Jugend magazine, Nov. 1898

Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Cover image. Published in Jugend magazine, 1898, Nr. 48 (detail) | Heidelberg University Library
Hans Christiansen :: Cover image. Published in Jugend magazine, 1898, Nr. 48 (detail) | Heidelberg University Library
Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild · Cover image. Jugend Magazin, 1898, Nr. 48. | src Universitätsbibliothek Heidelberg

Jugend Magazin, 1898

Hans Christiansen :: Titelbild (Cover image). Jugend Magazin, Juli 1898, Nr. 27. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild (Cover image). Jugend Magazin, Juli 1898, Nr. 27. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild (Cover image). Jugend magazine, July 1898, Nr. 27 [Detail]
Hans Christiansen :: Titelbild (Cover image). Jugend Magazin, Juli 1898, Nr. 27. | src Universitätsbibliothek Heidelberg
Hans Christiansen :: Titelbild (Cover image). Jugend Magazin, Juli 1898, Nr. 27. | src Universitätsbibliothek Heidelberg

Die Gauklerin ~ The Juggler

Die Gauklerin ~ The Juggler (Hoffmann von Vestenhof). Jugend Magazin, 1898. Nr. 38. | src Universitätsbibliothek Heidelberg
Die Gauklerin ~ The Juggler (Hoffmann von Vestenhof). Published in Jugend magazine, 1898, Nr. 38 | src Heidelberg Univ. Library
Die Gauklerin ~ The Juggler (by Hoffmann von Vestenhof). Published in Jugend magazine, 1898, Nr. 38 [Detail]
Die Gauklerin ~ The Juggler (Hoffmann von Vestenhof). Jugend Magazin, 1898. Nr. 38. | src Universitätsbibliothek Heidelberg
Die Gauklerin ~ The Juggler (Hoffmann von Vestenhof). Jugend Magazin, 1898. Nr. 38. | src Universitätsbibliothek Heidelberg

Versuchung, Jugend, 1896

Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. [detail] | src Universitätsbibliothek Heidelberg
Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. [detail] | src Universitätsbibliothek Heidelberg
Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. [detail] | src Universitätsbibliothek Heidelberg
Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. | src Universitätsbibliothek Heidelberg
Christian Wild :: Versuchung ~ Temptation. Jugend Magazin, Nov. 1896. Nr. 45. | src Universitätsbibliothek Heidelberg

Joan of Arc by Jan Toorop

Jan Toorop [Dutch, 1858–1928] :: Jeanne d'Arc - Joan of Arc, 1898. Graphite and colored pencils on tan wove board. | Art Institute of Chicago, “Drawings in Dialogue: Old Master Through Modern“
Jan Toorop [Dutch, 1858–1928] :: Jeanne d’Arc – Joan of Arc, 1898. Graphite and colored pencils on tan wove board. | Art Institute of Chicago, “Drawings in Dialogue: Old Master Through Modern“

Signed recto, lower right, pen and black ink: “J. K. TOOROP”; dated, lower left, in pen and black ink: “1898”; inscribed recto, lower center, in graphite: “IEANNE D’ARC”

Imbued with the sinuous linear style of Toorop’s most celebrated works, this small drawing merges medieval subject matter with the graphic language of Symbolism. Cleverly situated within the voids of a capital letter E, Toorop’s title figure recalls the conventions of medieval manuscript illumination. Indeed, like many of Toorop’s drawings, this work was likely intended for inclusion in a book. The swirling parallel lines in the saint’s hair and the intensity of her downcast posture assert the sympathetic interpretation Toorop offered of this warrior saint, whose canonization was not finalized until 1920.

Group photos (back to camera)

De dos. Des photos anciennes anonymes chinées | Old anonymous vintage photos. Vernacular photography, ca. 1890-1950 (mostly). Coll. Michel F. David. | src éditions Sur la Banquise
De dos. Des photos anciennes anonymes chinées | Old anonymous vintage photos. Vernacular photography, ca. 1890-1950 (mostly). Coll. Michel F. David. | src éditions Sur la Banquise
De dos. Des photos anciennes anonymes chinées | Old anonymous vintage photos. Coll. Michel F. David. | src éditions Sur la Banquise
Group of people on a porch, sitting on railings, undated. | src eBay
Group of people on a porch, sitting on railings, undated. | src eBay (broken link)
Musée de la photographie de Charleroi: expo En dilettante, les petites histoires de la photo amateur / Ode aux photographes du dimanche

People amongst rock pools

French coastal scene depicting a man and three women amongst rock pools near the sea, 1895. (Photo by Universal History Archive / Universal Images Group) | src Getty Images
French coastal scene depicting a man and three women amongst rock pools near the sea, 1895. (Photo by Universal History Archive / Universal Images Group) | src Getty Images
French coastal scene depicting two women amongst rock pools near the sea, 1895. (Photo by Universal History Archive / Universal Images Group) | src Getty Images
French coastal scene depicting two women [and a dog] amongst rock pools near the sea, 1895. (Photo by Universal History Archive / Universal Images Group) | src Getty Images

Bloemen by Eva L. Watson

Eva Watson-Schütze :: Bloemen, ca. 1895 - in or before 1900. From: Camera notes / The Camera Club of New York | Rijksmuseum
Eva Watson-Schütze :: Bloemen, ca. 1895 – in or before 1900. From: Camera notes / The Camera Club of New York | Rijksmuseum
Camera notes / The Official Organ of the Camera Club of New York, 1900-1901. Published quarterly. | src Rijksmuseum
Camera notes / The Official Organ of the Camera Club of New York, 1900-1901. Published quarterly. | src Rijksmuseum

Eva Watson-Schütze (born, Eva Lawrence Watson) (1867–1935)

In 1883, when Eva Watson was sixteen, she enrolled in the Pennsylvania Academy of the Fine Arts in Philadelphia, where she studied under well-known painter and photographer Thomas Eakins. Her interests at that time were watercolor and oil painting, and it’s unknown if she took any interests in Eakins’ photography.

Around the 1890s Watson began to develop a passion for photography, and soon she decided to make it her career. Between 1894 and 1896 she shared a photographic studio with Amelia Van Buren, another Academy alumna, in Philadelphia, and the following year she opened her own portrait studio. She quickly became known for her pictorialist style, and soon her studio was known as a gathering place for photographers who championed this aesthetic vision.

In 1897 she wrote to photographer Frances Benjamin Johnston about her belief in women’s future in photography: “There will be a new era, and women will fly into photography.”

In 1898 six of her photographs were chosen to be exhibited at the first Philadelphia Photographic Salon, where she exhibited under the name Eva Lawrence Watson. It was through this exhibition that she became acquainted with Alfred Stieglitz, who was one of the judges for the exhibit.

In 1899 she was elected as a member of the Photographic Society of Philadelphia. Photographer and critic Joseph Keiley praised the work she exhibited that year, saying she showed “delicate taste and artistic originality”.

The following year she was a member of the jury for the Philadelphia Photographic Salon. A sign of her stature as a photographer at that time may be seen by looking at the other members of the jury, who were Alfred Stieglitz, Gertrude Kasebier, Frank Eugene and Clarence H. White.

In 1900 Johnston asked her to submit work for a groundbreaking exhibition of American women photographers in Paris. Watson objected at first, saying “It has been one of my special hobbies – and one I have been very emphatic about, not to have my work represented as ‘women’s work’. I want [my work] judged by only one standard irrespective of sex.” Johnston persisted, however, and Watson had twelve prints – the largest number of any photographer – in the show that took place in 1901.

In 1901 she married Professor Martin Schütze, a German-born trained lawyer who had received his Ph.D. in German literature from the University of Pennsylvania in 1899. He took a teaching position in Chicago, where the couple soon moved.

That same year she was elected a member of The Linked Ring. She found the ability to correspond with some of the most progressive photographers of the day very invigorating, and she began to look for similar connections in the U.S.

In 1902 she suggested the idea of forming an association of independent and like-minded photographers to Alfred Stieglitz. They corresponded several times about this idea, and by the end of the year she joined Stieglitz as one of the founding members of the famous Photo-Secession.

Since Watson-Schütze’s death there have been two retrospective exhibitions of her photographs: Eva Watson-Schütze, Chicago Photo-Secessionist, at the University of Chicago Library in 1985, and Eva Watson-Schütze, Photographer, at the Samuel Dorsky Museum Art at the State University of New York at New Paltz in 2009.

Her works were also included in exhibits at the National Museum of Women in the Arts in Washington, DC. [quoted from Wikipedia website]

Mathilde Weil’s portraits

Mathilde Weil :: The Magic Crystal [Portret van een onbekende vrouw met een glazen bol / Portrait of an unknown woman with a crystal ball], ca. 1896 - in or before 1901. This work belongs to Photographische Rundschau: Zeitschrift für Freunde der Photographie, 1901. | Rijksmuseum
Mathilde Weil :: The Magic Crystal [Portret van een onbekende vrouw met een glazen bol / Portrait of an unknown woman with a crystal ball], ca. 1896 – in or before 1901. This work belongs to Photographische Rundschau: Zeitschrift für Freunde der Photographie, 1901. | src Rijksmuseum
Mathilde Weil :: Constance [Portret van een onbekende vrouw / Portrait of an unknown woman], ca. 1896 - in or before 1901. This work belongs to Photographische Rundschau: Zeitschrift für Freunde der Photographie, 1901. | src Rijksmuseum
Mathilde Weil :: Constance [Portret van een onbekende vrouw / Portrait of an unknown woman], ca. 1896 – in or before 1901. This work belongs to Photographische Rundschau: Zeitschrift für Freunde der Photographie, 1901. | src Rijksmuseum
Photographische Rundschau: Zeitschrift für Freunde der Photographie, 1901. Photographic Review: Magazine for friends of photography, 1901. | src Rijksmuseum