Wall of the Théâtre antique, Bisson brothers, Brassai, Buchenwald, Buchenwald in November, Carl Friedrich Mylius, Carlo Naya, Carlo Naya Venice: View of the Marciana Library, Charles Marville, Close-up of a Zip Fastener, Cologne Cathedral, constructivist photography, Country Girls, Czech photo avant-garde, Dora Maar, Dora Maar Mannequin With Perm, Edouard Baldus, Egg on Block, Ein-Fuß-Gänger, Erich Salomon, fotoform Group, Frances Frith, Frankfurt, Frantisek Drtikol, Frantisek Drtikol Crucified, Georg Sommer, German artist, german photographer, German photography, Giorgio Sommer, Giorgio Sommer Naples, Giorgio Sommer Naples: Delousing, Head of a man with helmet, Heinrich Hoffmann, Heinrich Kühn, Hugo Erfurth, Intelligenz Blatt, Jaroslav Rossler, Johann David Passavant, Julia Margaret Cameron, Julia Margaret Cameron Mrs. Herbert Duckworth, La Comtesse de Fleury, Léon Vidal, Lewis Carroll, Lewis Carroll Alexandra "Xie" Kitchin, Lichtbilder, Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960, London, London: The British Museum, Ludwig Windstosser, Luminogramm, mammoth photographs, Man Ray, Man Ray Black and white, Man Ray Retour à la Raison, Man Ray Return to Reason, Man Ray Schwarz und Weiß, Mannequin With Perm, Maxime Du Camp, Mrs. Herbert Duckworth, New Objectivity, Orange: The Wall of the Théâtre antique, Otto Steinert, Otto Steinert and the fotoform Group, Otto Steinert Ein-Fuß-Gänger, Otto Steinert La Comtesse de Fleury, Otto Steinert Luminogramm, Paul Outerbridge, Paul Outerbridge Egg on Block, Peter Keetman, Photography at the Städel Museum, photopurism, Pictorialists, Ret Bearbeitet, Retour à la Raison, Return to Reason, Roger Fenton, Roger Fenton London: The British Museum, Royal Prussian Institute of Survey Photography, Royal Prussian Institute of Survey Photography Cologne: Cathedral, Rudolf Koppitz, Rudolf Koppitz Head of a man with helmet, Schwarz und Weiß, Siegfried Lauterwasser, Sigismund Gerothwohl, Städel Museum, subjective photography, surrealist photography, the aestheticization of the world, The British Museum, Toni Schneiders, Tropical Orchis, Václav Chochola, Václav Chochola Kolotoc-Konieci, Václav Chochola merry-go-round horse, Václav Jíru, Václav Jíru Sunbath, Václav Jíru Untitled (Sunbath), Venice: View of the Marciana Library, Werner Mantz, Werner Mantz Cologne, Werner Mantz Cologne: Bridge, Werner Mantz Förderturm, Werner Mantz Headframe, Wilhelm Hammerschmidt, Wolfgang Reisewitz
Exhibition dates: 9th July – 5th October 2014
Curators: Felicity Grobien, curatorial assistant, Modern Art Department, Städel Museum; Dr Felix Krämer, head of the Modern Art Department at the Städel Museum
There are some absolutely stunning images in this posting. It has been a great pleasure to put the posting together, allowing me the chance to sequence Roger Fenton's elegiac London: The British Museum (1857, below) next to Werner Mantz's minimalist masterpiece Cologne: Bridge (c. 1927, below), followed by Carlo Naya's serene Venice: View of the Marciana Library (c. 1875, below) and Albert Renger-Patzsch's sublime but disturbing (because of the association of the place) Buchenwald in November (c. 1954, below). What four images to put together – where else would I get the chance to do that? And then to follow it up with the visual association of the Royal Prussian Institute of Survey Photography's Cologne: Cathedral (1889, below) with Otto Steinert's Luminogram (1952, below). This is the stuff that you dream of!
The more I study photography, the more I am impressed by the depth of relatively unknown Eastern European photographers from countries such as Hungary, Romania, Czechoslovakia, Poland, Bulgaria and Turkey. In this posting I have included what details I could find on the artists Václav Jíru, Václav Chochola and the well known Czech photographer František Drtikol. The reproduction of his image Crucified (before 1914. below) is the best that you will find of this image on the web.
I would love to do more specific postings on these East European photographers if any museum has collections that they would like to advertise more widely.
PS. Lichtbilder = light images.
Many thankx to the Städel Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Rudolf Koppitz (1884-1936)
Head of a Man with Helmet
Carbon print, printed c. 1929
Städel Museum, Frankfurt a. M., donated by Annette and Rudolf Kicken 2013
Installation views of the exhibition Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960 at the Städel Museum, Frankfurt
In 1845, the Frankfurt Städel was the first art museum in the world to exhibit photographic works. The invention of the new medium had been announced in Paris just six years earlier, making 2014 the 175th anniversary of that momentous event. In keeping with the tradition it thus established, the Städel is now devoting a comprehensive special exhibition to European photo art – Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960 – presenting the photographic holdings of the museum's Modern Art Department, which have recently undergone significant expansion. From 9 July to 5 October 2014, in addition to such pioneers as Nadar, Gustave Le Gray, Roger Fenton and Julia Margaret Cameron, the show will feature photography heroes of the twentieth century such as August Sander, Albert Renger-Patzsch, Man Ray, Dora Maar or Otto Steinert, while moreover highlighting virtually forgotten members of the profession. While giving an overview of the Städel's early photographic holdings and the acquisitions of the past years, the exhibition will also shed light on the history of the medium from its beginnings to 1960.
"Even if we think of the presentation of artistic photography in an art museum as something still relatively new, the Städel already began staging photo exhibitions in the mid 1840s. We take special pleasure in drawing attention to this pioneering feat and – with the Lichtbilder exhibition – now, for the first time, providing insight into our collection of early photography, which has been decisively expanded over the past years through new purchases and generous gifts," comments Städel director Max Hollein. Felix Krämer, one of the show's curators, explains: "With Lichtbilder we would like to stimulate a more intensive exploration of the multifaceted history of a medium which, even today, is often still underestimated."
The first mention of a photo exhibition at the Städel Museum dates from all the way back to 1845, when the Frankfurt Intelligenz Blatt – the official city bulletin – ran an ad. This is the earliest known announcement of a photography show in an art museum worldwide. The 1845 exhibition featured portraits by the photographer Sigismund Gerothwohl of Frankfurt, the proprietor of one of the city's first photo studios who has meanwhile all but fallen into oblivion. Like many other institutions at the time, the Städel Museum had a study collection which also included photographs: then Städel director Johann David Passavant began collecting photos for the museum in the 1850s. In addition to reproductions of artworks, the photographic holdings comprised genre scenes, landscapes and cityscapes by such well-known pioneers in the medium as Maxime Du Camp, Wilhelm Hammerschmidt, Carl Friedrich Mylius or Giorgio Sommer. An 1852 exhibition showcasing views of Venice launched a tradition of presentations of photographic works from the Städel's own collection.
Whereas the photos exhibited in the Städel in the nineteenth century were contemporary works, the show Lichtbilder will focus on the development of artistic photography. The point of departure will be the museum's own photographic holdings, which were significantly expanded through major acquisitions from the collections of Uta and Wilfried Wiegand in 2011 and Annette and Rudolf Kicken in 2013, and which continue to grow today through new purchases. The exhibition's nine chronologically ordered sections will span the history of the medium from the beginnings of paper photography in the 1840s to the photographic experiments of the fotoform Group in the 1950s. …
Édouard Baldus (1813-1889)
Orange: The Wall of the Théâtre antique
Albumen print mounted on cardboard
Photo: Städel Museum – ARTOTHEK
Roger Fenton (1819-1869)
London: The British Museum
Werner Mantz (1901-1983)
Cologne: Bridge
Gelatin silver print on baryta paper
Werner Mantz began his career as a portrait and advertising photographer, later becoming known for his architectural photographs of the modernist housing projects in Cologne during the 1920s. This portfolio of photographs was selected by the artist towards the end of his life as representative of his finest work. These rare prints reveal Mantz's mastery in still-life and architecture photography, and are considered some of the most influential works created in the period. (Text from the Tate website)
Carlo Naya (1816-1882)
Venice: View of the Marciana Library, the Campanile and the Ducal Palace
Carlo Naya (1816, Tronzano Vercellese – 1882, Venice) was an Italian photographer known for his pictures of Venice including its works of art and views of the city for a collaborative volume in 1866. He also documented the restoration of Giotto's frescoes at the Scrovegni Chapel in Padua. Naya was born in Tronzano di Vercelli in 1816 and took law at the University of Pisa. An inheritance allowed him to travel to major cities in Europe, Asia, and northern Africa. He was advertising his services as portrait photographer in Istanbul in 1845, and opened his studio in Venice in 1857. He sold his work through photographer and optician Carlo Ponti. Following Naya's death in 1882, his studio was run by his wife, then by her second husband. In 1918 it was closed and publisher Osvaldo Böhm bought most of Naya's archive. (Text from Wikipedia website)
Albert Renger-Patzsch (1897-1966)
Buchenwald in November
Royal Prussian Institute of Survey Photography (est. 1885)
Cologne: Cathedral
Gelatin silver prints mounted on cardboard
Otto Steinert (1915-1978)
Luminogram
Gelatin silver print on baryta paper mounted on cardboard
© Nachlass Otto Steinert, Museum Folkwang, Essen
Ein-Fuß-Gänger
Paul Outerbridge (1896-1958)
Egg on Block
© Paul Outerbridge, Jr., © 2014 G. Ray Hawkins Gallery, Beverly Hills, CA
Untitled (Close-up of a Zip Fastener)
"In the entrance area to the show, the visitor will be greeted by a selection of Raphael reproductions presented by the Städel in exhibitions in 1859 and 1860. They feature full views and details of the cartoons executed by Raphael to serve as reference images for the Sistine Chapel tapestries. The art admirer was no longer compelled to travel to London to marvel at the Raphael cartoons at Hampton Court, but could now examine these masterworks in large-scale photographs right at the Städel. The following exhibition room is devoted to the pioneers of photography of the 1840s to '60s. No sooner had the invention of the new medium been announced in 1839 than enthusiasts set about conquering the world with the photographic image. The aspiration of the bourgeoisie for self-representation in accordance with aristocratic conventions soon rendered photographic portraiture a lucrative business; to keep up with the growing demand, the number of photo studios in the European metropolises steadily increased. Works of architecture and historical monuments, art treasures and celebrities were all recorded on film and made available to the public. Quite a few photographers – for example Édouard Baldus, the Bisson brothers, Frances Frith, Wilhelm Hammerschmidt and Charles Marville – set out on travels to take pictures of the cultural-historical sites of Europe and the Near East, and thus to capture these testimonies to the past on film.
Among the most successful exponents of this genre was Georg Sommer, a native of Frankfurt who emigrated to Italy in 1856 and made a name for himself there as Giorgio Sommer. The second section of the show will revolve around the image of Italy as a kind of paradise on Earth characterized by the Mediterranean landscape and the legacy of antiquity. That image, however, would not be complete without views of the simple life of the Italian population. These genre scenes – often posed – were popular as souvenirs because they fulfilled the travellers' expectations of encountering a preindustrial, and thus unspoiled, way of life south of the Alps. Faced with the challenges presented by the climate, the long exposure times and the complex photographic development process, photographers were constantly in search of technical improvements – as illustrated in the third section of the presentation. Léon Vidal and Carlo Naya, for example, experimented with colour photography, Eadweard Muybridge with capturing sequences of movement, and the Royal Prussian Photogrammetric Institute with large-scale "mammoth photographs."
While the pictorial language of professional photography hardly advanced, increasing emphasis was placed over the years on its technical aspects. The section of the show on artistic photography demonstrates how, at the end of the nineteenth century, enthusiastic amateur photographs worked to develop the medium with regard to aesthetics as well. Whereas until that time, professional photographers had given priority to genre scenes and other motifs popular in painting, the so-called Pictorialists set out to strengthen photography's value as an artistic medium in its own right. Atmospheric landscapes, fairy-tale scenes and stylized still lifes were captured as subjective impressions. While Julia Margaret Cameron very effectively staged dialogues between sharp and soft focus, Heinrich Kühn employed the gum bichromate and bromoil techniques to create painterly effects.
After World War I, a new generation of photographers emerged who questioned the standards established by the Pictorialists. Their works are highlighted in the following room. Rather than intervening in the photographic development process, the adherents to this new current – who pursued interests analogous to those of the New Objectivity painters – devoted themselves to austere pictorial design and sought to establish a "new way of seeing." The gaze was no longer to wander yearningly into the distance, but be confronted directly and immediately with the realities of society. The prosaic and rigorous images of August Sander and Hugo Erfurth satisfy the demands of this artistic creed. The exhibition moreover directs its attention to early photojournalism and the development of the mass media. Apart from documentary photographs by the autodidact Erich Salomon, Heinrich Hoffmann's portraits of Adolf Hitler – purchased for the Städel collection in 2013 – will also be on view. Although it was Hitler himself who had commissioned them, he later prohibited the portraits' reproduction. For in actuality, Hoffmann's images expose the hollowness of the dictator's demeanour. The show devotes a separate room to the work of Albert Renger-Patzsch, whose formally rigorous scenes are distinguished by uncompromising objectiveness in the depiction of nature and technology.
The photographers inspired by Surrealism pursued interests of a wholly different nature, as did the representatives of the Czech photo avant-garde – the focusses of the following two exhibition rooms. In the section on Surrealist photography, the works oscillate between fiction and reality, and photographic experiments unveil the world's bizarre sides. Employing strange effects or unexpected motif combinations, artists such Brassaï, André Kertész, Dora Maar, Paul Outerbridge and Man Ray sought the unusual in the familiar. The Czech photographers of the interwar period, for their part, explored the possibilities of abstract and constructivist photography. Their works, many of which exhibit a symbolist tendency, are concerned with the aestheticization of the world.
The final section of the show is dedicated to Otto Steinert and the fotoform Group. It sheds light on how Steinert and the members of the artists' group took their cues from the experiments of the photographic vanguard of the 1920s, while at the same time dissociating themselves from the propagandistic and heroizing use of photography during the National Socialist era. The six photographers who joined to found the fotoform Group in 1949 – Peter Keetman, Siegfried Lauterwasser, Wolfgang Reisewitz, Toni Schneiders, Otto Steinert and Ludwig Windstosser – coined the term "subjective photography" and emphasized the photographer's individual perspective.
The show augments the joint presentation of photography, painting and sculpture practised at the Städel Museum since its reopening in 2011 and also to be continued during and after Lichtbilder. The aim of this exhibition mode is to convey the decisive role played by photography in art-historical pictorial tradition since the medium's very beginnings. The presentation is being accompanied by a catalogue which – like the exhibition architecture – foregrounds the specific "palette" of photography as a medium conducted in black and white. The subtle tones of grey are mirrored not only in the works' reproductions, but also in the colour design of the individual catalogue sections. When the visitor enters the exhibition space, he is surrounded by an architecture that is grey to the core, while at the same time making clear that no one shade of grey is like another. In the words of curator Felicity Grobien: "The exhibition reveals how multi-coloured the prints are, for in them – contrary to what we expect from black-and-white photography – we discover a vast range of subtle colour nuances that emphasize the prints; distinctiveness."
Press release from the Städel Museum
Julia Margaret Cameron (1815-1879)
Mrs Herbert Duckworth
Giorgio Sommer (1834-1914)
Naples: Delousing
Alexandra "Xie" Kitchin as Chinese "Tea-Merchant" (on Duty)
Dora Maar (1907-1997)
Mannequin With Perm
Gelatin silver print on baryta paper mounted on cardboard, 23.4 x 17.7 cm
August Sander (1876-1964)
1925 (print 1980 von by Gunther Sander)
La Comtesse de Fleury
Gelatin silver print on baryta paper mounted on hardboard
Tropical Orchis, cattleya labiata
Gelatin silver print, printed c. 1930
Man Ray (1890-1976)
Schwarz und Weiß (Black and white)
1926 (printed 1993 by Pierre Gassmann)
Retour à la Raison (Return to Reason)
1923 (printed c. 1979 from Pierre Gassmann)
Acquired in 2013 as a gift from Annette and Rudolf Kicken
Václav Jíru
Untitled (Sunbath)
Jíru started to shoot as an amateur photographer, and since 1926 published photos and articles. He first exhibited in 1933 and collaborated with the Theatre Vlasta Burian, photographed in the Liberated Theatre, was devoted to advertising photography, and became well known in the international press (London News, London Life, Picture Post, Sie und Er, Zeit im Bild).
In 1940 he was arrested by the Gestapo for resistance activities, and sentenced to life in prison by the end of the war. In the book Six Spring, where there are pictures taken shortly after liberation, he described his experience of prison and concentration camps. After the war he became a member of the Union of Czechoslovak Journalists and in 1948 a member of the Association of Czechoslovak Artists. He continued shooting, but also looking for new talented photographers. In 1957, he founded and led four languages photographic Revue Photography. By the end of his life he organized a photographic exhibition and served on the juries of photographic competitions.
The photographs of Václav Jírů, especially in the pre-war stage, was very wide: sports photography, theatrical portrait, landscape, nude, social issues, report. After the war he concentrated on the cycles of nature, landscapes and cities. A frequent theme of his photographs was Prague, which unlike many other photographers he photographed in its unsentimental everyday life (Prague mirrors, walls Poetry Prague, Prague ghosts). (Text translated from Czech Wikipedia)
Förderturm – Im Auftrag der Staatsmijnen Heerlen/Niederlande (Headframe – On behalf of the States Mine Heerlen / Netherlands)
Gelatin silver bromide print
Václav Chochola
Kolotoc-Konieci (merry-go-round horse)
Chochola (January 31, 1923 in Prague – August 27, 2005) was a Czech photographer, known for classic Czech art and portrait photography. He began photography while studying at grammar school in Prague-Karlin. After leaving the photographer taught and studied at the School of Graphic Arts. He was a freelance photographer, photographed at the National Theatre and has collaborated with many other scenes. Chochol created a series of images using non-traditional techniques, creating photograms, photomontage and roláže.
In his extensive work Chochol was devoted to candid photographs, portraits of celebrities (famous for his portrait of Salvador Dali), acts or sports photography. His documentary images from the Prague uprising in May 1945 are invaluable. In 1970 Chochol spent a month in custody for photographing the grave of Jan Palach. He died after a brief serious illness in Motol Hospital in Prague. (Text translated from Czech Wikipedia)
Jde užasle světem, o kterém jako kluk na předměstí snil a od něhož byl vždy oddělen červenou šňůrou, a do něhož má najednou přístup. Skutečnost, že v tomto světě nikdy nebyl úplně doma, dokázal proměnit v nepřehlédnutelnou přednost: zbystřilo mu to oko a zahlédl detaily, které my oslněni jinými cíli ani nevidíme.
It astonished world that as a kid in the suburbs and dreamed of which was always separated by a red cord, and which suddenly has access. The fact that in this world was never quite at home, he could turn into immense advantages: it sharpened his eye and saw the details that dazzled my other goals can not even see.
Frantisek Drtikol (1883-1961)
before 1914 (printed before 1914)
František Drtikol (3 March 1883, Příbram – 13 January 1961, Prague) was a Czech photographer of international renown. He is especially known for his characteristically epic photographs, often nudes and portraits.
From 1907 to 1910 he had his own studio, until 1935 he operated an important portrait photostudio in Prague on the fourth floor of one of Prague's remarkable buildings, a Baroque corner house at 9 Vodičkova, now demolished. Jaroslav Rössler, an important avant-garde photographer, was one of his pupils. Drtikol made many portraits of very important people and nudes which show development from pictorialism and symbolism to modern composite pictures of the nude body with geometric decorations and thrown shadows, where it is possible to find a number of parallels with the avant-garde works of the period. These are reminiscent of Cubism, and at the same time his nudes suggest the kind of movement that was characteristic of thefuturism aesthetic.
He began using paper cut-outs in a period he called "photopurism". These photographs resembled silhouettes of the human form. Later he gave up photography and concentrated on painting. After the studio was sold Drtikol focused mainly on painting, Buddhist religious and philosophical systems. In the final stage of his photographic work Drtikol created compositions of little carved figures, with elongated shapes, symbolically expressing various themes from Buddhism. In the 1920s and 1930s, he received significant awards at international photo salons. (Text from Wikipedia)
Ret Bearbeitet
Schaumainkai 63
Tuesday, Friday – Sunday 10.00 am – 6.00 pm
Wednesday and Thursday 10.00 am – 9.00 pm
Städel Museum website
Exhibition: 'Charles Marville: Photographer of Paris' at The Metropolitan Museum of Art, New York / Marville research at the State Library of Victoria
Categories: beauty, black and white photography, documentary photography, exhibition, existence, gallery website, landscape, light, Melbourne, memory, Paris, photographic series, photography, psychological, space, street photography, time and works on paper
Tags: Arts et Métiers, Arts et Métiers (Ancien Modèle), Banks of the Bièvre River at the Bottom of the rue des Gobelins, Charles Marville, Charles Marville Arts et Métiers (Ancien Modèle), Charles Marville at the State Library of Victoria, Charles Marville Banks of the Bièvre River, Charles Marville Banks of the Bièvre River at the Bottom of the rue des Gobelins, Charles Marville Cour Saint-Guillaume, Charles Marville Hôtel de la Marine, Charles Marville Impasse de la Bouteille from the rue Montorgeuil, Charles Marville Lamppost Entrance to the École des Beaux-Arts, Charles Marville Man Reclining beneath a Chestnut Tree, Charles Marville Passage Saint-Benoît, Charles Marville Passage Saint-Guillaume toward the rue Richilieu, Charles Marville photographs at the State Library of Victoria, Charles Marville Rue de Constantine, Charles Marville Rue de la Bûcherie from the cul de sac Saint-Ambroise, Charles Marville Rue Estienne from the rue Boucher, Charles Marville Spire of Notre Dame, Charles Marville Top of the rue Champlain, Charles Marville Urinal Jennings System plateau de l'Ambigu, Charles Marville: Photographer of Paris, Cour Saint-Guillaume, french artist, French photographer, French photography, Hôtel de la Marine, Impasse de la Bouteille from the rue Montorgeuil, Lamppost Entrance to the École des Beaux-Arts, Man Reclining beneath a Chestnut Tree, Old Paris, Paris photographs, Passage Saint-Benoît, Passage Saint-Guillaume toward the rue Richilieu, photography of Old Paris, photography of Paris, research at the State Library of Victoria, research State Library of Victoria, Rue de Constantine, Rue de la Bûcherie from the cul de sac Saint-Ambroise, Rue Estienne from the rue Boucher, Spire of Notre Dame, State Library of Victoria, State Library of Victoria research, Top of the rue Champlain, Urinal Jennings System plateau de l'Ambigu, Viollet-le-Duc
Exhibition dates: 29th January – 4th May 2014
Great news from the State Library of Victoria!
Following further discussions my research can now take place. As you may recall the research question is, did the Charles Marville photographs that were exhibited at the Melbourne International Exhibition in 1880 influence the work of Melbourne photographers – Charles Nettleton, JW Lindt and Nicholas Caire.
The plan is that I research the photographs of Marville, Nettleton, Lindt and Caire online and then visit the Library to view the original prints. The Library have very helpfully sent me records of the visitors book to the 1880 exhibition and noted that Caire, Lindt and Nettleton exhibited photographs and won awards at the 1880-1881 exhibition. Now it's up to me to put in the hard yards and undertake the research and analysis.
I am very grateful to the State Library of Victoria for their help and look forward to publishing the research later in the year, undertaking the research after the curatorship of the Out of the closets, into the streets exhibition is over at the end of July.
In the meantime, here are some more glorious images from the touring Charles Marville exhibition, this time at The Metropolitan Museum of Art, New York. The tonality of the prints is incredible, as is the subtle placement of the camera to obtain a unique perspective of the city. The almost modernist take on the lamppost as sculptural object, with the dead centre placement allowing the surrounding environment to flow around the verticality of the post, is breathtaking.
Many thankx to The Metropolitan Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Top of the rue Champlain, View to the Right (Twentieth Arrondissement)
Albumen silver print from glass negative
26 x 36.6 cm (10 1/4 x 14 7/16 in.)
Musée Carnavalet, Paris
Banks of the Bièvre River at the Bottom of the rue des Gobelins (Fifth Arrondissement)
Albumen print from collodion negative
27.5 x 36.8 cm (10 13/16 x 14 1/2 in.)
Urinal, Jennings System, plateau de l'Ambigu
26.7 × 36.4 cm (10 1/2 × 14 5/16 in.)
Rue de Constantine (Fourth Arrondissement)
27.3 x 36.8 cm (10 3/4 x 14 1/2 in.)
The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1986
Passage Saint-Guillaume toward the rue Richilieu (First Arrondissement)
31.91 x 27.62 cm (12 9/16 x 10 7/8 in.)
Joy of Giving Something, Inc.
"Widely acknowledged as one of the most talented photographers of the 19th century, Charles Marville (French, 1813-1879) was commissioned by the city of Paris to document both the picturesque, medieval streets of old Paris and the broad boulevards and grand public structures that Baron Georges-Eugène Haussmann built in their place for Emperor Napoleon III. Charles Marville: Photographer of Paris at The Metropolitan Museum of Art presents a selection of around 100 of his photographs.
Marville achieved moderate success as an illustrator of books and magazines early in his career. It was not until 1850 that he shifted course and took up photography – a medium that had been introduced just 11 years earlier. His poetic urban views, detailed architectural studies, and picturesque landscapes quickly garnered praise. Although he made photographs throughout France, Germany, and Italy, it was his native city – especially its monuments, churches, bridges, and gardens – that provided the artist with his greatest and most enduring source of inspiration.
By the end of the 1850s, Marville had established a reputation as an accomplished and versatile photographer. From 1862, as official photographer for the city of Paris, he documented aspects of the radical modernization program that had been launched by Emperor Napoleon III and his chief urban planner, Baron Georges-Eugène Haussmann. In this capacity, Marville photographed the city's oldest quarters, and especially the narrow, winding streets slated for demolition. Even as he recorded the disappearance of Old Paris, Marville turned his camera on the new city that had begun to emerge. Many of his photographs celebrate its glamour and comforts, while other views of the city's desolate outskirts attest to the unsettling social and physical changes wrought by rapid modernization.
Haussmann not only redrew the map of Paris, he transformed the urban experience by commissioning and installing tens of thousands of pieces of street furniture, kiosks, Morris columns for posting advertisements, pissoirs, garden gates, and, above all, some twenty thousand gas lamps. By the time he stepped down as prefect in 1870, Paris was no longer a place where residents dared to go out at night only if accompanied by armed men carrying lanterns. Taken as a whole, Marville's photographs of Paris stand as one of the earliest and most powerful explorations of urban transformation on a grand scale.
By the time of his death, Marville had fallen into relative obscurity, with much of his work stored in municipal or state archives. This exhibition, which marks the bicentennial of Marville's birth, explores the full trajectory of the artist's photographic career and brings to light the extraordinary beauty and historical significance of his art.
Related Installation
Concurrent with Charles Marville: Photographer of Paris, a related installation in the adjacent Howard Gilman Gallery will be on view at the Metropolitan Museum. Paris as Muse: Photography, 1840s-1930s (January 27-May 4, 2014) celebrates the first 100 years of photography in Paris and features some 40 photographs, all drawn from the Museum's collection. The installation focuses primarily on architectural views, street scenes, and interiors. It explores the physical shape and texture of Paris and how artists have found poetic ways to record through the camera its essential qualities."
Press release from The Metropolitan Museum of Art
Arts et Métiers (Ancien Modèle)
36.6 x 24.1 cm (14 7/16 x 9 1/2 in.)
Purchase, Alfred Stieglitz Society Gifts, 2007
Hôtel de la Marine
36.2 x 23.5 cm (14 1/4 x 9 1/4 in.)
National Gallery of Art, Washington, Diana and Mallory Walker Fund
Lamppost, Entrance to the École des Beaux-Arts
35.6 x 25.4 cm (14 x 10 in.)
Collection W. Bruce and Delaney H. Lundberg
Spire of Notre Dame, Viollet-le-Duc, Architect
The AIA/AAF Collection, Prints and Photographs Division, Library of Congress, Washington D.C.
Rue Estienne from the rue Boucher (First Arrondissement)
34.3 x 27.1 cm (13 1/2 x 10 11/16 in.)
Gilman Collection, Purchase, Mr. and Mrs. Henry R. Kravis Gift, 2005
Rue de la Bûcherie from the cul de sac Saint-Ambroise (Fifth Arrondissement)
32 x 27.1 cm (12 5/8 x 10 11/16 in.)
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel
Cour Saint-Guillaume (Ninth Arrondissement)
34.2 x 27.2 cm (13 7/16 x 10 11/16 in.)
Gilman Collection, Purchase, Alfred Stieglitz Society Gifts, 2005
Passage Saint-Benoît (Sixth Arrondissement)
36.5 x 27.6 (14 3/8 x 10 7/8)
Impasse de la Bouteille from the rue Montorgeuil (Second Arrondissement)
Man Reclining beneath a Chestnut Tree
Salted paper print from paper negative
20.9 x 16.2 cm (8 1/4 x 6 3/8 in.)
Harris Brisbane Dick Fund, 1946
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Exhibition: 'Paris as Muse: Photography, 1840s-1930s' at The Metropolitan Museum of Art, New York
Categories: beauty, black and white photography, documentary photography, Eugene Atget, exhibition, existence, gallery website, Henry Fox Talbot, intimacy, landscape, light, memory, Paris, photography, pictorialism, psychological, reality, space, time and works on paper
Tags: 291, A Snapshot Paris, Alfred Stieglitz, Alfred Stieglitz A Snapshot Paris, Alfred Stieglitz Photo-Secession, art photography of Paris, Atget Boulevard de Strasbourg, Atget documents for artists, Atget Nôtre Dame, Atget Quai d'Anjou 6h du matin, Atget Surrealists, Atget's Work Room with Contact Printing Frames, Boulevard de Strasbourg Corsets Paris, Brancusi, Brancusi Cup, Brancusi Endless Column, Brancusi Golden Bird, Brancusi's studio, Brassaï Street Fair Boulevard St. Jacques, Brassai, Camera Notes, Camera work, Cercle et Carré, Charles Marville, Charles Marville Rue Traversine, Choiselat and Ratel, Choiselat and Ratel Défilé sur le Pont-Royal, Choiselat and Ratel The Pavillon de Flore and the Tuileries Gardens, Circle and Square, daguerreotype, Défilé sur le Pont-Royal, Documents for artists, Edward J. Steichen, Edward Steichen Brancusi's Studio, Endless Column, Eugène Atget Boulevard de Strasbourg Corsets Paris, Eugène Atget Marchand de Vin Rue Boyer Paris, Eugène Atget Nôtre Dame, Eugène Atget Quai d'Anjou 6h du matin, Eugene Atget, fine art photography, french artist, French photographer, French photography, Gallery 291, Golden Bird, Gyula Halász, Little Galleries of the Photo-Secession, Marchand de Vin Rue Boyer Paris, Marie-Charles-Isidore Choiselat, Michel Seuphor, Michel Seuphor Paris, Old Paris, Paris as Muse, Paris as Muse: Photography 1840s-1930s, Photo-Secession, Quai d'Anjou 6h du matin, Rue Traversine from the Rue d'Arras, Seuphor Cercle et Carré, Seuphor Circle and Square, Stanislas Ratel, Steichen Brancusi's Studio, Steichen Vanity Fair, Steichen Vogue, Stieglitz Camera Work, Street Fair Boulevard St. Jacques, Talbot The Pencil of Nature, The Boulevards at Paris, The Pavillon de Flore and the Tuileries Gardens, The Pencil of Nature, Vanity Fair, Vogue, William Henry Fox Talbot, William Henry Fox Talbot The Boulevards at Paris
If there is one city in the world in which I would really like to live, it would be Paris. I have loved her since first going there as a teenager and she has never foresaken that love: always romantic, beautiful, intriguing, Paris is my kind of city. As a flâneur there is much to observe, much to digest and assimilate through periods of reflection.
Where do you start? Steichen, Stieglitz, Fox Talbot, Marville, Brassaï, Jeanloup Sieff, Cartier-Bresson, Jacques-Mandé Daguerre, Nadar, any photographer of note but above all Atget – all acquiescent to her charms. Strange as it may seem, it is not that the photographer takes photos of Paris (as though possessing an object of desire), but that the city allows these revelations to occur as a kind of benediction, a kind of divine blessing. Am I making any sense here? Perhaps I am just too much in love, but having photographed in Pere-Lachaise Cemetery for example, there is nothing quite like the feeling I get when in the City of Light.
The photographs in this posting are magnificent. The intimacy of the Brassaï, the tonality of the Steichen; the dankness of the Marville and the informality of the Stieglitz. The first two Atget are cracking images. Note how the auteur éditeur uses the darkness of the tree trunks to divide the picture plane, better than anyone has done before or since. It is a pleasure to be able to show you Atget's Work Room with Contact Printing Frames (c. 1910, below), an image I have never seen before in all the years I have been looking at his work. Make sure you enlarge the image to see all the details including the simplicity of the trestle table: "On the table are the wooden frames the photographer used to contact print his glass negatives; at right are several bins of negatives stacked vertically; below the table are his chemical trays; on the shelves above are stacks of paper albums – a shelf label reads escaliers et grilles (staircases and grills)."
I am particularly taken by the feather duster, the parcels wrapped in newspapers and tied with string, and intrigued by the print of a moonrise(?) over a bridge high up, tacked to the wall (see detail image below). Obviously this image meant a lot to him because it is the only one in the room and it would have taken a bit of an effort to put it up there. I wonder whose image it is, and what bridge it is of…
"Oysters and a glass of wine, a corner café, the Sunday bird market on the Île de la Cité, a lover's stolen kiss: Paris has loomed large in the imagination of artists, writers, and architects for centuries. For 175 years, it has attracted photographers from around the world who have succumbed to its spell and made it their home for part, if not all, of their lives.
Paris as Muse: Photography, 1840s-1930s (January 27 – May 4, 2014) celebrates the first 100 years of photography in Paris and features some 40 photographs, all drawn from the Museum's collection. Known as the "City of Light" even before the birth of the medium in 1839, Paris has been muse to many of the most celebrated photographers, from Louis-Jacques-Mandé Daguerre (one of the field's inventors) and Nadar to Charles Marville, Eugène Atget, and Henri Cartier-Bresson. The show focuses primarily on architectural views, street scenes, and interiors. It explores the physical shape and texture of Paris and how artists have found poetic ways to record its essential qualities using the camera."
Text from The Metropolitan Museum of Art website
Eugène Atget (French, Libourne 1857-1927 Paris)
Nôtre Dame
18.2 x 22.1 cm (7 1/8 x 8 11/16 in.)
Gilman Collection, Purchase, Joseph M. Cohen Gift, 2005
Atget likely avoided Nôtre Dame during his early career as it was already well documented by other photographers. In his old age, however, he worked more for his own pleasure and during the last five years of his life photographed the cathedral regularly. He always viewed it in an eccentric way – either in the distance, as here, or in detail.
Quai d'Anjou, 6h du matin
17.7 x 22.8 cm (6 15/16 x 8 15/16 in.)
Gilman Collection, Purchase, William Talbott Hillman Foundation Gift, 2005
Untitled [Atget's Work Room with Contact Printing Frames]
20.9 x 17.3 cm. (8 1/4 x 6 13/16 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1990
This straightforward study by Atget of his own work room offers a rare glimpse of the inner sanctum of an auteur éditeur, as he described his profession. On the table are the wooden frames the photographer used to contact print his glass negatives; at right are several bins of negatives stacked vertically; below the table are his chemical trays; on the shelves above are stacks of paper albums – a shelf label reads escaliers et grilles (staircases and grills). Atget used these homemade albums to organize his vast picture collection from which he sold views of old Paris to clients.
Untitled [Atget's Work Room with Contact Printing Frames] (detail)
Marchand de Vin, Rue Boyer, Paris
21.5 x 17.6 cm (8 7/16 x 6 15/16 in.)
Boulevard de Strasbourg, Corsets, Paris
Gelatin silver print from glass negative
22.4 x 17.5 cm (8 13/16 x 6 7/8 in.)
The Metropolitan Museum of Art, New York, Gilman Collection
Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005
Atget found his vocation in photography in 1897, at the age of forty, after having been a merchant seaman, a minor actor, and a painter. He became obsessed with making what he termed "documents for artists" of Paris and its environs and compiling a visual compendium of the architecture, landscape, and artifacts that distinguish French culture and history. By the end of his life, Atget had amassed an archive of more than eight thousand negatives, which he organized into such categories as Parisian Interiors, Vehicles in Paris, and Petits Métiers (trades and professions).
In Atget's inventory of Paris, shop windows figure prominently and the most arresting feature mannequin displays. In the 1920s the Surrealists recognized in Atget a kindred spirit and reproduced a number of his photographs in their journals and reviews. Antiquated mannequins such as the ones depicted here struck them as haunting, dreamlike analogues to the human form.
Marie-Charles-Isidore Choiselat (French, 1815-1858)
Stanislas Ratel (French, 1824-1904)
Untitled [The Pavillon de Flore and the Tuileries Gardens]
15.2 x 18.7 cm (6 x 7 3/8 in.)
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Taken in September 1849 from a window of the École des Beaux-Arts, this daguerreotype exhibits the dazzling exactitude and presence that characterize these mirrors of reality. True to the daguerreotype's potential, stationary objects are rendered with remarkable precision; under magnification one can clearly discern minute architectural details on the Pavillon de Flore, features of statuary and potted trees in the Tuileries Gardens, even the chimney pots on the buildings in the background along the rue de Rivoli.
Daguerre himself had chosen a nearly identical vantage point in 1839 for one of his earliest demonstration pieces, and it may well have been with that archetypal image in mind that Choiselat and Ratel made this large daguerreotype a decade later. Choiselat and Ratel, among the earliest practitioners to utilize and improve upon Daguerre's process, first published their methods for enhancing the sensitivity of the daguerreotype plate in 1840 and had achieved exposure times of under two seconds by 1843. Unlike Daguerre's long exposure, which failed to record the presence of moving figures, this image includes people (albeit slightly blurred) outside the garden gates, on the Pont Royal, and peering over the quai wall above the floating warm-bath establishment moored in the Seine. Still more striking is the dramatic rendering of the cloud-laden sky, achieved by the innovative technique of masking the upper portion of the plate partway through the exposure.
The Boulevards at Paris
15.1 x 19.9 cm (5 15/16 x 7 13/16 in. )
Talbot traveled to Paris in May 1843 to negotiate a licensing agreement for the French rights to his patented calotype process and, with Henneman, to give first hand instruction in its use to the licensee, the Marquis of Bassano.
No doubt excited to be traveling on the continent with a photographic camera for the first time, Talbot seized upon the chance to fulfill the fantasy he had first imagined on the shores of Lake Como ten years before. Although his business arrangements ultimately yielded no gain, Talbot's views of the elegant new boulevards of the French capital are highly successful, a lively balance to the studied pictures made at Lacock Abbey. Filled with the incidental details of urban life, architectural ornamentation, and the play of spring light, this photograph, unlike much of the earlier work, is not a demonstration piece but rather a picture of the real world. The animated roofline punctuated with chimney pots, the deep shopfront awning, the line of waiting horse and carriages, the postered kiosks, and the characteristically French shuttered windows all evoke as vivid a notion of mid-nineteenth-century Paris now as they must have when Talbot first showed the photographs to his friends and family in England.
A variant of this scene, taken from a higher floor in Talbot's Paris hotel, appeared as plate 2 in The Pencil of Nature.
Alfred Stieglitz (American, Hoboken, New Jersey 1864–1946 New York)
A Snapshot, Paris
1911, printed 1912
13.8 x 17.4 cm. (5 7/16 x 6 7/8 in.)
Gift of J. B. Neumann, 1958
Born in Hoboken, New Jersey, Stieglitz trained to be an engineer in Germany and moved to New York in 1890. His lifelong ambition as an artist (and advocate for the arts) was to prove that photography was as capable of artistic expression as painting or sculpture. As the editor of Camera Notes, the journal of the Camera Club of New York, and then later Camera Work (1902-17), Stieglitz espoused his belief in the aesthetic potential of the medium. He published work by photographers who shared his conviction alongside European modernists such as Auguste Rodin, Pablo Picasso, Constantin Brancusi, and Francis Picabia.
Michel Seuphor (Belgian, born 1901)
11.4 x 16.4 cm. (4 1/2 x 6 7/16 in.)
© 2011 Artists Rights Society (ARS), New York
The Belgian painter, poet, designer, and art critic Seuphor moved to Paris in 1925 and entered the artistic community of such expatriate artists as Wassily Kandinsky, Piet Mondrian, and Theo van Doesburg. Little is known about his work with the camera except that this photograph was made the year Seuphor founded Cercle et Carré (Circle and Square), a group dedicated to abstraction that would include Kandinsky, Mondrian, Jean Arp, Kurt Schwitters, and Le Corbusier.
Défilé sur le Pont-Royal
Gilman Collection, Gift of The Howard Gilman Foundation, 2005
In January 1839 the Romantic painter and printmaker Louis-Jacques-Mandé Daguerre (1787-1851) showed members of the French Académie des Sciences an invention he believed would forever change visual representation: photography. Each daguerreotype (as Daguerre dubbed his invention) is an image produced on a highly polished, silver-plated sheet of copper.
Using an "accelerating liquid" of their own devising, the daguerreotypists Choiselat and Ratel were able to reduce exposure times from minutes to seconds, which allowed them to capture events as they happened. Here the mounted guards stationed along one of Paris's most famous bridges registered clearly on the daguerreotype plate, but even with a short exposure time the moving crowds and rolling carriages became a blur of activity.
Charles Marville (French, Paris 1813–1879 Paris)
Rue Traversine (from the Rue d'Arras)
34.8 x 27.5 cm (13 11/16 x 10 13/16 in. )
Gift of Howard Stein, 2010
Brassaï (French (born Romania), Brașov 1899-1984 Côte d'Azur)
Street Fair, Boulevard St. Jacques, Paris
© The Estate of Brassai
Born in Transylvania, Gyula Halász studied painting and sculpture in Hungary and moved to Paris in 1924 to work as a journalist. About 1930 he changed his name to Brassaï and took up photography. The camera became a constant companion on his nightly walks through the city's seamier quarters, where he aimed his lens at showgirls, prostitutes, ragpickers, transvestites, and other inhabitants of the demimonde. His first and most famous book of photographs, Paris de nuit (Paris by Night), published in 1933, includes a variation of this scene of three masked women tempting men into a sideshow.
Edward J. Steichen (American (born Luxembourg), Bivange 1879-1973 West Redding, Connecticut)
Untitled [Brancusi's Studio]
Gift of Grace M. Mayer, 1992
Reprinted with permission of Joanna T. Steichen.
Steichen lived in Paris on and off from 1900 to 1924, making paintings and photographs. A cofounder with Alfred Stieglitz of the Photo-Secession, Steichen offered his former New York studio to the fledgling organization as an exhibition space in 1905. Known first as the Little Galleries of the Photo-Secession and later simply by its address on Fifth Avenue, 291, the gallery introduced modern French art to America through the works of Rodin, Matisse, Cézanne, and, in 1914, Constantin Brancusi.
Steichen and Brancusi, who met at Rodin's studio, became lifelong friends. This view of a corner of Brancusi's studio on the impasse Roncin shows several identifiable works, including Cup (1917) and Endless Column (1918). The photograph's centerpiece is the elegant polished bronze Golden Bird (1919), which soars above the other forms. Distinct from Brancusi's studio photographs – subjective meditations on his own creations – Steichen's view is more orchestrated, geometric, and objective. Golden Bird is centered, the light modulated, and the constellation of masses carefully balanced in the space defined by the camera. A respectful acknowledgment of the essential abstraction of the sculpture, the photograph seems decidedly modern and presages the formal studio photographs Steichen made in the service of Vanity Fair and Vogue beginning in 1923.
Research at the State Library of Victoria further update
Categories: beauty, black and white photography, documentary photography, exhibition, gallery website, landscape, light, memory, Paris, photographic series, photography, reality, sculpture, space, street photography, time and works on paper
Tags: aura, authenticity, Bill Henson, Bill Henson Wildcards, Charles Marville, Charles Marville at the State Library of Victoria, Charles Marville Parc Monceau, Charles Marville research, french artist, French photography, German theorist Walter Benjamin, Marville Paris, Monash Gallery of Art, Old Paris, Parc Monceau, photographs of Paris, presence, reproduction, research at the State Library of Victoria, research State Library of Victoria, simulacra, State Library of Victoria, State Library of Victoria research, the aura of the original, The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin aura, Walter Benjamin The Work of Art in the Age of Mechanical Reproduction
Date: 22nd February 2014
research experience on the charles marville photographs at the state library of victoria further update
An interesting email arrived from the Collection Services Manager further questioning why I actually want to see the Marville prints in the State Library's Collection.
In part the email says, and I precis: the prints are fragile and very rare; the Library has digitised all the prints and provided high resolution images available for free download from our website; the careful storage of the original prints and the provision of digital files is the Library's standard approach to achieve that delicate balance between access and preservation. The email goes on to ask, "I would be interested to understand more about your research needs with this collection and why it is important for you to view the original prints out of their protective enclosures."
They still don't get it do they?
Vintage prints have to be seen in the flesh. Anyone who knows anything about photography understands this but not, apparently, the State Library of Victoria. Why do you even need to explain this to them? When looking at vintage photographs you actually have to see the physical print, the surface of the print, not some simulacra hidden behind plastic or a high res scan online!
As Bill Henson insightfully observes in an interview about his current selection of images at the Monash Gallery of Art in the exhibition Wildcards,
"One of those preoccupations is an interest in the photograph as an object, in the physical presence of the print or whatever kind of technology is being used to make it. Part of the reason for that is that photography, more than any other medium, suffers from a mistake or misunderstanding people have when they've seen a reproduction in a magazine or online: they think they're seeing the original. A certain amount of photography is made with its ultimate intention being to be seen in a magazine or online, but most photography, historically, ended up in its final form as a print – a cyanotype, or a tin type or a daguerreotype or whatever it might be… [This] continues to interest me about photography: how these things inhabit the world as objects. And indeed we read them not just with our eyes but with how our whole bodies read and encounter and negotiate these objects, which happen to be photographs."
Wildcards: Bill Henson shuffles the deck
Monash Gallery of Art
1 February – 30 March 2014.
"They've seen a reproduction in a magazine or online: they think they're seeing the original… we read them not just with out eyes but with how our whole bodies read and encounter and negotiate these objects, which happen to be photographs." Well said.
Perhaps the State Library needs to read Walter Benjamin's 1936 essay The Work of Art in the Age of Mechanical Reproduction in which he discusses the aura of the original and "the concept of authenticity, particularly in application to reproduction. 'Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.' He argues that the "sphere of authenticity is outside the technical" so that the original artwork is independent of the copy, yet through the act of reproduction something is taken from the original by changing its context. He thus introduces the idea of the "aura" of a work and its absence in a reproduction." (Walter Benjamin (1968). Hannah Arendt, ed. "The Work of Art in the Age of Mechanical Reproduction", Illuminations. London: Fontana. pp. 214-218 quoted in "The Work of Art in the Age of Mechanical Reproduction" on the Wikipedia website)
In other words, there is nothing like standing in front of a jewel-like Vermeer and feeling the aura of the original, not one shielded behind glass (or plastic in this case). By making many reproductions, including online copies, you substitute a plurality of copies for a unique existence. This is why I was so looking forward to seeing the Marville's, to FEEL THEIR PRESENCE…
Of course I am as guilty as anyone through this blog of disseminating reproductions around the world, and I freely admit that. The photographs I reproduce are not the originals and should never stand for them. Even in this age of infinitely reproducible digital images there is still that aura of standing in front of a print in a gallery and feeling its eternal value and mystery. As Walter Benjamin writes, "the authenticity of a thing is the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced." And you need to see and feel that history.
Finally, I wonder how many people the State Library of Victoria have coming in to see these prints? When was the last time anyone actually physically saw them that wanted to? I would think very, very, few people indeed. The "delicate balance" between access and conservation is obviously well weighted towards the former.
It will be interesting to see how the State Library of Victoria responds and whether they can "Cry 'Havoc!', and let slip the photographs of Marville." Even for an instant. To facilitate my research in this time, in this space where one can admire the beauty of an object without compromising the need to preserve – no, lets think of better words: retain, possess, guard, protect, shield – the prints. I will keep you informed.
All Charles Marville photographs in the State Library of Victoria Pictures Collection
Charles Marville (1813-1879, photographer)
c. 1853 – c. 1870
In collection: Photographic views of Paris
Undated, dates assigned from time of Haussman's renovation of Paris
photographic print mounted on cardboard : albumen silver
Gift; Government of France; 1880
In the State Library of Victoria Pictures Collection
Research at the State Library of Victoria update
Categories: Art Blart, Australian writing, beauty, black and white photography, cultural commentator, documentary photography, existence, light, Marcus Bunyan, Melbourne, memory, photographic series, photography, space, time and works on paper
Tags: Charles Marville, Charles Marville at the State Library of Victoria, Charles Marville Old Paris, Charles Marville photographs at the State Library of Victoria, Charles Marville State Library of Victoria, Charles Marville: Photographer of Paris, Charles Nettleton, conservation of photographs, french artist, French photographer, French photography, Melbourne International Exhibition, Melbourne International Exhibition 1880, Old Paris, Paris photography, photography conservation, photography of Old Paris, photography of Paris, photography research, research at the State Library of Victoria, research into photographs, research State Library of Victoria, State Library of Victoria, State Library of Victoria Charles Marville, State Library of Victoria photographic research, State Library of Victoria photography research, State Library of Victoria research
research experience on the charles marville photographs at the state library of victoria update
Yah – a lovely response from the State Library of Victoria !!
I look forward to seeing the Marville's in all their glory. I will let you know how the visit goes…
Hi Marcus, we're sorry to hear your experience was not a positive one. The Marville Collection is an extraordinary anthology of photographs to be celebrated. While we certainly don't wish to keep this treasure from the public, we do want to ensure these photographs are preserved for future generations to enjoy.
So that everyone can access these photographs at any time, we have digitised the entire collection in high resolution and made available online. We also arrange viewings of the original photographic prints by appointment but due to their age, size and delicate nature, it's preferable that only a selection are brought out at any one time and handled with care. The plastic envelopes in which the photographs are kept are archival and the blue card on which they're mounted is how the prints were exhibited in 1880 and include the original captions. Conservation staff have assessed the prints and original backing card and are of the opinion that the card is not causing any damage to these photographs.
Our Collection Services Manager is getting in touch with you to arrange another visit where you can see more from this wonderful collection. We look forward to seeing you back at the Library soon.
Rue Tirechape (de la rue St Honoré)
Research at the State Library of Victoria
Categories: Australian writing, black and white photography, cultural commentator, documentary photography, existence, memory, Paris, photographic series, photography, space, street photography, time and works on paper
Tags: Charles Marville, Charles Marville at the State Library of Victoria, Charles Marville Old Paris, Charles Marville photographs at the State Library of Victoria, Charles Marville State Library of Victoria, Charles Marville: Photographer of Paris, Charles Nettleton, conservation of photographs, french artist, French photographer, French photography, J. W. Lindt, Melbourne International Exhibition, Melbourne International Exhibition 1880, Nicholas Caire, Old Paris, Paris photography, photography conservation, photography of Old Paris, photography of Paris, photography research, research at the State Library of Victoria, research into photographs, research State Library of Victoria, State Library of Victoria, State Library of Victoria Charles Marville, State Library of Victoria photographic research, State Library of Victoria photography research, State Library of Victoria research
Date: 23rd January 2014
Research experience on the Charles Marville photographs at the State Library of Victoria
I don't usually get upset but this is an exception, and rightly so. They say that any publicity is good publicity but not in this case, because this posting goes right around the world. Read on…
After my recent posting on Charles Marville: Photographer of Paris at the National Gallery of Art, Washington I was contacted by Robert Heather, Manager Collection Interpretation at SLV about the 330 Marville's they have in the Pictures collection, donated by the French Government in 1881 after the Melbourne International Exhibition of 1880 had finished. I had know about these photographs from pages 203-205 of the catalogue from the above exhibition (see images below). The Manager of Collection Interpretation encouraged me to make an appointment to come in an see the Marville. Naturally I was excited at the prospect of doing some research on these recently rediscovered images. An idea was forming in my mind – about research that linked the redevelopment of Paris at the time of the Marville photographs with images of the expanding and developing Melbourne around the same time. The comparisons between cities and photographers, photographs, styles (such as Charles Nettleton pre-1880 and J. W. Lindt and Nicholas Caire post-1880), I thought would be illuminating.
Don't forget I was encouraged to come in an see the Marville. Contacted by the Picture Librarian, I was asked to select TWO, yes TWO images out of 330 to look at. I think I was lucky to be able to choose two but I choose three!
Upon arrival the Picture Librarian failed to introduce themselves and said, "Oh, your Marcus" in the most off hand manner. This person was brusque to the point of rudeness, so effacacious in their duty to protect the art work that I felt it was almost criminal to be there. It was like stepping back into the Victoria era their attitude was so unhelpful.
The Marville's are not in albums as I had supposed (and the librarian had no knowledge of whether they had ever been in albums), but were mounted on blue cards and kept in plastic (presumably archival) sleeves. When I asked for the photographs to be removed so that I could look at the images I had chosen, I was refused! How can you possibly study an artist's work, in this case photographs, without being able to see the surface of the print? It is just impossible to study these works under opaque plastic…
These cards should NOT BE STORED IN PLASTIC SLEEVES ANYHOW !!
Even if the sleeves are archival, photographs need to breathe and not be suffocated in plastic. It's like a Stradivarius violin – they need to be played, not kept locked up in a museum display cabinet because then they loose all of their resonance. And when I asked this person about what conservation was being undertaken on the images they had no idea, blithely announcing that the photographs had been on those cards for a century. This does not mean that the card is not leaching acid into the photographs and the necessary testing should be carried out to assess the stability of the material and photographs. And if they have been stable and survived for a hundred years as this person suggested, then what is the harm of actually showing them to people. A piece of cardboard that was shown to me as coming off one of the sheets is no reason to deny people the right to see these objects in the flesh.
This person had no idea who I was nor did they care that I am a professional researcher, writer and artist. But that is not the point, I could have been anyone from Joe Public wanting to look at something in the collection: it is a public institution and they have a duty and obligation to show things to the general public. In their 'Vision Statement' they say, and I quote:
"We want to be a place where all Victorians can discover, learn, create and connect. We want to be a cultural and heritage destination for Victorians, and a catalyst for generating new knowledge and ideas…. We will focus on developing: services and physical facilities tailored to your needs."
New knowledge and ideas. Services and physical facilities tailored to your needs. After the appalling experience that I had I am not so sure. I was going to apply for a Fellowship hoping to do the research I mentioned at the top of the posting, but after my awful experience I am thinking better of it. While all the Marville's are online and downloadable at high resolution, which is a wonderful thing in itself, at this rate the Marville's might as well be buried for another 100 years, other than being shown in an upcoming exhibition. At least at the National Gallery of Victoria when you go in to look at the work, you can actually see the photographs.
I have now requested another appointment to see the Marville's and this time I don't want to see just THREE PHOTOGRAPHS behind plastic – I want to see as many photographs as I would like, and be left in peace to study them, out of the plastic. As a public institution the State Library of Victoria has a duty to make these photographs available for research. If they have not got a conservation policy in place that allows them to be viewed out of the plastic, then they should have. I have asked them to let me know when this visit can be conducted and have yet to receive a reply.
I don't usually get upset, dear readers, but this situation is intolerable for anyone, let alone a person who loves photography. The attitude spoiled what was going to be a special and magical experience. Imagine if a researcher from overseas had arrived to view these works and they had had this reception. Unbelievable.
I will, of course, keep you updated with news.
Dr Marcus Bunyan
"Gee have you been using these plastic sleeves for a long time?"
"Do you have many people asking to see these images out of their covers?"
Thankx to my mentor for these pearls of wisdom…
I think people are too afraid to speak out these days for fear of having an opinion, being seen as judgemental, upsetting the powers that be. I am not afraid to call them out, especially on a subject in which I have knowledge over many years. I have been studying the new Left of the 1960s and how they put their bodies on the line out on the streets – for anti-Vietnam, pro-Communist, gay liberation, feminism and Aboriginal rights. I grew up in an era where you say what you think, fight for your freedom and have the courage of your convictions…
AS SEEN ONLINE
Rue Chanoinesse (de la rue des Chantres)
AS SEEN IN THE FLESH
Extracts from pages 203 and 205 of Reynaud, Françoise. "Marville and Old Paris," in Kennel, Sarah. Charles Marville: Photographer of Paris. Washington: National Gallery of Art, 2013.
Exhibition: 'Charles Marville: Photographer of Paris' at the National Gallery of Art, Washington
Categories: beauty, black and white photography, documentary photography, exhibition, existence, gallery website, landscape, light, memory, Paris, photographic series, photography, portrait, reality, space, time and works on paper
Tags: 19th century French photography, Albumen print from collodion negative, Avenue du Commandeur, Avenue du Commandeur (de la rue d'Alésia), Banks of the Bièvre River at the Bottom of the rue des Gobelins, Baron Haussmann, Bois de Boulogne, Bords de la Bièvre (au bas de la rue des Gobelins), Cathédrale de Chartres, Cathédrale de Chartres Grandes Figures des pilastres du portail septentrional, Charles Delahaye, Charles Marville, Charles Marville and Eugène Atget, Charles Marville Avenue du Commandeur, Charles Marville Banks of the Bièvre River at the Bottom of the rue des Gobelins, Charles Marville Bords de la Bièvre, Charles Marville Bords de la Bièvre (au bas de la rue des Gobelins), Charles Marville Cathédrale de Chartres, Charles Marville Charles Delahaye, Charles Marville Chartres Cathedral Columnar Figures, Charles Marville Cloud Study Paris, Charles Marville Construction of the avenue de l'Opéra, Charles Marville Cour Saint-Guillaume, Charles Marville Gardens of the Bagatelle under Construction, Charles Marville Haut de la rue Champlain, Charles Marville Haut de la rue Champlain (vue prise à droit), Charles Marville Impasse de l'Essai, Charles Marville Impasse de l'Essai (du marché aux chevaux), Charles Marville Impasse de la Bouteille, Charles Marville Impasse de la Bouteille (de la rue Montorgeuil), Charles Marville Interior of Les Halles Centrales, Charles Marville Marché aux chevaux, Charles Marville Marché aux chevaux (Horse Market), Charles Marville Paris, Charles Marville Passage Saint-Guillaume, Charles Marville Passage Saint-Guillaume (vers la rue Richelieu), Charles Marville Percement de l'avenue de l'Opéra, Charles Marville Rue de la Bûcherie, Charles Marville Rue de la Bûcherie from the cul de sac Saint-Ambroise, Charles Marville Rue Ollivier, Charles Marville Rue Ollivier (vers la rue Saint-Georges), Charles Marville Rue Saint-Jacques, Charles Marville Self-Portrait 1861, Charles Marville Self-Portrait at a Window, Charles Marville Sky Study Paris, Charles Marville South Portal Chartres Cathedral, Charles Marville The Bièvre River (fifth arrondissement), Charles Marville Top of the rue Champlain, Charles Marville Treasury of Reims Cathedral, Charles Marville Urinoir (système Jennings) plateau de l'Ambigu, Charles Marville: Photographer of Paris, Charles-François Bossu, Chartres Cathedral, Chartres Cathedral Columnar Figures, City of Light, Cloud Study Paris, Construction of the avenue de l'Opéra, Cour Saint-Guillaume, Cour Saint-Guillaume (ninth arrondissement), early Paris photographs, emperor Napoleon III, Eugène Atget and Charles Marville, Eugène Atget and Charles Marville Paris, Eugène Atget Charles Marville, Eugène Atget Paris, french artist, French photographer, French photography, Gardens of the Bagatelle under Construction, Georges-Eugène Baron Haussmann, Haut de la rue Champlain, Haut de la rue Champlain (vue prise à droit), Impasse de l'Essai (du marché aux chevaux), Impasse de l'Essai from the Horse Market, Impasse de la Bouteille, Impasse de la Bouteille (de la rue Montorgeuil), Interior of Les Halles Centrales, John Szarkowski, John Szarkowski Eugène Atget, Louis-Désiré Blanquart-Evrard, Marché aux chevaux (Horse Market), Marville and Atget, Marville Old Paris, Marville Old Paris photographs, Napoleon III, Old Paris album, Paris, Paris photographs, Passage Saint-Guillaume, Passage Saint-Guillaume (vers la rue Richelieu), Percement de l'avenue de l'Opéra, photography of Paris, Rue de la Bûcherie from the cul de sac Saint-Ambroise, Rue Ollivier (vers la rue Saint-Georges), salted paper print from paper negative, Self-Portrait at a Window, Sky Study Paris, South Portal Chartres Cathedral, The Bièvre River (fifth arrondissement), Top of the rue Champlain, Treasury of Reims Cathedral, Urinal Jennings System plateau de l'Ambigu, Urinoir (système Jennings) plateau de l'Ambigu, vespasiennes
Exhibition dates: 29th September 2013 – 5th January 2014
Marché aux chevaux (Horse Market) (fifth arrondissement)
Image: 26.2 x 36.8cm (10 5/16 x 14 1/2 in.)
The French photographer Charles Marville (1813-1879) is rapidly becoming a favourite of mine. In fact, I have just ordered Charles Marville: Photographer of Paris by Sarah Kennel from Amazon – a book that comes highly recommended – and I am eagerly awaiting its arrival.
Charles Marville "is primarily known for documenting the transformation of Paris from a medieval city to a modern one, through a series of images of old neighbourhoods lost due to urban renewal… Marville's earliest works were salted paper prints made from paper negatives – soft, high-contrast images not far removed in feeling from the pioneering, somewhat primitive photographs of William Henry Fox Talbot. As photographic technology advanced, Marville shifted to glass negatives that allowed far more visual precision, particularly in the architectural and streetscape images that compose the largest portion of the National Gallery of Art's retrospective. By the late 1870s, shortly before his death, Marville's compositions began to presage the more modernist approaches Alfred Stieglitz would pursue just a few years later. (At one point, Marville even experimented with abstracted cloud images, decades before Stieglitz's famous "equivalents.")." (Louis Jacobson. "Reviewed: Charles Marbille at the National Gallery of Art," on the Washington City Newspaper blog 22nd October 2013 [Online] Cited 19/01/2021)
Marville can be seen as the precursor to Eugène Atget (1857-1927). Atget would have been in his twenties when Marville was in the last few years of his life. It is interesting to speculate whether the two ever met? (and if they did what they would have talked about!) Atget would have been aware of the older photographers' work, work that has been criticised for its lack of social consciousness and artistic feeling.
"Comparing Atget's work with that of his best-known predecessor, Charles Marville (1816-1879), demonstrates another of Atget's artistic contributions. Marville had been commissioned to make a comprehensive documentation of the vast districts of old housing that were to be demolished as part of Napoleon III's plan to transform Paris into a modern capital. Marville's photographs do not linger over any particular building, warm to its charm or embrace its artistic qualities. Instead (perhaps because these buildings were slated for destruction anyway), Marville chose a position from which he could see straight to the end of even the most narrow, winding street, enabling him to photograph the maximum number of structures with one shot." (Gerald M. Panter. "Atget in Historical Perspective" [Online] Cited 01/01/2014 no longer available online)
This is to denigrate the work of Marville. His photographs possess more subtly than Atget's and they sing a different song. To me, Marville's photographs are like a Bach fugue while Atget's photographs are a Mozart sonata. Both have different resonances, no less valuable one from the other. It is as if Atget looked at the work of Marville and thought: how can I do this my way, in my own voice
and he then proceeded to "turn up the volume" – by changing the angle and perspective of the camera, by moving horse and cart into more prominent positions, by focusing on details and ghosts. But Marville is no less a master than Atget. You only have to look at the photographs to realise what great sensitivity to subject matter he possessed, what a unique voice this artist had.
Look at the amazing construction of the picture plane in numerous images in this posting. The wall that blocks the way in Impasse de l'Essai from the Horse Market (c. 1868, below) and the pictures elegiac atmosphere, tensioned by the post mimicking the tree at the left hand side and the threatening, dark, brooding forms of both trees overhanging the rooftops of the houses. The three photographs The Bièvre River (fifth arrondissement) (2 images) and Banks of the Bièvre River at the Bottom of the rue des Gobelins (all 1862, below) where the artist leads the eye of the viewer into the image using water, then partially blocks the line of sight into the distance by barrels and posts, shadows and reflections, at the same time limiting the sky to a small section so that the viewer's eyes have some escape route out of the image. The last image Bièvre River at the Bottom of the rue des Gobelins is almost Cezanne-like in it's flattening and fracturing of the image plane into modernist shapes. Atget could never have taken photographs like these. They are true masterpieces.
The last five images of city streets in the posting are also illuminating. While they are more frontal than many of Atget's street photographs, with a longer vista and vanishing point, there is something about them that adds an indelible serenity to the scene. Maybe it's the foreshortened walls lingering into the distance, the carts, the light, the shadows. Look at the very last photograph, Impasse de la Bouteille (de la rue Montorgeuil) (1865-1868, below) and notice the wonderful two vanishing points and the immense darkness of the intervening wall as it pushes its way into the image, the blackness of this intervention. Incredible.
As John Szarkowski has observed, "In the wet-plate days of Atget's great predecessor Charles Marville photographed the streets of Old Paris, street by street. In those old streets that still existed a generation later, Atget repeated the work building by building, sometimes door by door, sometimes door knocker by door knocker. He reworked the ore with a finer screen, and sifted out a different precious metal." (John Szarkowski. Eugène Atget. Museum of Modern Art, 2000, p. 15)
Both Marville and Atget are precious metals. For that we are eternally grateful.
Many thankx to the National Gallery of Art, Washington for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Gardens of the Bagatelle under Construction
Albumenised salted paper print from collodion negative
Image: 26 x 36cm (10 1/4 x 14 3/16 in.)
Paula and Robert Hershkowitz
Avenue du Commandeur (de la rue d'Alésia) (fourteenth arrondissement)
Image: 23 x 36.1cm (9 1/16 x 14 3/16 in.)
Impasse de l'Essai (du marché aux chevaux) (Impasse de l'Essai from the Horse Market) (fifth arrondissement)
Image: 24.5 x 36.5cm (9 5/8 x 14 3/8 in.)
Ville de Paris – Bibliothèque de l'Hôtel de Ville (BHdV)
Interior of Les Halles Centrales
Image: 31.8 x 39.2cm (12 1/2 x 15 7/16 in.)
The Bièvre River (fifth arrondissement)
Image: 26.67 x 37.47cm (10 1/2 x 14 3/4 in.)
Albumen print from a collodion negative
Image: 27.8 x 37.6cm (10 15/16 x 14 13/16 in.)
Lent by The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 1988
Image © The Metropolitan Museum of Art
Bords de la Bièvre (au bas de la rue des Gobelins) (Banks of the Bièvre River at the Bottom of the rue des Gobelins) (fifth arrondissement)
Image: 27.5 x 36.8cm (10 13/16 x 14 1/2 in.)
Percement de l'avenue de l'Opéra (Construction of the avenue de l'Opéra)
Image: 25.9 x 36.4cm (10 3/16 x 14 5/16 in.)
Haut de la rue Champlain (vue prise à droit) (Top of the rue Champlain) (View to the Right) (twentieth arrondissement)
Image: 26 x 36.6cm (10 1/4 x 14 7/16 in.)
© Charles Marville / Musée Carnavalet / Roger-Viollet
Urinoir (système Jennings) plateau de l'Ambigu (Urinal, Jennings System, plateau de l'Ambigu)
Treasury of Reims Cathedral
23.1 x 34.5cm (9 1/8 x 13 9/16 in.)
Sky Study, Paris
Image: 16.7 x 20.6cm (6 9/16 x 8 1/8 in.)
Cloud Study, Paris
Image: 15.4 x 25.7cm (6 1/16 x 10 1/8 in.)
Sheet: 31 x 43.4cm (12 3/16 x 17 1/16 in.)
Wilson Centre for Photography, London
The first exhibition in the United States and the very first scholarly catalogue on the accomplished 19th-century French photographer Charles Marville will explore the beauty, variety, and historical poignancy of Marville's art. On view at the National Gallery of Art, Washington, from September 29, 2013, through January 5, 2014, Charles Marville: Photographer of Paris will include 99 photographs and three albums that represent the artist's entire career, from his exquisite city scenes and landscape studies made across Europe in the early 1850s to his compelling photographs of Paris both before and after many of its medieval streets were razed to make way for the broad boulevards, parks, and monumental buildings we have come to associate with the City of Light. The accompanying exhibition catalogue will present recently discovered, groundbreaking scholarship informing Marville's art and his biography.
"Although his photographs of Paris on the brink of modernity are widely hailed as among the most accomplished ever made of that city, Marville himself has long remained an enigma to art historians," said Earl A. Powell III, director, National Gallery of Art. "We are thrilled to present this new look at the art and life of Marville and are deeply grateful to lenders, both public and private, for making this landmark show possible."
Forty-one of the 102 works presented in the exhibition are on loan from the Musée Carnavalet, Paris. Conservation and preparation of the loans from the Musée Carnavalet has been undertaken by the Atelier de Restauration et de Conservation des Photographies de la Ville de Paris (ARCP).
Recent Discoveries
Marville has long remained a mystery partly because documents that would shed light on his biography were thought to have disappeared in a fire that consumed Paris' city hall in 1871. The whereabouts of other documentation was simply unknown. However, new research has helped curator Sarah Kennel and exhibition researcher Daniel Catan reconstruct Marville's personal and professional biography.
The son of a tailor and laundress, Charles-François Bossu was born in Paris 1813. In a double act of self-invention, he jettisoned his given name (bossu means hunchback in French) around 1832, at the moment he became an artist. He embarked upon a career as an illustrator in the early 1830s but turned to the young discipline of photography in 1850. Although he continued to be known as Marville until his death in 1879, he never formally changed his name, which is the reason many of the legal documents pertaining to his life have gone unnoticed for decades. The exhibition catalogue establishes Marville's biography, including his parentage and his relationship with a lifelong companion, and uncovers many significant details that illuminate the evolution and circumstances of his career.
The Exhibition and Artist's Background
A talented and prolific artist lauded for his rigorously composed, beautifully detailed prints, Marville was commissioned in the early 1860s to record the city of Paris in transition. He soon became known as the official photographer of Paris and produced one of the earliest photographic series documenting urbanisation. He continues to be recognised as one of the most accomplished photographers in the history of the medium.
Charles Marville: Photographer of Paris offers an overview of the artist's photographic career, beginning with a compelling series of intimate self-portraits and portraits of friends and colleagues that provide a fascinating window into Marville's personal life and professional ties, and serve as an introduction to the exhibition. Starting in 1850, Marville travelled throughout France and Germany, using the paper negative process with great skill to create beautiful landscapes, cityscapes, studies of sculpture, and striking architectural photographs. Many of these works were included in albums produced by the pioneering publisher Louis-Désiré Blanquart-Evrard. The quantity and quality of the photographs used by the publisher serve as both a testament to Marville's skill and an indication that his training as an illustrator prepared him exceptionally well for this new pictorial enterprise of photographic documentation.
In the mid-1850s, Marville adopted the collodion negative process and undertook a series of sky and cloud studies, made from the rooftop of his Parisian studio. More rapid and sensitive than the paper negative process, the collodion negative process enabled the photographer to capture delicate, luminous cloud formations on the city's horizon and made him one of the first artists successfully to photograph clouds. At the same time, Marville expanded his practice by honing in on two lucrative areas: reproductions of works of art and architectural photographs. He excelled at both and assumed the title and related privileges of photographer to the Louvre while he also documented building and renovation projects in Paris and the provinces for prominent French architects, including Eugène Viollet-le-Duc.
In 1858, Marville was commissioned by the city of Paris to photograph the newly refurbished Bois de Boulogne, a royal park on the edge of Paris that had been transformed under the emperor Napoleon III into a site of bourgeois leisure and pleasure. Arguably his first important body of work that was conceived and executed as a systematic series, the Bois de Boulogne series would influence his best-known work, the Old Paris photographs. Commissioned by Paris' agency on historic works (under the aegis of urban planner Georges-Eugène Baron Haussmann) in the early 1860s, Marville made more than 425 photographs of the narrow streets and crumbling buildings of the premodern city at the very moment they were threatened by demolition. Known as the Old Paris album, the photographs are captivating for their seamless integration of artistic sensibility and intense devotion to maximum visual clarity. In many cases they serve as the only visual record of sites that have long since vanished.
The exhibition closes with an exploration of the emergence of modern Paris through Marville's photographs. Even before completing the Old Paris series, Marville began to photograph the city that was coming into being, from massive construction projects, renovated churches, and broad boulevards to a host of modern conveniences, such as the elegant new gas lamps and the poetically named vespasiennes (public urinals) that cemented Paris' reputation in the 1860s as the most modern city in the world. Marville also explored the city's edges, where desolate stretches of half-finished construction suggest the physical displacements and psychic costs of modernisation. Sharp-edged, beautifully detailed, and brilliantly composed, Marville's photographs of the French capital as at once glamorous and alienating do not simply document change but in their very form shape the visual rhetoric of modern Paris.
Press release from the National Gallery of Art website
South Portal, Chartres Cathedral
Lent by The Metropolitan Museum of Art, Purchase, Jennifer and Joseph Duke Gift and The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2000
Cathédrale de Chartres, Grandes Figures des pilastres du portail septentrional (Chartres Cathedral, Columnar Figures, Northern Portal)
Image: 36 x 25.6cm (14 3/16 x 10 1/16 in.)
The Museum of Modern Art, New York, Gift of Paul F. Walter
Charles Delahaye
Salted paper print from paper (or glass?) negative
Image: 21.6 × 15.9cm (8 1/2 × 6 1/4 in.)
Lent by The Metropolitan Museum of Art, Purchase, W. Bruce and Delaney H. Lundberg and Christian Keesee Charitable Trust Gifts, 2011
Self-Portrait at a Window, February 20, 1851
Image: 14.29 x 11.4cm (5 5/8 x 4 1/2 in.)
Support: 32.2 x 24.5cm (12 11/16 x 9 5/8 in.)
Mat: 53 x 40.5cm (20 7/8 x 15 15/16 in.)
Image: 23.5 x 18.3cm (9 1/4 x 7 3/16 in.)
Collection Debuisson
Rue de la Bûcherie, from the cul de sac Saint-Ambroise (fifth arrondissement)
Image: 32 x 27.1cm (12 5/8 x 10 11/16 in.)
Rue Saint-Jacques (fifth arrondissement)
Image: 30.8 x 27cm (12 1/8 x 10 5/8 in.)
Image: 34.2 x 27.2cm (13 7/16 x 10 11/16 in.)
Lent by The Metropolitan Museum of Art, Gilman Collection, Purchase, Alfred Stieglitz Society Gifts, 2005
Passage Saint-Guillaume (vers la rue Richelieu) (first arrondissement)
Image: 31.91 x 27.62cm (12 9/16 x 10 7/8 in.)
Rue Ollivier (vers la rue Saint-Georges) (ninth arrondissement)
Image: 28.6 x 27.6cm (11 1/4 x 10 7/8 in.)
Impasse de la Bouteille (de la rue Montorgeuil) (second arrondissement)
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington
Monday – Saturday 1000am – 5.00pm
National Gallery of Art website
Exhibition: 'Concrete – Photography and Architecture' at Fotomuseum Winterthur, Zurich
Categories: American, american photographers, architecture, beauty, black and white photography, colour photography, designer, digital photography, documentary photography, exhibition, film, gallery website, landscape, light, memory, New York, photographic series, photography, pictorialism, sculpture, space, surrealism, time, video and Walker Evans
Tags: "Op Art" bathing suit by Sinz, #1176 01 29 1997 3:30PM Looking Southeast, 24 Rue Bièvre Paris, Aage Strüwing Arne Jacobsen: Rødovre Town Hall, American photography, Anonymous Hardstrasse with Hardbrücke in construction, architectural design, architectural photography, architecture, architecture photography, Arne Jacobsen, Arne Jacobsen: Rødovre Town Hall, arts, beauty, Berlin, Blikkiesdorp, Blikkiesdorp Cape Town, British photography, Brutalism, Cambridge, Canadian Embassy Leipziger Platz Berlin, Cape Town, Carlo Scarpa's Tomba Brion, Cathedral of Light, Chandigarh, Charles Marville, Charles Marville 24 Rue Bièvre Paris, Chrysler Building under construction, concrete, Concrete - Photography and Architecture, concrete architecture, Concrete exhibition, Danish photography, design and reality, English photographer, exclusivity, f. c. gundlach, F.C. Gundlach "Op Art" bathing suit by Sinz, Façade of the Secretariat Building, Fotomuseum Winterthur, fragility, French photographer, French photography, gelatin silver print, German photography, Guido Guidi, Guido Guidi #1176 01 29 1997 3:30PM Looking Southeast, Guido Guidi Carlo Scarpa's Tomba Brion, Hardstrasse with Hardbrücke in construction, Henry Fox Talbot, Hiroshi Sugimoto, Hiroshi Sugimoto Seagram Building, homes and houses, Italian photography, Japanese artist, japanese photographer, Japanese photography, Lala Aufsberg, Lala Aufsberg Cathedral of Light, Laurence Bonvin, Laurence Bonvin Blikkiesdorp Cape Town, Le Corbusier, Le Corbusier Façade of the Secretariat Building, Le Vele di Scampia, Leipziger Platz, leipziger platz berlin, Lucien Hervé, Lucien Hervé Le Corbusier: Façade of the Secretariat Building, Michael Wesely, Michael Wesely Canadian Embassy, Migropolis, Moriz Nähr, Moriz Nähr Staircase in the house Stonborough-Wittgenstein, Moriz Nähr Stiegenhaus im Haus Stonborough-Wittgenstein, New York, Nuremberg, photoanimation, Photography and Architecture, photography of architecture, Rødovre Town Hall, Salt print from calotype negative, Schlieren photography, Seagram Building, skyscraper, South Africa, St. John's College, Staircase in the house Stonborough, Staircase in the house Stonborough-Wittgenstein, Stiegenhaus im Haus Stonborough-Wittgenstein, Swiss photography, The Bridge of Sighs, Tobias Zielony, Tobias Zielony Le Vele di Scampia, utopian fantasies, Walker Evans, Walker Evans Chrysler Building under construction, William Henry Fox Talbot, William Henry Fox Talbot The Bridge of Sighs, Wittgenstein, Wolfgang Scheppe's Migropolis, Zurich
Exhibition dates: 2nd March – 20th May 2013
Anonymous photographer
Hardstrasse with Hardbrücke in construction
8.8 x 12.6cm
Baugeschichtliches Archiv der Stadt Zürich
When creating this blog, so much of my time is spent cleaning up clearly inadequate media images, an example of which can be seen below. I have become very adept at this process and my thoughts are this: would you want to be the artist whose work is displayed to the public in a remarkably decomposed manner, one not up to a standard of any artist who cares about their prints and reputation? I certainly would not. It is a wonder to me that museums and galleries spend thousands of dollars staging exhibitions and producing costly catalogues and yet cannot spend a tiny proportion of time, money and care on their media images to promote artist and said exhibition. I had to spend a lot of time on over half of these images to bring them up to presentable standard.
Having said that, there are some cracking photographs in this posting. The Sugimoto is sublime, Walker Evans so muscular, Lucien Hervé a masterpiece of light and texture, and Moriz Nähr a symphony of light and tone, to name but a few. I hope you enjoy all the effort it takes to bring these images to you.
Many thankx to the Fotomuseum Winterthur, Zurich for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Moriz Nähr (Austrian, 1859-1945)
Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein] (composite)
Michael Wesely (German, b. 1963)
Canadian Embassy, Leipziger Platz, Berlin (5.2.2003 – 28.4.2005)
Galerie Fahnemann, Berlin
© Michael Wesely/Courtesy Galerie Fahnemann
William Henry Fox Talbot (English, 1800-1877)
The Bridge of Sighs, St. John's College, Cambridge
Salt print from calotype negative
Museum Folkwang Essen
24, Rue Bièvre, Paris
Albumin print
Collection Thomas Walther
Lucien Hervé (Hungarian, 1910-2007)
Le Corbusier: Façade of the Secretariat Building, Chandigarh, 1961
© Estate Lucien Hervé
F. C. Gundlach (German, b. 1926)
"Op Art" bathing suit by Sinz, Vouliagmeni/Greece
F.C. Gundlach, Hamburg
© F.C. Gundlach
Laurence Bonvin (Swiss, b. 1967)
Blikkiesdorp, Cape Town, South Africa
Courtesy the artist
© Laurence Bonvin
Architectures and cities are both volumes and images alike. We experience them directly, physically and sensually, as well as through pictures. Pictures speak a language of their own. They offer a discourse that is quite unlike the physical experience of architecture. They transform volume into surface; distil matter into forms and signs – rarely, if ever, leaving it as it is. That is probably why so many architects try to get involved in determining the image of their buildings. Concrete – Photography and Architecture seeks to approach the singular and complex relationship between architecture and photography in light-hearted, narrative and dialectical ways. The exhibition explores issues of history and ideology, as well as the specifics of form and material, in the photographic image.
The visual appeal of destroyed or dilapidated buildings is also addressed, as are their powerful demonstrations of power and exclusivity, fragility and beauty. To what extent does photography influence not only the way architecture is perceived, but also the way it is designed? How does an image bring architecture to life, and at what point does it become uncanny? How do settlements develop into cities? Or, in sociological terms: how do work and life interconnect differently in, say, Zurich and Winterthur, as opposed to, say, Calcutta? And how do skyscrapers and living spaces translate into the flat, two-dimensional world of photography?
Concrete – Photography and Architecture is not, however, chronologically arranged. Instead, it is based on compelling positions, counterpositions and thematic fields that connect various concrete, fundamental and historical aspects. Alongside everyday buildings and prestigious architecture, structured by horizontal and vertical axes, alongside homes and houses, utopian fantasies, design and reality, an important aspect of the exhibition is the compelling appeal of architectural decay due to the passage of time, through both natural and deliberate destruction. It is almost as though photography were providing a moral reminder even such magnificence and presence, whether hewn in stone or cast in concrete, has its weaknesses too.
Architecture has always been an important platform for the frequently heated discussion of ideas and views, zeitgeist and weltanschauung, everyday life and aesthetics. Architecture is the bold materialisation of private and public visions, functionality and avant-garde art alike. It is, as Slavoj Žižek puts it, ideology in stone. Photography and architecture both play an undisputed role in our everyday lives. They confront us on a daily basis, often without our even noticing, and they influence how we think, act and live in subliminal and lasting ways. Concrete – Photography and Architecture provides visual answers to the question of what it is that makes up the intimate yet complex relationship between architecture and photography, architect and photographer.
The exhibition presents more than 400 photographs and groups of works from the 19th, 20th and 21st centuries, including William Henry Fox Talbot, Domenico Bresolin and Charles Marville as well as Germaine Krull, Lucia Moholy and Julius Shulman, and spanning an arc to contemporary works by Georg Aerni, Iwan Baan, Luisa Lambri and Hiroshi Sugimoto. Projects such as the long-term observations of Schlieren photography or Wolfgang Scheppe's Migropolis show how the art of photography is playing an increasingly important role as an instrument of research and knowledge. The exhibition is accompanied by a lavishly illustrated book published by Scheidegger & Spiess, with some 300 colour and black-and-white pictures, essays by Jochen Becker, Johannes Binotto, Verena Huber Nievergelt, Michael Jakob, Nicoletta Leonardi, Lorenzo Rocha, Caspar Schärer, Aveek Sen and Urs Stahel as well as a conversation with Annette Gigon, Meret Ernst and Armin Linke.
Press release from the Fotomuseum Winterthur website
Guido Guidi (Italian, b. 1941)
#1176 01 29 1997 3:30PM Looking Southeast
From Carlo Scarpa's Tomba Brion
C print
© Guido Guidi
Tobias Zielony (German, b. 1973)
Le Vele di Scampia
Blu Ray photoanimation
8.57 min
Courtesy Koch Oberhuber Wolff, Berlin
© Tobias Zielony/ KOW
Hiroshi Sugimoto (Japanese, b. 1948)
Seagram Building, New York City
58.4 x 47cm
Canadian Centre for Architecture, Montreal
© Hiroshi Sugimoto/Courtesy of Gallery Koyanagi Tokyo
Aage Strüwing (Danish, 1913-1989)
Arne Jacobsen: Rødovre Town Hall
EPFL Archives de la construction moderne, Lausanne
© Estate Strüwing
Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein]
Silbergelatine Abzug
Albertina, Wien
© Estate Moriz Nähr
Haus Wittgenstein, also known as the Stonborough House and the Wittgenstein House) is a house in the modernist style designed and built on the Kundmanngasse, Vienna, by the Austrian architect Paul Engelmannand the Austrian philosopher Ludwig Wittgenstein.
In November 1925, Wittgenstein's sister Margaret Stonborough-Wittgenstein commissioned Engelmann to design and build a large townhouse. Margaret also invited her brother to help with the design in part to distract him from an incident that had happened while he had been a primary school teacher: he had hit a boy for getting an answer wrong and the boy had collapsed. The architect was Paul Engelmann, someone Wittgenstein had come to know while training to be an Artillery Officer in Olmutz. Engelmann designed a spare modernist house after the style of Adolf Loos: three rectangular blocks. Wittgenstein showed a great interest in the project and in Engelmann's plans and poured himself into the project for over two years. He focused on the windows, doors, door knobs, and radiators, demanding that every detail be exactly as he specified, to the point where everyone involved in the project was exhausted. One of the architects, Jacques Groag, wrote in a letter: "I come home very depressed with a headache after a day of the worst quarrels, disputes, vexations, and this happens often. Mostly between me and Wittgenstein." When the house was nearly finished he had a ceiling raised 30mm so the room had the exact proportions he wanted.
Waugh writes that Margaret eventually refused to pay for the changes Wittgenstein kept demanding, so he bought himself a lottery ticket in the hope of paying for things that way. It took him a year to design the door handles, and another to design the radiators. Each window was covered by a metal screen that weighed 150 kg, moved by a pulley Wittgenstein designed. Bernhard Leitner, author of The Architecture of Ludwig Wittgenstein, said of it that there is barely anything comparable in the history of interior design: "It is as ingenious as it is expensive. A metal curtain that could be lowered into the floor."
The house was finished by December 1928, and the family gathered there that Christmas to celebrate its completion. Describing the work, Ludwig's eldest sister, Hermine, wrote: "Even though I admired the house very much, I always knew that I neither wanted to, nor could, live in it myself. It seemed indeed to be much more a dwelling for the gods than for a small mortal like me". Paul Wittgenstein, Ludwig's brother, disliked it, and when Margaret's nephew came to sell it, he reportedly did so on the grounds that she had never liked it either. Wittgenstein himself found the house too austere, saying it had good manners, but no primordial life or health. He nevertheless seemed committed to the idea of becoming an architect: the Vienna City Directory listed him as "Dr Ludwig Wittgenstein, occupation: architect" between 1933 and 1938.
After World War II, the house became a barracks and stables for Russian soldiers. It was owned by Thomas Stonborough, son of Margaret until 1968 when it was sold to a developer for demolition. For two years after this the house was under threat of demolition. The Vienna Landmark Commission saved it – after a campaign by Bernhard Leitner – and made it a national monument in 1971, and since 1975 it has housed the cultural department of the Bulgarian Embassy.
Text from Wikipedia
Lala Aufsberg (German, 1907-1976)
Cathedral of Light
Town Archive Nuremberg
© Photo Marburg
Lala Aufsberg (actually, Ida Louise Aufsberg, born 26 February 1907 in Sonthofen, May 18, 1976) was a well-known art photographer. After attending primary school and six years of school for Higher daughters in Immenstadt she began training for the 1932 photo dealer in Oberstdorf. After completion of the training Lala Aufsberg moved to Nuremberg, where she worked in the photographers' studios of Seitz and Rosemary. In 1931 she joined the photo club of friends of photography in Nuremberg.
From April 1938 Lala Aufsberg attended the State School of Applied Arts and Crafts in Weimar, Department Lichtbildnerei at Walter Hege. In July 1938, she passed the exam for the master photographer's craft, and in the same year returned to Sonthofen and opened a photographic studio. In the years 1937 and 1938 she documented the Nazi Party rallies in Nuremberg (see above photograph). She received her first artistic job in the years 1941-1942, in which she photographed the murals in churches and monasteries in Carinthia and Styria. Owned by the University of Marburg "German documentation center for art history" – Bildarchiv Foto Marburg (listed in UNESCO Archives Portal) acquired 1976/1977 and 1996, the Lala-Aufsberg archive with about 46,000 art history, black and white negatives in sizes 6×6 and 9×12 and 103,000 photos.
Walker Evans (American, 1903-1975)
Chrysler Building under construction, New York
© Walker Evans Archive, The Metropolitan Museum of Art
Fotomuseum Winterthur
Grüzenstrasse 44 + 45
CH-8400
Winterthur (Zürich)
Tuesday to Sunday 11am – 6pm
Fotomuseum Winterthur website
Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.
bunyanth@netspace.net.au
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Marcus Bunyan black and white archive: 'Dogs, chickens, cattle' 1994-95
Marcus Bunyan black and white archive: 'Dogs, chickens, cattle' 1994-95
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Exhibition: 'The Experimental Self: Edvard Munch's Photography' at the National Nordic Museum, Seattle
Exhibition: 'Max Beckmann: feminine-masculine' at Hamburger Kunsthalle, Hamburg
Exhibition: 'Unearthed: Photography's Roots' at the Dulwich Picture Gallery, London
European art research tour exhibition: 'Alberto Giacometti' at the Trade Fair Palace, National Gallery Prague
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Exhibition: 'Bruce Davidson: Brooklyn Gang' at Cleveland Museum of Art
Objet d'art: French and German enamelled boxes at the Louvre, Paris
European art research tour exhibition: 'Cy Twombly: Sculpture' at Gagosian, Grosvenor Hill, London
Photographs: Max Dupain (Australian, 1911-1992) Part 2
European art research tour exhibition: 'László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929' at the Staatliche Museen zu Berlin
European art research tour: Pinball art at the Flippermúzeum, Budapest
Exhibition: 'Photography's Last Century: The Ann Tenenbaum and Thomas H. Lee Collection' at the Metropolitan Museum of Art, New York
European art research tour: Vasarely Museum, Budapest permanent exhibition
Exhibition: 'Thomas Ruff' at Kunstsammlung Nordrhein-Westfalen, Düsseldorf
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Exhibition: 'Hold That Pose: Erotic Imagery in 19th Century Photography' at the Kinsey Institute, Bloomington, Indiana Part 2
Photographic archive: 'The Gibson archive' at the Royal Museums Greenwich (RMG)
Review: 'Shadows of War: Roger Fenton's Photographs of the Crimea, 1855' at The Queen's Gallery, Buckingham Palace, London
Exhibition: 'nude men: from 1800 to the present day' at the Leopold Museum, Vienna
Exhibition: 'The Naked Truth and More Besides: Nude Photography around 1900' at the Museum for Photography, Berlin
Exhibition: 'Painting Canada: Tom Thomson and the Group of Seven' at the Dulwich Picture Gallery, London
Exhibition: 'Entre Nous: The Art of Claude Cahun' at the Art Institute of Chicago
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