Flower study by Edward Seymour

Edward Seymour :: Flower Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: Flower Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: Flower Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: Flower Study, ca. 1905. Die Kunst in der Photographie 1905

Decorative studies by Seymour

Edward Seymour :: A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905
Edward Seymour :: A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905

Étude de marguerites ca. 1880

Étude de marguerites, ca. 1880. Tirage Albuminé. numeroté 551 dans l'image | src Millon
Étude de marguerites, ca. 1880. Tirage Albuminé. numeroté 551 dans l’image | src Millon

Schon fast lebendig

Aenne Biermann :: Orchid, ca. 1930. Gelatin silver print. [Detail] From : Aenne Biermann : Up Close and Personal at Tel Aviv Museum of Art
Aenne Biermann :: Orchid, ca. 1930. Gelatin silver print. [Detail] From : Aenne Biermann : Up Close and Personal at Tel Aviv Museum of Art
Aenne Biermann :: Schon fast lebendig. Orchid, ca. 1930. Gelatin silver print. © Collection Biermann family. | Museum Ludwig, Köln
Aenne Biermann :: Schon fast lebendig. Orchid, ca. 1930. Gelatin silver print. © Collection Biermann family. | Museum Ludwig, Köln
Aenne Biermann (1898 – 1933) :: Ohne Titel (Anthurium), 1927. Gelatin silver print. NGA purchase through Kicken Gallery, Berlin, 2018. | src National Gallery of Art
Aenne Biermann (1898 – 1933) :: Ohne Titel (Anthurium), 1927. Gelatin silver print. NGA purchase through Kicken Gallery, Berlin, 2018. | src National Gallery of Art
Aenne Biermann (1898-1933) :: Funkia 1926. Gelatin silver print. | src MoMA
Aenne Biermann (born Anna Sibilla Sternfeld, 1898-1933) :: Funkia 1926. Gelatin silver print. | src MoMA

Botanicals by Biermann

Licht, Kontrast und das ganz Alltägliche: Zweig einer Paprikapflanze. | Light, contrast and the really mundane: a branch of a pepper plant.

Aenne Biermann (1898-1933) :: Paprika, 1928. Gelatin silver print © Collection Biermann family
Licht, Kontrast und das ganz Alltägliche: Zweig einer Paprikapflanze. | Light, contrast and the really mundane: a branch of a pepper plant.
src Bellevue NZZ
Aenne Biermann (1898-1933) :: Paprika, 1928. Gelatin silver print © Collection Biermann family
Aenne Biermann (1898-1933) :: Paprika, 1928. Gelatin silver print © Collection Biermann family 
From : Aenne Biermann: Up Close and Personal at Tel Aviv Museum of Art
Aenne Biermann (1898-1933) :: Paprika, 1928. Gelatin silver print © Collection Biermann family
From : Aenne Biermann: Up Close and Personal at Tel Aviv Museum of Art
Aenne Biermann (1898-1933) :: Kaktus, [Cactus], around 1929, © Museum Ludwig, Köln
Aenne Biermann (1898-1933) :: Kaktus, [Cactus], around 1929, © Museum Ludwig, Köln

Aenne Biermann zeigte, wie viel Poesie in unscheinbaren Dingen stecken kann

Die deutsche Fotografin Aenne Biermann begann als Autodidaktin mit der Geburt ihrer Kinder zu fotografieren. Auch wenn sie das Alltägliche abbildete, banal sind ihre Arbeiten keineswegs.

Aenne Biermann (1898-1933) wurde als Tochter einer wohlhabenden jüdisch-deutschen Familie geboren. Mit der Geburt ihrer Kinder begann sie ohne künstlerische Ausbildung als Autodidaktin zu fotografieren. Sie fotografierte zunächst in ihrer häuslichen Umgebung – oft ihre Kinder. Aber auch Landschaften, Architekturdetails und Stillleben gehörten seit den Anfängen zum fotografischen Oeuvre der Künstlerin.
Die Fotografin arbeitete sich in ihrer nur 13-jährigen dauernden Schaffenszeit an ihrer unmittelbaren Umgebung ab (welche in Gera war) und vergrösserte ihren Radius bis Paris. Mit Ausweitung ihres Radius’ erweiterte sich auch ihre Arbeitsweise – Akt- und Stadtaufnahmen von Paris ergänzten ihr späteres Werk.
Betrachtet man ihre Bilder, ist es so, als ob man eine zweite Chance bekäme, das Banal-Alltägliche neu zu sehen. Die Arbeiten zeigen Früchte, Pflanzen, das Innenleben einer Schublade, Eier, Steine, Krimskrams, Gleise, das Innere eines Klaviers, Kindergesichter oder Körper.
Die Fotografin muss in einer Art Unermüdlichkeit und Konzentriertheit das sie Umgebende auf Schönheit und Stimmung abgetastet haben. Baumnüsse in einer Papiertüte oder Äpfel auf einem Teller, alles ist einem vertraut. Und doch sind ihre Werke durch das Spiel mit Perspektiven, Ausschnitt, Kontrast und Licht einzigartig und voll Poesie. Ihre Arbeiten haben etwas Beruhigendes an sich und könnten den gestressten, von reizüberfluteten Jetztlern ein neues Sehen beibringen.
Ob der klaren Schönheit und Pointierung gerät man beinah in eine Art kontemplative Verzückung und beginnt, die Dinge, die Landschaften, die Personen neu, anders oder wahrhaftig zu sehen. Diese sensible, unaufgeregte, aber auch sehr konkrete Eigenschaft ihrer Bilder führte dazu, dass sie zu einer der wichtigsten Vertreterinnen der Avantgardefotografie der 1920er und 1930er Jahre wurde.
Der Verlag Scheidegger & Spiess hat jüngst unter dem Titel «Aenne Biermman: Up close and personal» in Kooperation mit dem Tel Aviv Museum of Art eine Publikation veröffentlicht, die mit 100 Abbildungen und mehreren Essays Biermanns Schaffen umfassend beschreiben. Die Publikation begleitet die Anfangs August 2021 eröffnete Ausstellung in Tel Aviv.

Aenne Biermann showed how much poetry can be found in inconspicuous things

The German photographer Aenne Biermann started as an autodidact with the birth of her children. Even if she depicts the everyday, her works are by no means banal.

Aenne Biermann (1898-1933) was born into a wealthy Jewish-German family. With the birth of her children, she began to photograph as an autodidact without any artistic training. She initially photographed in her home environment – often her children. But landscapes, architectural details and still-lifes have also been part of the artist’s photographic oeuvre from the very beginning.
During her creative period of only 13 years, the photographer worked on her immediate environment (which was in Gera) and extended her radius to Paris. As her radius expanded, so did her way of working – nude and city photographs of Paris complemented her later work.
Looking at her paintings is like getting a second chance to see the mundane everyday in a new way. The works show fruits, plants, the inner workings of a drawer, eggs, stones, odds and ends, rails, the inside of a piano, children’s faces or bodies.
The photographer must have scanned her surroundings for beauty and mood with a kind of tirelessness and concentration. Tree nuts in a paper bag or apples on a plate, everything is familiar. And yet her works are unique and full of poetry through the play with perspective, detail, contrast and light. There’s something calming about her work, and it could teach the stressed, overstimulated now-people a new way of seeing.
Because of the clear beauty and emphasis, one almost falls into a kind of contemplative rapture and begins to see the things, the landscapes, the people in a new, different or truthful way. This sensitive, calm, but also very concrete quality of her pictures made her one of the most important representatives of avant-garde photography of the 1920s and 1930s.
The publishing house Scheidegger & Spiess recently published a publication entitled “Aenne Biermman: Up close and personal” in cooperation with the Tel Aviv Museum of Art, which comprehensively describes Biermann’s work with 100 illustrations and several essays. The publication accompanies the exhibition that opened in Tel Aviv at the beginning of August 2021.

Quoted from Bellevue (NZZ)

Gommans’ Flowers in Dutch Light

Stella Gommans :: All Delicate and Dreamy. From : "Flowers in Dutch Light" at Elliott Gallery
Stella Gommans :: All Delicate and Dreamy. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: In My Mind. Archival Pigment Print on Hahnemuhle Fine Art Paper. From : "A Declaration of Love. Flowers in Dutch Light"
Stella Gommans :: In My Mind. Archival Pigment Print on Hahnemuhle Fine Art Paper. From: “A Declaration of Love. Flowers in Dutch Light
Stella Gommans :: Head up Gorgeous. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: Head up Gorgeous. From : “Flowers in Dutch Light” at Elliott Gallery

All images: Archival Pigment Prints on Hahnemuhle Fine Art Paper

A Declaration of Love

dandelion
Stella Gommans :: Field of Dreams. From : “A Declation of Love. Flowers in Dutch Light” | src Gommans
Stella Gommans :: Field of Dreams. From : “A Declation of Love. Flowers in Dutch Light” | src Gommans

This series celebrates flowers – capturing their different phases and the variety of shapes and colours – each telling their own story. In beautiful detail it depicts how the light emphasises the elegance of the stem, or how it catches the leaf, or how it allows us to catch a glimpse of the brittle petals and the burst of colours when in full bloom. The viewer is invited to look closer and sometimes even take a step back, because in that instant – hidden aspects emerge – like a choreography, a fabulous dance.

‘A Declaration of Love, flowers in Dutch light’ is a series that symbolises life.

Flowers naturally bloom in all their strength, vulnerability and beauty – with elegance and grace – poetically captured in that single moment in time, never to be repeated again.

It is a serenade to life and love! [quoted from Stella Gommans website]

Stella Gommans :: Magic in Process. From : “Flowers in Dutch Light”
Stella Gommans :: Magic in Process. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: A Fresh Start. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: You Are Awesome. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: Take Your Time. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: Kind of Classy. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: Head up Gorgeous. From : “Flowers in Dutch Light” at Elliott Gallery

All images: Archival Pigment Prints on Hahnemuhle Fine Art Paper

Flowers in Dutch Light

Stella Gommans :: A Gorgeous Mess From : "Flowers in Dutch Light" at Elliott Gallery
Stella Gommans :: A Gorgeous Mess. From : “Flowers in Dutch Light” at Elliott Gallery | for better resolution see image on bottom

“Flowers in Dutch Light”

Taking inspiration from the mastery of Dutch Golden Age painters and by blending this with 20th century photographers and their use of light, Stella Gommans’ resulting work is poetic, aesthetic, elegant and minimalistic. For Gommans – a former dancer and a largely self-taught photographer, nature in its broadest sense is an unfailing source of inspiration.

This exquisite body of work celebrates flowers – capturing their different phases and the variety of shapes and colours – each telling their own story. In beautiful detail she depicts how the light emphasises the elegance of the stem, or how it catches the leaf, or how it allows us to catch a glimpse of the brittle petals and the burst of colours when in full bloom. Gommans invites the viewer to look closer and sometimes even take a step back, because in that instant – hidden aspects emerge – like a choreography, a fabulous dance.

‘A Declaration of Love, flowers in Dutch light’ is a series that symbolises life.

Flowers naturally bloom in all their strength, vulnerability and beauty – with elegance and grace – poetically captured in that single moment in time, never to be repeated again. Quoted from Elliott Gallery

Stella Gommans :: A Beautiful Chaos. From : "A Declaration of Love. Flowers in Dutch Light" | Stella Gommans
Stella Gommans :: A Beautiful Chaos. From : “A Declaration of Love. Flowers in Dutch Light” | Stella Gommans
Stella Gommans :: Embrace the Journey. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: Smile, Sparkle and Shine. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: Time Will Tell. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: Escape the Ordinary. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: Handle with Care. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: Attitude is Everything. From : “Flowers in Dutch Light” at Elliott Gallery
Stella Gommans :: A Gorgeous Mess. From : "Flowers in Dutch Light" at Elliott Gallery
Stella Gommans :: A Gorgeous Mess. From : “Flowers in Dutch Light” at Elliott Gallery

All images: Archival Pigment Prints on Hahnemuhle Fine Art Paper

Hommage to Sanyu by Meeuws

Bas Meeuws :: Hommage à Sanyu (# 09), 2018. C-Type print. | src Per van der Horst Gallery at Photo Basel
Bas Meeuws :: Hommage à Sanyu (# 09), 2018. C-Type print. | src Per van der Horst Gallery at Photo Basel

A photographical interpretation of the magical, almost abstract flower paintings by the great Chinese painter Sanyu (1901-1966). The Homage à Sanyu series is inspired by the paintings of the Chinese – French artist Sanyu (or Chang Yu), who lived and worked in Paris in the early 20th century. In works from this series, Meeuws makes a photographic translation of Sanyu’s painting into a modern medium. He wants to translate Sanyu’s paintings photographically without destroying the atmosphere of those paintings.

Bas Meeuws :: Hommage à Sanyu (# 35), 2018. C-print op Dibond met acrylglas. | src amuse
Bas Meeuws :: Hommage à Sanyu (# 35), 2018. C-print op Dibond met acrylglas. | src amuse
Bas Meeuws :: Hommage à Sanyu (# 12), 2018. C-print op Dibond met acrylglas. | src Galerie Wilms
Bas Meeuws :: Hommage à Sanyu (# 12), 2018. C-print op Dibond met acrylglas. | src Galerie Wilms

Tulips by Anton Weiss

Tulp en andere bloemen Anton Weiss Rijksmuseum RP-P-OB-19.551
Tulp en andere bloemen. Anton Weiss. From: Bloem en Fruit Studien. | src Rijksmuseum RP-P-OB-19.551
Tulp en andere bloemen Anton Weiss Rijksmuseum RP-P-OB-19.551
Anton Weiss :: Tulip and other flowers. From: Flower and Fruit Studies. [Detail] | src Rijksmuseum RP-P-OB-19.551
Twee tulpen, Anton Weiss, after a design by Jan van Huysum, 1820 – 1833. From: Bloem en Fruit Studien. | src Rijksmuseum