Il mistero di Persefone, 1929

Giannina Censi con il costume di scena di Il mistero di Persefone Teatro Licinium di Erba, 1929. | src Fondo G. Censi ~ Mart (*)
Giannina Censi con il costume di scena di Il mistero di Persefone Teatro Licinium di Erba, 1929. | src Fondo G. Censi ~ Mart (*)
Giannina Censi con il costume di scena di Il mistero di Persefone Teatro Licinium di Erba, 1929. | src Fondo G. Censi ~ Mart (*)
Giannina Censi con il costume di scena di Il mistero di Persefone Teatro Licinium di Erba, 1929. | src Fondo G. Censi ~ Mart (*)
Giannina Censi con il costume di scena di Il mistero di Persefone Teatro Licinium di Erba, 1929. In verso nota ms. "Teatro Licinium. Erba" | src Fondo G. Censi ~ Mart
Giannina Censi con il costume di scena di Il mistero di Persefone Teatro Licinium di Erba, 1929. In verso nota ms. “Teatro Licinium. Erba” | src Fondo G. Censi ~ Mart
Scena tratta da Il mistero di Persefone al Teatro Licinium di Erba, 1929. In verso nota ms. "Il Mistero di Persefone - Teatro Licinium. Erba". | src Fondo G. Censi ~ Mart (**)
Scena tratta da Il mistero di Persefone al Teatro Licinium di Erba, 1929. In verso nota ms. “Il Mistero di Persefone – Teatro Licinium. Erba”. | src Fondo G. Censi ~ Mart (**)
Scena tratta da Il mistero di Persefone al Teatro Licinium di Erba, 1929 di Fot. Camuzzi. Milano. | src Fondo G. Censi ~ Mart (**)
Scena tratta da Il mistero di Persefone al Teatro Licinium di Erba, 1929 di Fot. Camuzzi. Milano. | src Fondo G. Censi ~ Mart (**)
Scena tratta da Il mistero di Persefone al Teatro Licinium di Erba, 1929 di Fot. Camuzzi. Milano. | src Fondo G. Censi ~ Mart (**)
Scena tratta da Il mistero di Persefone al Teatro Licinium di Erba, 1929 di Fot. Camuzzi. Milano. | src Fondo G. Censi ~ Mart (**)

(*) Pubblicata in Vaccarino E., (a cura di) Giannina Censi: danzare il futurismo. Milano: Electa; Museo di arte moderna e contemporanea di Trento e Rovereto, 1998, p. 15

(**) Pubblicata in Vaccarino E., (a cura di) Giannina Censi: danzare il futurismo. Milano: Electa; Museo di arte moderna e contemporanea di Trento e Rovereto, 1998, p. 85

Juliet on sunny Sundays

Man Ray (Emmanuel Radnitzky, dit) :: Juliet vers 1945. Centre Pompidou
Man Ray (Emmanuel Radnitzky, dit) :: Juliet vers 1945. Centre Pompidou
Man Ray (Emmanuel Radnitzky, dit) :: Juliet, 1946. Centre Pompidou
Man Ray (Emmanuel Radnitzky, dit) :: Juliet, 1946. Centre Pompidou
Man Ray (Emmanuel Radnitzky) :: Juliet vers 1945. Centre Pompidou
Man Ray (Emmanuel Radnitzky) :: Juliet vers 1945. Centre Pompidou
Man Ray (Emmanuel Radnitzky) :: Juliet vers 1945. Centre Pompidou
Man Ray (Emmanuel Radnitzky) :: Juliet vers 1945. Centre Pompidou
Man Ray (Emmanuel Radnitzky, dit) :: Juliet vers 1950. Centre Pompidou
Man Ray (Emmanuel Radnitzky, dit) :: Juliet vers 1950. Centre Pompidou
Man Ray (Emmanuel Radnitzky, dit) :: Juliet vers 1960. Centre Pompidou
Man Ray (Emmanuel Radnitzky, dit) :: Juliet vers 1960. Centre Pompidou

Pomés, sobretot ‘de revés’

Leopoldo Pomés :: Imagen blanca, 1959. | src Fotocolectania
Leopoldo Pomés :: Imagen blanca, 1959. | src Fotocolectania
Leopoldo Pomés :: Sense títol. Portada per a la revista ‘Grua’ (1957) | src Quadern: Les obsessions de Leopoldo Pomés
Leopoldo Pomés :: Imagen blanca, 1959. | src photographic social vision
Leopoldo Pomés :: Imagen blanca, 1959. | src photographic social vision
Leopoldo Pomés :: Sense títol, 1975 [per a un anunci de ciment]. | src Ara Andorra
Leopoldo Pomés :: Sense títol, 1975 [pel calendari de ciments Freixa]. | src Ara Andorra

Elsa by Leopoldo Pomés

Leopoldo Pomés :: Elsa, 1971. From: 'Diaries' Portfolio. Anne Clergue Galerie
Leopoldo Pomés :: Elsa, 1971. From: ‘Diaries’ Portfolio. Anne Clergue Galerie
Leopoldo Pomés :: Elsa, 1971. Arxiu L. Pomés. | src Arles 2022 @ ODLP
Leopoldo Pomés :: Elsa 2, 1971. Gelatina de plata en papel baritado. | src Fotocolectania
Leopoldo Pomés :: Elsa 2, 1971. Gelatina de plata en papel baritado. | src Fotocolectania

Erni Erika by Manassé (ca. 1930)

Atelier Manassé (Olga Spolarics and Adorjan von Wlassics) :: Erni Erika, 1930. Gelatin silver print, ferrotyped. | src Heritage Auctions
Atelier Manassé (Olga Spolarics and Adorjan von Wlassics) :: Erni Erika, 1930. Gelatin silver print, ferrotyped. | src Heritage Auctions
Atelier Manassé (Olga Spolarics and Adorjan von Wlassics) :: Erni Erika, 1930. Gelatin silver print, ferrotyped. | src Heritage Auctions
Atelier Manassé (Olga Spolarics & Adorjan von Wlassics) :: Erni Erika, um 1930. Gelatin silver print, ferrotyped. | src Heritage Auctions

Rambova by Struss, 1920s

Karl Struss (1886-1981) :: Natacha Rambova, 1920s. [production still]; Gelatin silver print. | src Amon Carter Museum
Karl Struss (1886-1981) :: Natacha Rambova, 1920s. [production still*]; Gelatin silver print. | src Amon Carter Museum of American Art
Karl Struss (1886-1981) :: Natacha Rambova, 1920s. [production still]; Gelatin silver print. | src Amon Carter Museum
Karl Struss (1886-1981) :: Natacha Rambova, 1920s. [production still*]; Gelatin silver print. | src Amon Carter Museum
Karl Struss (1886-1981) :: Natacha Rambova, 1920s. [production still]; Gelatin silver print. | src Amon Carter Museum
Karl Struss (1886-1981) :: Natacha Rambova, 1920s. [production still*]; Gelatin silver print. | src Amon Carter Museum
Karl Struss (1886-1981) :: Natacha Rambova, 1920s. [production still]; Gelatin silver print. | src Amon Carter Museum
Karl Struss (1886-1981) :: Natacha Rambova, 1920s. [production still*]; Gelatin silver print. | src Amon Carter Museum

[*] production stills probably from the film Forbidden Fruit (Cecil B. DeMille, 1921). In the film Rambova (b. Winifred Shaughnessy), along with Mitchell Leisen, was the costume designer and Struss the cinematographer.

Desha by Nickolas Muray, 1922

Nickolas Muray (1892-1965) :: Desha Delteil, 1922. Toned gelatin silver print. | src Heritage Auctions
Nickolas Muray (1892-1965) :: Desha Delteil, 1922. Toned gelatin silver print. | src Heritage Auctions
Nickolas Muray (1892-1965) :: Desha Delteil, 1922. Toned gelatin silver print. | src Heritage Auctions
Nickolas Muray (1892-1965) :: Desha Delteil, 1922. Toned gelatin silver print. | src Heritage Auctions

Lala Aufsbergs Frauenakte

Lala Aufsberg :: Weiblicher Rückenakt an einem Seeufer (female nude from back on a lake shore), 1933.
Lala Aufsberg :: Aktstudien. Weiblicher Rückenakt an einem Seeufer, 1934. | src Deutsche Fotothek
Lala Aufsberg :: Aktstudien. Weiblicher Rückenakt an einem Seeufer, 1934. | src Deutsche Fotothek
Lala Aufsberg :: Frauenakt; weiblicher Akt, 1934. | Deutsche Fotothek
Lala Aufsberg :: Frauenakt; weiblicher Akt, 1934. | Deutsche Fotothek
Lala Aufsberg :: Weiblicher Rückenakt an einem Seeufer (female nude from back on a lake shore), 1933. | src Deutsche Fotothek
Lala Aufsberg :: Weiblicher Rückenakt an einem Seeufer (female nude from back on a lake shore), 1934. | src Deutsche Fotothek
Lala Aufsberg :: Frauenakt; weiblicher Akt, 1934. | src Deutsche Fotothek
Lala Aufsberg :: Frauenakt; weiblicher Akt, 1934. | src Deutsche Fotothek

Zitkala-Sa with violin, ca. 1898

Gertrude Käsebier :: Zitkala-Sa (with violin), Sioux Indian and activist, ca. 1898. Platinum print. | src NMAH
Gertrude Käsebier :: Zitkala-Sa (with violin), Sioux Indian and activist, ca. 1898. Platinum print. | src NMAH

In addition to photographing the Sioux performers sent by Buffalo Bill Cody to her studio, Käsebier was able to arrange a portrait session with Zitkala-Sa, “Red Bird,” also known as Gertrude Simmons (1876-1938), a Yankton Sioux woman of Native American and white ancestry. She was born on the Pine Ridge Reservation in South Dakota, like many of the Sioux traveling with the Wild West show. She was well educated at reservation schools, the Carlisle Indian School, Earlham College in Indiana, and the Boston Conservatory of Music. Zitkala Sa became an accomplished author, musician, composer, and dedicated worker for the reform of United States Indian policies.

Käsebier photographed Zitkala-Sa in tribal dress and western clothing, clearly identifying the two worlds in which this woman lived and worked. In many of the images, Zitkala Sa holds her violin or a book, further indicating her interests. Käsebier experimented with backdrops, including a Victorian floral print, and photographic printing. She used the painterly gum-bichromate process for several of these images, adding increased texture and softer tones to the photographs. (quoted from NMAH)

Gertrude Käsebier :: Zitkala-Sa (with violin), Sioux Indian and activist, ca. 1898. Platinum print. | src NMAH
Gertrude Käsebier :: Zitkala-Sa (with violin), Sioux Indian and activist, ca. 1898. Platinum print. | src NMAH
Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Gum bichromate print. | src NMAH
Gertrude Käsebier :: Zitkala-Sa (with violin), Sioux Indian and activist, ca. 1898. Gum bichromate print. | src National Museum of American History, Smithsonian Institution