Aktstudie von Rudolf Koppitz
Category: pictorialism, pictorialisme, pictorialismo, Piktorialismus, Piktorialismi
Eden, 1903 by Anne Brigman
Anne W. Brigman :: Eden. Photogravure. From ‘The Vollgros Collection of Masterpieces of American Photographs’. Photographic Printing Co. P.F. Volland (Chicago), 1903. | src Photoseed
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Nude by the River ca 1916
Spring by Johnston (1903)
Margrethe Mather, 1922
Prologue to a Sad Spring 1920
Michio Ito by A. L. Coburn
Hori · Shadowland · 1920s
Caption reads : Laurent Novikoff / A vivid personality lends much to the interpretative quality of his subtle art
Caption reads : Roshanara / The gifted British dancer whose work vibrates with the mysticism and color of India and Burma
Caption reads : Roshanara / A new camera study of the brilliant young interpreter of native Burmese and Indian dances
Betty Katz by Edward Weston
In 1920 Edward Weston began a series of pictures of Betty Katz (later Brandner, 1865-1982), who was introduced to Weston by his colleague Margrethe Mather (1886-1952). Weston and Brandner engaged in a brief affair in October 1920, when he made this and several other images of her in her attic and out on a balcony. With its soft focus, these particular portraits are Pictorialist in style compared to the more experimental images Weston made of Katz (Brandner) that are Modernist in their self-conscious handling of space and form.
Text adapted from Brett Abbott. Edward Weston, In Focus: Photographs from the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2005), 20. (quoted from Getty Museum)
Seated Nude, ca. 1908-1916
With its diffuse lighting and soft tones, Paul Haviland’s Seated Nude demonstrates his stylistic allegiance to the Photo-Secession group of American photographers.
Haviland was a French émigré and heir to a successful porcelain manufacturing firm, but after meeting Alfred Stieglitz in 1908, he devoted the next decade to establishing the legitimacy of photography as a form of high art. He published both photographs and essays in Camera Work, the preeminent American journal of avant-garde art, and helped found its successor, 291. This image is similar to photos of female nudes published by Haviland’s colleagues, with the model assuming an unusual and contorted pose in a hazy, empty interior space, her face turned away or concealed in shadow.
Quoted from Changing Poses: The Artists’ Model
un regard oblique 