The dancers of Saint-Paul

Loïs Hutton at Cap d’Antibes, kneeling on pebbles by the shore, 1924. © Fred Daniels · Richard Emerson. | src FranceToday

Hélène Vanel in ‘Fleur de Lune’, 1930.© Maroussia Vossen. | src Hidden story: The dancers of Saint-Paul

A flyer advertising Loïs Hutton and Hélène Vanel, and the Studio Rythme et Couleur. © Yvonne Gregory. Retrived from The dancers of Saint-Paul

The Dryad by J.C. Warburg

John Cimon Warburg · The Dryad, ca. 1910, autochrome. The Royal Photographic Society Collection; V&A Museum. | src Getty Images — **John Cimon Warburg ::** The Dryad, ca. 1910, autochrome. The Royal Photographic Society Collection; V&A Museum. | src Getty Images

Margate by Warburg, 1900s

John Cimon Warburg :: 'Margate Sands', ca. 1910, autochrome. | src V&A South Kensington — **John Cimon Warburg ::** ‘Margate Sands’, ca. 1910, autochrome. | src V&A South Kensington

John Cimon Warburg :: 'Child Bathing, Margate', ca. 1909, autochrome. | src V&A Museum — **John Cimon Warburg ::** ‘Child Bathing, Margate’, ca. 1909, autochrome. | src V&A Museum

John Cimon Warburg :: Margate, ca. 1909, autochrome. | src V&A Museum — **John Cimon Warburg ::** Margate, ca. 1909, autochrome. | src V&A South Kensington

John Cimon Warburg :: 'Cloud and Cliff', ca. 1909, autochrome. | src V&A Museum — **John Cimon Warburg ::** ‘Cloud and Cliff’, ca. 1909, autochrome. | src V&A Museum

John Cimon Warburg :: 'The Last Digger', ca. 1909, autochrome. | src V&A Museum — **John Cimon Warburg ::** ‘The Last Digger’, ca. 1909, autochrome. | src V&A Museum

Warburg by Warburg, ca. 1910

John Cimon Warburg :: Wild Flowers, ca. 1910. Autochrome. Photograph of Joan, the photographer's daughter, shown three-quarter length, standing in front of red wall paper. | src V&A Museum — **John Cimon Warburg ::** Wild Flowers, ca. 1910. Autochrome. Photograph of Joan, the photographer’s daughter, shown three-quarter length, standing in front of red wall paper. | src V&A Museum

John Cimon Warburg :: Marsh Marigolds, ca. 1910. Autochrome. | src V&A Museum — **John Cimon Warburg ::** Marsh Marigolds, ca. 1910. Autochrome. | src V&A Museum

**John Cimon Warburg ::** ‘The Sunny Doorway’, ca. 1909, autochrome. | src V&A Museum

John Cimon Warburg :: 'Peggy by the Orange Tree', Autochrome, 1909. Photograph of a full length portrait of Warburg's daughter Peggy standing beside an orange tree. She wears a white dress and holds a white hat in her hand. She holds onto the orange tree with her other hand. | src V&A Museum — **John Cimon Warburg ::** ‘Peggy by the Orange Tree’, Autochrome, 1909. Photograph of a full length portrait of Warburg’s daughter Peggy standing beside an orange tree. She wears a white dress and holds a white hat in her hand. She holds onto the orange tree with her other hand. | src V&A Museum

**John Cimon Warburg** :: ‘Joan in Red Riding Hood Cape with Basket’, autochrome, 6 November 1907. | src V&A Museum
Photograph of a near full length potrait of Warburg’s daughter Joan dressed in a Red Riding Hood cape. She stands beside a bush of white daisies. Warburg has annotated the plate with details regarding how the photograph was made.

»Kupplerin« by Otto Dix

Otto Dix :: Kupplerin, 1923. Color lithograph on machine-made paper. Signed lower right. — **Otto Dix ::** »Kupplerin«, 1923. Farbige Lithographie auf Maschinenbütten. Signiert unten rechts. Herausgegeben von Karl Nierendorf. | src Karl and Faber Kunstauktionen

Im Jahr 1921 zieht Otto Dix für vier Jahre nach Düsseldorf, wo er sich in druckgraphischen Techniken weiterbildet. Er liebt die Großstadt, die Typen und Randgruppen, die er vor allem während der Nacht auf den Straßen und in den Lokalen trifft: Matrosen oder Artisten, Kriegsversehrte und Kriegsgewinnler, ebenso wie Prostituierte und ihre Kunden. Die „goldenen“ Zwanziger zwischen allumfassender Traumatisierung, Vergnügungssucht und frühem Konsumismus, zwischen schillernder Oberfläche und abgestorbenem Innersten reizt ihn zu grotesk-enthüllenden Bildsujets. In seinen Werken – wie auch in der vorliegenden Lithographie „Kupplerin“ – führt Dix dem Betrachter schonungslos den körperlichen Zerfall, die Defizite und Eigenarten seiner Modelle vor Augen. Sein neuartiger Realismus, für den die Zeitgenossen den Begriff „Verismus“ prägen, macht Dix – zusammen mit Max Beckmann und George Grosz – nicht nur zum Hauptvertreter dieser Kunstströmung in Deutschland, sondern auch zu einem der bedeutendsten Realisten in der Geschichte der Kunst überhaupt.

In 1921, Otto Dix moved to Düsseldorf for four years, where he continued his education in printmaking techniques. He loves the big city, the characters and marginal groups he meets on the streets and in bars, especially at night: sailors or artists, war invalids and war profiteers, as well as prostitutes and their customers. The “golden” twenties between comprehensive traumatization, pleasure-seeking and early consumerism, between shimmering surfaces and dead innermost parts provoked him to grotesquely revealing pictorial subjects. In his works – as well as in the present lithograph “Kupplerin” – Dix ruthlessly shows the viewer the physical decay, the deficits and the peculiarities of his models. His new type of realism, for which his contemporaries coined the term “Verism”, made Dix – together with Max Beckmann and George Grosz – not only the main representative of this art movement in Germany, but also one of the most important realists in the history of art in general. (Roughly translated by us from source)