
The destruction of the monument to Alexander III, 1918 / source: livejournal
images that haunt us

The destruction of the monument to Alexander III, 1918 / source: livejournal

Modes à Longchamps :: [photographie de presse] / Agence Meurisse, 1919 / source: Gallica

Alfred Cheney Johnston
:: Dolores as The White Peacock in Ziegfeld Midnight Frolic, 1919 / src : NYPL and trialsanderrors
more [+] by this photographer

Film Still from 1918 silent film starring Australian swimmer Annette Kellerman in Queen of the Sea. original source: eBay / via

Frame or promotional still from 1918 Fox Film Queen of the Sea.
Annette Kellerman, in mermaid costume, in role of Merrilla, the Queen of the Sea, with unidentified actor. | src wikimedia commons

A man appears to be giving fishing lessons to a group of women with their dresses hiked up, ca. 1915 / src: Getty Images

Janette (Jeannette) Rankin (first woman member of Congress), 1910′s-1920’s [National Photo Company via Library of Congress]






Ernest Joseph Bellocq was a native New Orleans French Creole photographer, whose Storyville portraits captured the vibrant scene in Storyville, the city’s red-light district, circa 1912. The glass plate negatives were not discovered until after his death in 1949, which is why so many of the images are cracked, scratched, and damaged. It is said that some of the damages were deliberately inflicted by Bellocq while the emulsion was still wet, in order to protect the identity of the sex workers.

A lifelong resident of New Orleans, Ernest J. Bellocq was a commercial photographer who undertook a personal quest to photograph the prostitutes of Storyville. In these frank and intimate photographs, women are not portrayed as prey to the camera’s gaze, but rather seem to participate willingly and confidently in the photographic act. Rumored to be eccentric and reserved, Bellocq told only a handful of acquaintances about these portraits, which primarily date from 1912 (the negatives were later discovered and printed by photographer Lee Friedlander). This photograph of Bellocq’s desk, therefore, provides an unusual glimpse into his mysterious personality and life. The cluttered arrangement of images of women, juxtaposed with floral wallpaper and languidly posing marble figurines, coheres into a dotingly composed shrine to femininity, hinting at the artist’s admiration for women. | text: AIC
