Category: waterscape, Wasserlandschaft, paisatge aquàtic, paesaggio acquatico, paisaje acuático, paysage aquatique
Dutch mill in the flood of 1926
Nature photography (1939)
Autochromes de Acillona
Au bord du lac de Lugano 1912
Northern landscapes ca 1880s
Toni Schneiders · on sealife
Toni Schneiders (1920-2006) is one of the great German photographers of the 20th century. With his formal, pictorial ambitions and his exciting motifs, he made a significant contribution to the renewal of photography after 1945. In 1949, he was a founding member of the fotoform group, which freed itself from the propaganda photography of the Nazi era through its artistic rigour and also set itself apart from the pleasing post-war photography, thus gaining international recognition.
Toni Schneiders’ photographs are characterized by formal rigour, virtuoso lighting and concentration on the essential pictorial elements [accentuating image details and emphasizing surface and line, including contour and structure]. But they are also permeated by the artist’s great interest in his subject, whom he depicts sometimes melancholically, sometimes poetically and sometimes cheerfully, but always with great empathy. In this way, Toni Schneiders succeeded in combining the rigour of fotoform, which was based on the New Objectivity of the 1920s, with his very personal, sometimes even humorous point of view. His photographs were published in more than 200 illustrated books.
The interplay of humanity, depth of content and formal rigour reflected in his work makes his works unique and a pleasure for the inclined viewer.
Text adapted from Stiftung F.C. Gundlach / Toni Schneiders bio
Eugeni Forcano a Banyoles
Klimt and Flöge sisters in 1906
Emilie Flöge spent many summers with Gustav Klimt at Lake Attersee from the 1890s on. Her sisters Pauline and Helene, with whom she opened the “Schwestern Flöge” fashion salon at Mariahilfer Strasse 1b in 1904, were often also part of the party. The salon, designed by Josef Hoffmann as a “Gesamtkunstwerk”, employed up to 80 seamstresses at the time of its greatest success and catered to the upper bourgeoisie. Helene Flöge was married to Ernst Klimt, the younger brother of Gustav Klimt, with whom he worked in a studio partnership.
This private photograph is captivating because of the contrast between the different silhouettes of the three figures, which reveals the emancipatory radicalism of the reform dress – in contrast to the usual dresses worn over a corset. Implicitly, as one might say, this also “quotes” the design element of repeated curved lines, as found in many of Gustav Klimt’s compositions. This is the only known print of this photograph [Negative number “4/93 IV” in the upper margin, handwritten annotated “Gustav Klimt Emilie Helene” in ink on the reverse.] | src Ostlicht