Expressionist dancer by Veritas

Stephanie Ludwig ~ Atelier Veritas (München) :: “Unidentified expressionist dancer, 1905” (*) | Grainger Museum Online — **Stephanie Ludwig ~ Atelier Veritas** (München) :: “Unidentified expressionist dancer, 1905” (*) | Grainger Museum Online

Stephanie Ludwig ran a studio in Munich called Veritas or Atelier Veritas. Some of her clients were expressionist dancers whom she photographed elegantly and simply, using natural light. Although the photo was dated 1905 on source, you can read on bottom right of the frame of the three images of this post “VERITAS. MCHN. / 1910”. The “unidentified expressionist dancer” looks very much like Clotilde von Derp. Clotilde Margarete Anna Edle von der Planitz (1892-1974) grew up in Munich, she received ballet lessons from Julie Bergmann and Anna Ornelli from the Munich Opera and she gave her first performance on 25 April 1910 at the Hotel Union, using the stage name Clotilde von Derp.

Probably these three photographs belong to that period and maybe linked to that performance on April 25th, 1910.

Furthermore, she was photographed by Stephanie Ludwig-Held for Der Kunstlerische Tanz Unserer Zeit (Hermann and Marianne Aubel, published 1928). view post

In the garden with van Besten

Sebastiaan Alfonse Van Besten :: Innocence, ca. 1912. Autochrome. | src Belgian Autochromists — **Sebastiaan Alfonse van Besten ::** Innocence, ca. 1912. Autochrome. | src Belgian Autochromists

Sebastiaan Alfonse Van Besten :: Japanesque, ca. 1913. Autochrome. | src Belgian Autochromists — **Sebastiaan Alfonse van Besten ::** Japanesque, ca. 1913. Autochrome. | src Belgian Autochromists

Picking cornflowers, ca. 1912

Pink and Green Wigs, ca. 1912

Danilova by Dimitriew, 1930

Foto di Alexandra Danilova con dedica a Giannina Censi, Parigi 1930 di V. Dimitriew. | src Mart – Fondo Giannina Censi

‘Arethusa’ by Mme Yevonde

Lady Bridget Poulett as 'Arethusa'
by Madame Yevonde
Vivex colour print, 1935
14 3/4 in. x 10 3/4 in. (374 mm x 274 mm)
Given by Madame Yevonde (Yevonde Philone Middleton (née Cumbers)), 1971 — **Madame Yevonde ::** Lady Bridget Poulett as ‘Arethusa’. Vivex colour print, 1935 | NPG
Given by Madame Yevonde (Yevonde Philone Middleton (née Cumbers)), 1971

Madame Yevonde :: Lady Bridget Poulett as 'Arethusa'. Vivex colour print, 1935 | NPG — **Madame Yevonde ::** Lady Bridget Poulett as ‘Arethusa’. Vivex colour print, 1935 | National Portrait Gallery

Arethusa was a wood nymph from Elis, associated with the goddess Artemis. Pursued relentlessly by the river-god Alpheus, Arethusa begged for Artemis’s help in escaping his attentions. The goddess opened up a passage under the sea which enabled Arethusa to emerge as a spring in Syracuse, on the island of Ortygia (Sicily) – hence the seaweed in Yevonde’s sitter’s hair. (quoted from NPG)

Merriweather by Kanaga, 1935

Consuelo Kanaga (1894-1978) :: Annie Mae Merriweather, 1935. Gelatin silver print. 'The New Woman behind the Camera' exhibition at The Met — **Consuelo Kanaga** (1894-1978) :: Annie Mae Merriweather, 1935. Gelatin silver print. ‘The New Woman behind the Camera‘ exhibition at The Met

Dahlia by Rae (1998)

**Bruce Rae (British, 1946)** :: *Dahlia, Second Series No.1*, 1998. Gelatin silver print. | src Heritage Auctions: Depth of Field 2022

“Amidst the agony of flowers, the present never ends” – Yayoi Kusama

Oppenheimer und Kokoschka

Max Oppenheimer (MOPP) (1885–1954) :: Moderne Galerie Theatiner-Maffeistr. Max Oppenheimer (Exhibition Poster), 1911 — **Max Oppenheimer** (MOPP) (1885–1954) :: Moderne Galerie Theatiner-Maffeistr. Max Oppenheimer (Exhibition Poster), 1911 MoMA

Oppenheimer, who had begun signing works MOPP by 1911, was initially friendly with both (Oskar) Kokoschka and (Egon) Schiele. But this poster, which he designed for his first Munich exhibition, brought accusations of plagiarism from Kokoschka, who found its subject—a gaunt, naked self-portrait figure bleeding from a chest wound—too close to his own agonized poster of a year earlier (images below). | quoted from MoMA

Oskar Kokoschka :: Self-Portrait, Hand on Chest (Selbstbildnis, Hand auf der Brust), 1910. Das druckgrafische Werk im Kontext seiner Zeit @ Museum der Moderne Salzburg © Fondation Oskar Kokoschka and Museum of Fine Arts Budapest; also Art Institute Chicago — **Oskar Kokoschka ::** Self-Portrait, Hand on Chest (Selbstbildnis, Hand auf der Brust), 1910. Das druckgrafische Werk im Kontext seiner Zeit @ Museum der Moderne Salzburg © Fondation Oskar Kokoschka and Museum of Fine Arts Budapest; also Art Institute Chicago

Oskar Kokoschka :: Self-Portrait, Hand on Chest (Selbstbildnis, Hand auf der Brust), 1911. Poster for a conference at the Akademischer Verband für Literatur und Musik, Jänner 1911. Leopold Museum and MoMA: German Expressionism Project — **Oskar Kokoschka ::** Self-Portrait, Hand on Chest (Selbstbildnis, Hand auf der Brust), 1911. Poster for a conference at the Akademischer Verband für Literatur und Musik, Jänner 1911. Leopold Museum and MoMA: German Expressionism Project

Tatiana (nue) par Lessieux

Ernest-Louis Lessieux :: Tatiana posant accroupie sous un voile (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l'île d'Oléron — **Ernest-Louis Lessieux ::** Tatiana posant accroupie sous un voile (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l’île d’Oléron

Ernest-Louis Lessieux :: Tatiana posant nue de profil dans un jardin (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l'île d'Oléron — **Ernest-Louis Lessieux ::** Tatiana posant nue de profil dans un jardin (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l’île d’Oléron

Ernest-Louis Lessieux :: Tatiana posant nue avec un voile rouge (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l'île d'Oléron — **Ernest-Louis Lessieux ::** Tatiana posant nue avec un voile rouge (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l’île d’Oléron