Nils Dardels fondskiss till Dårhuset av Svenska Baletten, 1920, foto: Torkel Edenborg. | Nils Dardel’s background sketch for Madhouse by the Swedish Ballet, 1920 • src Dansmuseet on IGDårhuset av Svenska Baletten, ca. 1920 | Madhouse (also, Nut-house) by the Swedish Ballet, ca. 1920 “Om ni inte gillar det kan ni dra åt helvete” | “If you do not like it, you can go to hell” – Ballets Suédois 1920–1925 • src Dansmuseet
Dancer Carina Ari with two colleagues from the Swedish Ballet in the spring sun in front of (or actually under) four of the Swedish Ballet’s huge posters. The photo was probably taken during the company’s first tour in Spain in 1921. In the background are several of the Swedish Ballet’s color posters, drawn by Pierre Mourgue, Orsi and Eldsten. • src Dansmuseet’s InstagramVarious posters for the Svenska Baletten (Ballets Suédois), ca. 1920. | src Dansmuseet
Heinz von Perckhammer :: “Edle Nacktheit in China”, Macao, ca. 1920; photogravure on Japan paper | src Collezione MolinarioHeinz von Perckhammer :: The Culture of the Nude in China. Berlin; Eigenbrodler Verlag, [1928] | src heritage auctionsHeinz von Perckhammer ~ From “Edle Nacktheit in China”. Eigenbrödler Verlag [Berlin, 1928] 1st edition (cover) | src swordersHeinz von Perckhammer ~ From “Edle Nacktheit in China /The culture of the Nude in China”. Eigenbrodler Verlag [Berlin, 1928] Heinz von Perckhammer :: “The culture of the Nude in China”, Macao, ca. 1920; original photogravure on Japan paper | src Collezione Molinario
Heinz von Perckhammer was born in Merano, Austria-Hungary (now Italy) in 1895. During the First World War he served aboard the SMS Kaiserin Elisabeth during the Siege of Tsingtao and between 1917 and 1919 was held as a prisoner of war. It was during this time when he was held captive that his interest in photography began. He apparently remained in China for much of the 1920s, and took these soft-focused and stylized photographs of women from Macao brothels.
In the introduction to Edle Nacktheit in China he writes: ‘Pictures of nude women, setting aside the ugly caricatures of the “Spring pictures” of erotic scenes, simply do not exist in China. Therefore I believe, I have created something entirely new and of value.’ Edle Nacktheit in China was later banned by the Nazis as degenerate art (Entartete Kunst) and appeared on the Liste des schädlichen und unerwünschten Schrifttums [List of harmful and undesirable writing].
Heinz von Perckhammer ~ Nude from “Edle Nacktheit in China”. Eigenbrödler Verlag [Berlin, 1928] Heliogravür | src Koller AuktionenHeinz von Perckhammer ~ Young nude girl. Rotogravure. From “Edle Nacktheit in China”, Berlin, 1928 | src DrouotHeinz von Perckhammer ~ From “Edle Nacktheit in China”. Eigenbrödler Verlag [Berlin, 1928] 1st edition | src swordersHeinz von Perckhammer ~ From “Edle Nacktheit in China”. Eigenbrödler Verlag [Berlin, 1928] 1st edition | src swordersEdle Nacktheit in China (1928); book with 32 original photographs by Heinz v. Perckhammer | src Abebooks
Alexander D. Grinberg :: Nude, 1920s. Gelatin silver print. Annotated and inscribed by the family of the photographer. Collection of Borodulin. | src Hermitage Fine ArtAlexander D. Grinberg :: Nude, 1920s. Gelatin silver print. Annotated and inscribed by the family of the photographer. Collection of Borodulin. | src Hermitage Fine Art
Kasyan Yaroslavich Goleizovsky’s avant-garde choreography of Prokofiev’s Visions fugitives, Nºs 10-11 (Ridicolosamente, Con vivacità) for his own company, the Moscow Chamber Ballet, in 1922. The configuration of the bodies is architectonic, like so much art of the time, and acrobatic. The avant-garde costume design was adapted to the new dispositions of the body. | src The Russian Art of Movement review