images that haunt us
All images above this line are, according to source, in Public domain: Narodowe Archiwum Cyfrowe
In late 1865, Julia Margaret Cameron began using a larger camera. It held a 15 x 12 inch glass negative, rather than the 12 x 10 inch negative of her first camera. Early the next year she wrote to Henry Cole with great enthusiasm – but little modesty – about the new turn she had taken in her work.
Cameron initiated a series of large-scale, closeup heads that fulfilled her photographic vision. She saw them as a rejection of ‘mere conventional topographic photography – map-making and skeleton rendering of feature and form’ in favour of a less precise but more emotionally penetrating form of portraiture. Cameron also continued to make narrative and allegorical tableaux, which were larger and bolder than her previous efforts.
Cameron’s ability to capture large groups improved with experience as well as with the use of her new, larger lens. Her friend and photographic advisor, the scientist Sir John Herschel, wrote that this picture was ‘very beautiful, and the grouping perfect.’ quoted from V&A
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
un regard oblique 