Visual dialogue ยท Lilies

Italo Bertoglio ~ Lilium, anni 1930.ย Stampa vintage alla gelatina ai sali d’argento | src Finarte ~ Asta Fotografia
Wilhelm Weimar (1857โ€“1917) ~ Lilie, 1898. Platindruck | src MK&G ~ Museum fรผr Kunst und Gewerbe Hamburg
Wilhelm Weimar (1857โ€“1917) ~ Lilies, 1898. Collodium print | src MK&G ~ Museum fรผr Kunst und Gewerbe Hamburg

Still-life and flower studies ca. 1925

Ervin Kankowszky or Rudolf Balogh (attr. to) ~ Plums in a Plate, Hungary, ca. 1925. Vintage silver print with Kankowszky press agency stamp | src 150cent
Ervin Kankowszky or Rudolf Balogh (attr. to) ~ Three Flowers, Hungary, ca. 1925. Vintage silver print with Kankowszky press agency stamp | src Senigallia
Ervin Kankowszky or Rudolf Balogh (attr. to) ~ Wild Plant Study Hungary, ca. 1925. Vintage silver print with Kankowszky press agency stamp | src Senigallia

Frauke Eigen exhibit at Atlas

Frauke Eigen (b. 1969) ~ Mune, Japan, 2008. | src Atlas Gallery
Frauke Eigen (b. 1969) ~ Katachi, Japan, 2008. | src Atlas Gallery
Frauke Eigen (b. 1969) ~ Kanpeki, Japan, 2009. | src Atlas Gallery
Screenshot from Atlas Gallery March 2023 exhibition
Frauke Eigen (b. 1969) ~ Kuchi, Japan, 2008. | src Atlas Gallery
Screenshot from Atlas Gallery March 2023 exhibition
Frauke Eigen (b. 1969) ~ Kao, Japan, 2008. | src Atlas Gallery
Screenshot from Atlas Gallery March 2023 exhibition

Passion flower by Cronquist

Gustaf Wernersson Cronquist (1878 – 1967) ~ Titel saknas, ca. 1925 . Autokrom. | src Moderna Museet

Charles Jones’ Pansies

Charles Jones :: Pansies - Mixed, ca. 1900. Monogrammed and titled in pencil on the verso. | src Lempertz
Charles Jones :: Pansies – Mixed, ca. 1900. Monogrammed and titled in pencil on the verso. | src Lempertz
Charles Jones :: Seeding Pansies, 1900-1902 | src Bukowski’s

Verwandlungen durch Licht

Helmar Lerski :: Verwandlungen durch Licht # 604, 1935-1936. Nachlass Helmar Lerski; Museum Folkwang, Essen & Albertina Museum
Helmar Lerski (1871โ€“1956) :: Metamorphosis Through Light (572), Tel Aviv, 1936. | src Christieโ€™s
Helmar Lerski :: Untitled # 592, from Metamorphosis Through Light, Tel Aviv, 1936. | src Christie’s
Helmar Lerski (1871โ€“1956) :: Metamorphosis Through Light (572), Tel Aviv, 1936. | src Christieโ€™s
Helmar Lerski :: โ€œAus dem Werkโ€ (โ€œFrom the Factoryโ€), from the โ€œVerwandlungen des Lichtsโ€ (โ€œTransformations of Lightโ€) series, No. 540, 1936. Nachlass Helmar Lerski; Museum Folkwang, Essen
Helmar Lerski :: Verwandlungen durch Licht # 537, 1935-1936. Nachlass Helmar Lerski; Museum Folkwang, Essen & Albertina Museum
Helmar Lerski :: Verwandlungen durch Licht # 536, 1935-1936. Nachlass Helmar Lerski; Museum Folkwang, Essen & Albertina Museum
Helmar Lerski :: Verwandlungen durch Licht # 885, 1935-1936. Nachlass Helmar Lerski; Museum Folkwang, Essen & Albertina Museum

Faces. The power of the human visage (2021)

Starting from Helmar Lerskiโ€™s outstanding photo series Metamorphosis through Light (1935/36), the exhibition Faces presents portraits from the period of the Weimar Republic.

The 1920s and โ€™30s saw photographers radically renew the conventional understanding of the classic portrait: their aim was no longer to represent an individualโ€™s personality; instead, they conceived of the face as material to be staged according to their own ideas. In this, the photographed face became a locus for dealing with avant-garde aesthetic ideas as well as interwar-period social developments. And it was thus that modernist experiments, the relationship between individual and general type, feminist roll-playing, and political ideologies collided inโ€”and thereby expandedโ€”the general understanding of portrait photography.

Faces. Die Macht des Gesichts (2021)

Die Ausstellung Faces in der ALBERTINA prรคsentiert Portrรคts der deutschen Zwischenkriegszeit. Ausgangspunkt dafรผr ist Helmar Lerskis herausragende Fotoserie Verwandlungen durch Licht (1935/36).

In den 1920er- und 30er-Jahren erneuern Fotografinnen und Fotografen das Verstรคndnis des klassischen Portrรคts radikal: Ihre Aufnahmen dienen nicht mehr der Darstellung der Persรถnlichkeit eines Menschen, sondern fassen das Gesicht als nach ihren Vorstellungen inszenierbares Material auf.

รœber das fotografierte Gesicht werden sowohl รคsthetische รœberlegungen der Avantgarde als auch gesellschaftliche Entwicklungen der Zwischenkriegszeit dargestellt. Experimente mit neuer Formensprache, das Verhรคltnis zwischen Individuum und Typ, feministische Rollenspiele und politische Ideologien treffen aufeinander und erweitern damit das Verstรคndnis der Portrรคtfotografie.

Quelle : Albertina Museum

Blossoms by Dassonville

pictorialism, flowers, 1910s, 1920s
William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers
William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers

Flower blossoms photographed by William Dassonville; very different from his usual landscape repertoire.

William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers
William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers
William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers
William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers
William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers
William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers

William E. Dassonville was a California photographer primarily known for his landscapes. He was an associate of Ansel Adams and worked with William Keith, George Stirling, Maynard Dixon, and John Miur. Born in Sacramento, CA, he acted as secretary of the California Camera Club and contributed to Camera Craft. He also invented a velvety surfaced printing paper that he later manufactured commercially (REF: Getty). His chemistry was heralded by Ansel Adams and Imogen Cunningham, and he exhibited alongside Alfred Stieglitz, Clarence White, and Gertrude Kasebier (REF: icp org) | src liveauctioneers

ร‰tude de marguerites ca. 1880

ร‰tude de marguerites, ca. 1880. Tirage Albuminรฉ. numerotรฉ 551 dans l'image | src Millon
ร‰tude de marguerites, ca. 1880. Tirage Albuminรฉ. numerotรฉ 551 dans l’image | src Millon

Schon fast lebendig

Aenne Biermann :: Orchid, ca. 1930. Gelatin silver print. [Detail] From : Aenne Biermann : Up Close and Personal at Tel Aviv Museum of Art
Aenne Biermann :: Orchid, ca. 1930. Gelatin silver print. [Detail] From : Aenne Biermann : Up Close and Personal at Tel Aviv Museum of Art
Aenne Biermann :: Schon fast lebendig. Orchid, ca. 1930. Gelatin silver print. ยฉ Collection Biermann family. | Museum Ludwig, Kรถln
Aenne Biermann :: Schon fast lebendig. Orchid, ca. 1930. Gelatin silver print. ยฉ Collection Biermann family. | Museum Ludwig, Kรถln
Aenne Biermann (1898 โ€“ 1933) :: Ohne Titel (Anthurium), 1927. Gelatin silver print. NGA purchase through Kicken Gallery, Berlin, 2018. | src National Gallery of Art
Aenne Biermann (1898 โ€“ 1933) :: Ohne Titel (Anthurium), 1927. Gelatin silver print. NGA purchase through Kicken Gallery, Berlin, 2018. | src National Gallery of Art
Aenne Biermann (1898-1933) :: Funkia 1926. Gelatin silver print. | src MoMA
Aenne Biermann (born Anna Sibilla Sternfeld, 1898-1933) :: Funkia 1926. Gelatin silver print. | src MoMA

Germaine Webb par Rudomine

Mlle Germaine WEBB qui vient de remporter un si grand succรจs de comรฉdienne dans "Sin", la fรฉerie chinoise de M. Maurice Magre, musique de M. Andrรฉ Gailhard. Photo: Rudomine. | Comoedia Illustrรฉ, 1921
Mlle Germaine WEBB qui vient de remporter un si grand succรจs de comรฉdienne dans “Sin”, la fรฉerie chinoise de M. Maurice Magre, musique de M. Andrรฉ Gailhard. Photo: Rudomine. | Comoedia Illustrรฉ, 1921