Tag: modern dance

Anita Berber as Bingha

Alexander Binder :: Anita Berber as Bingha, costume designed by Walter Schnackenberg, 1922. Schnackenberg was known as the “Toulouse-Lautrec of Germany”. | src 50 watts 

Shona Dunlop in Cain and Abel

Margaret Michaelis (1902-1985) ~ No title [Shona Dunlop as Cain in ‘Cain and Abel’], Sydney, 1941 | src NGA
Margaret Michaelis (1902-1985) ~ No title [Shona Dunlop as Cain in ‘Cain and Abel’], Sydney, 1941 | src NGA
Margaret Michaelis (1902-1985) ~ No title [Shona Dunlop as Cain in ‘Cain and Abel’], Sydney, 1941 | src NGA
Margaret Michaelis (1902-1985) ~ No title [Shona Dunlop as Cain in ‘Cain and Abel’], Sydney, 1941 | src NGA

Atelier Setzer* :: German dancers Joachim von Seewitz and Lo Hesse, Vienna, 1918 / from: Sport und Salon

Dancers Lo Hesse and Joachim von Seewitz were active in Munich and Berlin between 1916 and 1920. Their dances relied heavily on extravagantly exotic costumes designed mostly by the Munich expressionist artist Walter Schnackenberg. The couple favoured fantastically Oriental, Venetian, Spanish, or rococo costumes that had the effect of making dance a sign of refined luxury and exquisite voluptuousness.

*Franz Xaver Setzer

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Dance with the Golden Disks

Atelier d’Ora – Benda :: Der Tanz mit den goldenen Scheiben, (The Dance with the Golden Discs, choreographed by Gertrud Bodenwieser), 1931. | src mambo-bologna

Edward Steichen :: Thérèse Duncan, adopted daughter of Isadora Duncan, on the Acropolis, Athens, 1921. From Edward Steichen: Lives in Photography, by Todd Brandow and William A. Ewing, Foundation for the Exhibition of Photography, and the Musee de l’Elysee, Lausanne, 2007. / src: pinterest, original src, thanks to reality asylum

related post, here /

more [+] by Edward Steichen


Edward Steichen :: Thérèse Duncan, Isadora Duncan daughter, at the Acropolis, Athens, 1921 / src: Stephen Ellcock on instagram

more [+] by Edward Steichen

Note: ‘Isadora’s adopted daughter, Thérèse, agreed to pose for

Steichen’s camera, and, in his autobiography, he described their session which produced more interesting results: “She was a living reincarnation of a Greek nymph. Once, while photographing the Parthenon, I lost sight of her, but I could hear her. When I asked where she was, she raised her arms in answer. I swung the camera around and photographed her arms against the background of the Erechtheum.”’

(A Life in Photography, chap. 6). source of text