
Jacques-Henri Lartigue :: Avenue du Bois de Boulogne, 1911. Harvard Art Museums / Fogg Museum. / src: proust-arts
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images that haunt us

Jacques-Henri Lartigue :: Avenue du Bois de Boulogne, 1911. Harvard Art Museums / Fogg Museum. / src: proust-arts
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Harold Lloyd and Bebe Daniels in Look Pleasant, Please (1918) / src: deforest
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Eugène Atget ::
Boulevard de Strasbourg, Corsets, Paris, 1912. Gelatin silver print from glass negative. / source: Metropolitan Museum
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Photograph by unknown photographer, USA, ca. 1910, From
Other Pictures: Vernacular Photographs from the Thomas Walther Collection / src: The Met

Karl Blossfeldt ::
Acer rufinerve, 1910′s-1920′s / src: Michael Hoppen Gallery
“What made Blossfeldt’s work unique was his extreme technical mastery of photography. He specialised in macrophotography to enlarge his plant specimens and even designed a camera for this purpose. As a result, everyday garden flowers are presented in such a way that their rhythmic forms are emphasised to the extreme and the plants take on new and exotic characteristics. Blossfeldt wanted his work to act as a teaching aid and inspiration for architects, sculptors and artists. It was his firm belief that only through the close study of the intrinsic beauty present in natural forms, that contemporary art would find its true direction.”
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Antique photograph of a woman standing over water, ghosting photo, 1917 – (original source: Ebay) / via

Karl Blossfeldt :: Bryonia alba (White bryony, with leaf) B, 1920′s. Pinakothek der Moderne, München / src: Michael Hoppen Gallery
“From 1898-1932, Blossfeldt taught sculpture based on natural plant forms at the Royal School of the Museum of Decorative Arts (now the Hochschule für Bildende Künste) in Berlin. In his lifetime Blossfeldt’s work gained praise and support from critics such as Walter Benjamin, artists of the Neue Sachlichkeit (New Realism) and the Paris Surrealists. The words of Walter Benjamin repositioned the artist in modern art and photography and prior to publishing his photographic book in 1926, Blossfeldt was sent an invitation to exhibit his work at the Karl Nierendorf’s gallery.”
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