A Woman’s Lips, ca. 1929

Martin Munkácsi :: A Woman's Lips, ca. 1929. Gelatin silver print. | src The Metropolitan Museum of Art
Martin Munkácsi :: A Woman’s Lips, ca. 1929. Gelatin silver print. | src The Metropolitan Museum of Art

When Martin Munkacsi arrived in Berlin in 1927, he found a metropolis bursting with artistic innovation. Photography was particularly fertile ground for the principles of Surrealism, the New Vision, and the New Objectivity, all of which had captured the imaginations of many avant-garde photographers. Munkacsi was introduced to these ideas through his employer Kurt Safranski, the managing editor of the Ullstein publications, and began to conduct his own experiments in the late 1920s. This image was likely one such enterprise; it features the close-up view favored by avant-garde photographers, and the unusual cropping is characteristic of Surrealism, in which disembodied lips regularly materialized as erotic symbols. [quoted from The Met]

Ilse Schmidt (1933) by Munkácsi

Martin Munkácsi :: Tänzerin und Schauspielerin Dinah Grace bei einer Übung (Dinah Grace at a practice), 1933. Erschienen: Die Dame 26/1933. Fotografie: Martin Munkacsy. | src Getty Images
Martin Munkácsi :: Tänzerin und Schauspielerin Dinah Grace macht einen Handstand auf einer Bühne (performing a handstand on stage), 1933. Erschienen: Die Dame 26/1933. Fotografie: Martin Munkacsy. | src Getty Images

Dinah Grace (1933) by Munkácsi

Martin Munkacsi :: Tänzerin und Schauspielerin Dinah Grace (eigentlich Ilse Schmidt, 1918-1963). Porträt bei einer Übung [Portrait at a practice]. Erschienen: Die Dame 26/1933. Foto: Martin Munkacsy. | src Getty Images
Martin Munkacsi :: Tänzerin und Schauspielerin Dinah Grace (eigentlich Ilse Schmidt, 1918-1963). Porträt bei einer Übung [Portrait at a practice]. Erschienen: Die Dame 26/1933. Foto: Martin Munkacsy. | src Getty Images

Erika Fiedler mit Marianne Winkelstern, 1934

Martin Munkácsi :: Actress Erika Fiedler sits with actress and dancer Marianne Winkelstern (R) on a rock by the water on the banks of the Eibsee. Published in Die Dame 22/1934. | src and hi-res Getty Images

Children’s dance rehearsal

Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP

Feeding ducks in 1937

Martin Munkácsi :: [Woman and two children feeding ducks], 1937. Glass plate negatives. | src ICP