Ice skater (1926)

Figure skating, 1926. Portrait of the Canadian athlete Diana Kingsmill Wright (1908-1982) on ice skates in Mürren. (ACME News-pictures) | src Koller Auktionen
Figure Skating“, 1926. Portrait of the Canadian athlete Diana Kingsmill Wright (1908-1982) on ice skates in Mürren. (ACME News-pictures) | src Koller Auktionen

Stars and «pets», 1920s

MGM lion and Greta Garbo in a cage, 1920s
Greta Garbo et Léo, le lion emblème de la Metro-Goldwyn-Mayer, 1926. Tirage d'époque. Courtesy Galerie Lumière des roses. | src l'œil de la photographie
Greta Garbo et Léo, le lion emblème de la Metro-Goldwyn-Mayer, 1926. Tirage d’époque. Courtesy Galerie Lumière des roses. | src l’œil de la photographie
Photographe anonyme. L’enfant star Jackie Ott et son lévrier de course « My Charlie » États-Unis, 1927. Tirage argentique d’époque. | src Galerie Lumière des roses • Other Pictures # 17
Photographe anonyme. L’enfant star Jackie Ott et son lévrier de course « My Charlie » États-Unis, 1927. Tirage argentique d’époque. | src Galerie Lumière des roses • Other Pictures # 17

Beatrice Wood, Mama of Dada

Beatrice Wood (1893-1998), 1908 | src Beatrice Wood Center for the Arts
Beatrice Wood (1893-1998), 1908 | src Beatrice Wood Center for the Arts

“My life is full of mistakes. They’re like pebbles that make a good road.” ~ Beatrice Wood

Beatrice Wood (1893-1998), 1908 | src Beatrice Wood Center fot the Arts, also on Wikimedia

“There are three things important in life:

Honesty, which means living free of the cunning mind.
Compassion, because if we have no concern for others, we are monsters.
Curiosity, for if the mind is not searching, it is dull and unresponsive.”

~ Beatrice Wood

Beatrice Wood (1893-1998) | Photo by Tony Cunha | src Beatrice Wood Center for The Arts

Beatrice Wood, aka the “Mama of Dada” was born into a wealthy San Francisco family in 1893. Defying her family’s Victorian values, she moved to France to study theater and art. On the brink of WWI, her parents brought a reluctant Beatrice back to New York, where her mother did everything within her power to discourage her plans for a career on the New York stage. Despite this, Beatrice’s fluency in French led her to join the French National Repertory Theater, where she played over sixty ingénue roles under the stage name “Mademoiselle Patricia” to save her family’s name and reputation.

Wood’s involvement in the Avant-Garde began in these years with her introduction to Marcel Duchamp and later to his friend Henri-Pierre Roché, a diplomat, writer and art collector. Roché, a man fourteen years her senior, joined the duo, becoming creatively (and romantically) entangled. Together they wrote and edited The Blind Man (and the Rongwrong magazine), a magazine that poked the conservative art establishment and helped define the Dada art movement.

Marcel Duchamp brought Beatrice into the world of the New York Dada group, which existed by the patronage of art collectors Walter and Louise Arensberg. The Arensbergs’ home became the center of legendary soirees that included leading figures of the time including Francis Picabia, Mina Loy, Man Ray, Charles Demuth, Joseph Stella, Charles Sheeler and the composer Edgard Varèse.

Beatrice Wood’s career as an artist of note began when she created an abstraction to tease Duchamp that anyone could create modern art. Duchamp was impressed by the work, arranging to have it published in a magazine and inviting her to work in his studio. It was here that she developed her style of spontaneous sketching and painting that continued throughout her life.

Following the formation of the Society of Independent Artists in 1917, Beatrice exhibited work in their Independents exhibition. [text extracted from Wikipedia entry and Beatrice Wood Center for the Arts]

Blind children at Revere Beach

Perkins School for the Blind students in the water at Revere Beach on June 11th, 1928. bathers, beach scene
Perkins School for the Blind students in the water at Revere Beach on June 11th, 1928. | src Digital Commonwealth
Perkins School for the Blind students in the water at Revere Beach on June 11th, 1928. | src Digital Commonwealth
Perkins School for the Blind students having a picnic on Revere Beach on June11th, 1928. | src Digital Commonwealth
Perkins School for the Blind students having a picnic on Revere Beach on June11th, 1928. | src Digital Commonwealth

Studio di espressioni e movenze

Giannina Censi, Aerodance, Aerodanze, Aerodanza
Giannina Censi. Espressioni e studio di movenze : figurazione bacchica ottenuta coll'estremo movimento delle gambe e delle braccia. 2 [1933 ?]
Giannina Censi. Espressioni e studio di movenze : figurazione bacchica ottenuta coll’estremo movimento delle gambe e delle braccia. 2 [1933 ?] In verso nota ms. | src Fondo Giannina Censi · Mart
Espressioni e studio di movenze : movenze e flessioni del corpo associate a movimenti delle braccia, intesi a dare espressione ed eleganza ai diversi tempi di una danza. 3 [1933 ?]
Espressioni e studio di movenze : movenze e flessioni del corpo associate a movimenti delle braccia, intesi a dare espressione ed eleganza ai diversi tempi di una danza. 3 [1933 ?] | src Fondo Giannina Censi · Mart

Pubblicata in Poggi Longostrevi G., Cultura fisica della donna ed estetica femminile. Milano: Hoepli, 1933, p.238; Vaccarino E., (a cura di) Giannina Censi: danzare il futurismo. Milano: Electa; Museo di arte moderna e contemporanea di Trento e Rovereto, 1998, p.45. La sg. contraddistingue una stampa recente dell’originale. La data indicata si riferisce a quest’ultimo

Margo Lion’s portraits

Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
headshot
smoking cigarette
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
3/4 length portrait
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
bildnis
3/4 length portrait
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Atelier Willinger :: Porträtfoto von Margo Lion, signiert (Seitenprofil). | src Akademie fur Künst
portrait
profile
profil
Atelier Willinger :: Porträtfoto von Margo Lion, signiert (Seitenprofil). | src Akademie fur Künst
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
portrait
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Porträt und Atelierfoto von Margo Lion. Postkarte, signiert. | src Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst
Porträt und Atelierfoto von Margo Lion. Postkarte, signiert. | src Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst

Anita Berber as a poetess

Tänzerin und Schauspielerin Anita Berber, Rollenporträt, undtiert. (Photo © Ullstein Bild | src Getty Images
Tänzerin und Schauspielerin Anita Berber, Rollenporträt, undtiert. (Photo © Ullstein Bild | src Getty Images
Tänzerin und Schauspielerin Anita Berber, Rollenporträt, undtiert. (Photo © Ullstein Bild | src Getty Images
Tänzerin und Schauspielerin Anita Berber, Rollenporträt, undtiert. | src Welt.de

Anita Berber Dichterin: Die offen bisexuelle Anita Berber tanzte und provozierte nicht nur, sondern betätigte sich auch als Lyrikerin. In ihrem Gedicht “Orchideen” etwa heißt es: “Ich küsste und kostete jede bis zum Schluss / Alle alle starben an meinen roten Lippen / An meinen Händen / An meiner Geschlechtslosigkeit / Die doch alle Geschlechter in sich hat / Ich bin blass wie Mondsilber.”

Anita Berber as a poetess: The openly bisexual Anita Berber not only danced and provoked, but also was as a poet. In her poem “Orchids”, for example, it says: “I kissed and tasted each one to the end / All died on my red lips / On my hands / On my genderlessness / Which has all genders in it / I am pale as moon silver.”

quoted from Der Spiegel: Anita Berber – die Hohepriesterin des Lasters

Actress Alexandra Rebikova

Ребикова, Александра Васильевна. Молоко в спектакле «Синяя птица». | Russian actress Alexandra Vasilievna Rebikova as Milk in the play «The Blue Bird» in costume designed by Vladimir Egorov (?) for Konstanin Stanislavski’s production of Maurice Maeterlinck’s «Oiseau Bleu» at the Moscow Art Theatre, 1908. | src academia.ru
Мей в спектакле «Сверчок на печи». Actress Alexandra Vasilievna Rebikova as May Fielding in the play «Cricket on the Hearth» at the Moscow Art Theatre. Unknown date, probably before 1908.
Мей в спектакле «Сверчок на печи». Actress Alexandra Vasilievna Rebikova as May Fielding in the play «Cricket on the Hearth» at the Moscow Art Theatre. Unknown date, probably before 1908. [Full scan of programme]
Portrait of Alexandra Vasilievna Rebikova. | src academia.ru

In 1915, Alexandra Rebikova began to star in the movies of the film company “A. Khanzhonkov and Co.” [Торгового дома «А. Ханжонков и К°] and very soon became one of the leading silent film actresses.

Alexandra Rebikova with Oleg Frelyh (Frelikh) in 1917 in the film «The Clay God» («Глиняный бог», a silent film by Nikolai Larin, 1918)
Alexandra Rebikova with Gregory Khmara (Chmara) in the film «Symphony of Sorrow» («Симфония горя», 1918) | src academia.ru