Author: un regard oblique

we do not own these photographs (unless indicated otherwise), we just share images that somehow haunt us. Please, if you share them do not remove credits or/and sources.

The Larsen dancers ยท C.H. White

Clarence Hudson White (1871โ€“1925) ~ Larsen Dancers [7/11], ca. 1923 โ€“ 1924. Platinum print. | Princeton University Art Museum
Clarence Hudson White (1871โ€“1925) ~ Larsen Dancers [6/11], ca. 1923 โ€“ 1924. Platinum print. | Princeton University Art Museum
Clarence Hudson White (1871โ€“1925) ~ Larsen Dancers [9/11], ca. 1923 โ€“ 1924. Platinum print. | Princeton University Art Museum
Clarence Hudson White (1871โ€“1925) ~ Larsen Dancers [10/11], ca. 1923 โ€“ 1924. Platinum print. | Princeton University Art Museum
Clarence Hudson White (1871โ€“1925) ~ Larsen Dancers [5/11], ca. 1923 โ€“ 1924. Platinum print. | Princeton University Art Museum

Sunshine and Playtime ยท 1893

Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive
Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive
Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive
Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive
Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive

Girl in Pierrette costume ยท ca 1915

Arthur William Emmerton ~ โ€˜Child posing in Pierrot costumeโ€™, probablyย  ca. 1915. Glass negative. Inscriptions: “H17” on negative sleeve. | src National Library of Australia
Child posing in Pierrot costume (ca. 1915) by Arthur William Emmerton [Detail]

Electricity ยท Madam Satan

Theodore Kosloff dans un costume Electricity d’Adrian, pour la sรฉquence de ballet intitulรฉ Ballet Mรฉcanique, dans Madam Satan, le film de Cecil B. DeMille, 1930
โ€œMadam Satanโ€ film photograph featuring Theodore Kosloff as โ€œElectricityโ€, 1930. | src Special Collections Research Center, George Mason University Libraries C0468
โ€œMadam Satanโ€ film photograph featuring Theodore Kosloff as โ€œElectricityโ€ and a group of dancers dressed as turbines or generators for the ballet sequence entitled Ballet Mechanique. | src George Mason University Libraries

Lilyan Tashman costume by Ertรฉ

Publicity still for the American romantic comedy film Bright Lights (Robert Z. Leonard, 1925)
Lilyan Tashman in the perfume bottle costume designed by Ertรฉ in Bright Lights (Robert Z. Leonard, 1925)

Image retrieved from Wikimedia commons. Original source, according to Wikimedia: Vieira, Mark A. (2019). Forbidden Hollywood: The Pre-Code Era (1930-1934): When Sin Ruled the Movies (eBook). New York: Running Press. Hachette Book Group

Lilyan Tashman in the perfume bottle costume designed by Ertรฉ in the now lost silent film Bright Lights (Robert Z. Leonard, 1925) | src Grapefruitmoon Gallery on eBay
Lilyan Tashman in the perfume bottle costume designed by Ertรฉ in Bright Lights (Robert Z. Leonard, 1925)

Standing nude by Ernst Fuchs

Ernst Fuchs ~ Stehender weiblicher Akt in Rรผckenansicht mit Frucht; ca. 1969. Farbserigraphie auf Japon Nacrรฉ (Colour silkscreen). | src Jeschke Jรกdi (JVV) Auktion 147 lot 902

Halbakt und Portrรคt von Schein

Abraham Myron Schein ~ Beate Inaya, um 1926. Postkarte. Bromsilberabzug (braun) | src Poskartenarchiv Photoinstitut Bonartes

Gluck ยท Hannah Gluckstein

Howard Coster ~ Gluck [Hannah Gluckstein (1895โ€“1978)], ca. 1932 ยฉ Fine Arts Society | src BBC ~ A Queer Eye
Gluck (Hannah Gluckstein) (1895-1978) by unknown. From : Gluck : Art and Identity | src NYT
Romaine Brooks ~ Peter (A Young English Girl), 1923-1924, oil on canvas SAAM-1970.70_2

Peter depicts British painter Hannah Gluckstein, heir to a catering empire who adopted the genderless professional name Gluck in the early 1920s. By the time Brooks met her at one of Natalie Barney’s literary salons, Gluckstein had begun using the name Peyter (Peter) Gluck. She unapologetically wore men’s suits and fedoras, clearly asserting the association between androgyny and lesbian identity. Brooks’s carefully nuanced palette and quiet, empty space produced an image of refined and austere modernity. ~ The Art of Romaine Brooks, 2016

Quoted from : Smithsonian American Art Museum (x)

Photo of Gluck by Howard Coster, 1932. Courtesy of The Fine Art Society | src Gluck: Art and Identity Review