La photographie érotique

Female Nude. Attributed to Félix Jacques Moulin (French, 1802 - 1875); 1856; Albumen silver print. From «Reconsidérer la photographie érotique» | src l'œil de la photographie
Female Nude. Attributed to Félix Jacques Moulin (French, 1802 – 1875); 1856; Albumen silver print. From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l’œil de la photographie
Anonyme, Académie, vers 1845, daguerréotype. From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l'œil de la photographie
Anonyme, Académie, vers 1845, daguerréotype. From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l’œil de la photographie
Anonyme, Nu, vers 1848, daguerréotype (stereo). From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l'œil de la photograp
Anonyme, Nu, vers 1848, daguerréotype (stereo). From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l’œil de la photographie
Two Women Embracing. Unknown French maker; about 1848; Daguerreotype, hand-colored. From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l'œil de la photographie
Two Women Embracing. Unknown French maker; about 1848; Daguerreotype, hand-colored. From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l’œil de la photographie

The title is intriguing: «Reconsidérer la photographie érotique». (“Reconsidering erotic photography”).
The text itself is brilliant and of great intelligence.

In this 1987 essay, historian Abigail Solomon-Godeau traces avenues for exploring a history of erotic and pornographic photographic production, a history hitherto repressed and absent from narratives. Thus opening the door to a feminist and revised history of the photographic medium, she shows how much this imagery has been abundant and present almost from the origins of photography. In “Reconsidering erotic photography”, Abigail Solomon-Godeau analyzes the ways in which naked bodies are presented in several photographic images from the 1840s-1850s, whether academic nudes or images intended for other types of visual consumption, and questions the specificity of photographic representation as opposed to other mediums. Supporting feminist theories, she raises the question of how these images are viewed, and the ambiguity of their designation, between eroticism and pornography. At the heart of this pioneering essay in the history of photography, she defends the need to write the history of these often set aside productions.

Reconsidérer la photographie érotique.
Notes pour un projet de sauvetage historique
Abigail Solomon-Godeau
Éléonore Challine (éd. et trad.),
Éditions de la Sorbonne,2022
http://www.editionsdelasorbonne.fr/fr/livre/?GCOI=28405100818380

quoted from l’œil de la photographie

Juliet avec un turban, ca. 1945

Man Ray (Emmanuel Radnitzky, 1890-1976) :: Juliet, 1946 | src Centre Pompidou
Man Ray (Emmanuel Radnitzky, 1890-1976) :: Juliet, 1946 | src Centre Pompidou
Man Ray (Emmanuel Radnitzky, 1890-1976) :: Juliet avec un turban, vers 1945 | src Centre Pompidou
Man Ray (Emmanuel Radnitzky, 1890-1976) :: Juliet avec un turban, vers 1945 | src Centre Pompidou

Dialogues: 1860s-1920s-1940s

Eugène Cuvelier :: Près de la Caverne, Terrain Brûlé, early 1860s. Salted paper print from paper negative. | src The Met
“An atypical work for the naturalistically inclined Cuvelier, this highly Romantic image of two people sitting below the skeletons of burned pine trees and looking into the featureless distance like the contemplative figures in the paintings of Caspar David Friedrich, was no doubt a response to the startling sight of the charred landscape.”
Adolf Rossi :: On a frozen lake, 1946. Vintage gelatin silver print | Sign. Adolf Rossi a Easter Cape International Salon of Photography. 6th C. P. A. International Salon 1965, Hong Kong | src Prague Auctions

“A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.”
― T.S. Eliot, The Waste Land (1922)

“Winter kept us warm, covering
Earth in forgetful snow”
― T.S. Eliot, The Waste Land (1922)

Life is merely a fracas on an unmapped terrain, and the universe a geometry stricken with epilepsy. ― Emil Cioran, A Short History of Decay (1949)

Dancers at Trümpy dance school

Alfred Eisenstaedt :: Costumed dancers at Truempy Dance School looking at themselves in studio mirror, Berlin, 1930, for Life Magazine. | src Google Arts & Culture
Alfred Eisenstaedt :: Dancers at Truempy Dance School, Berlin, 1930-1931. | src Google Arts & Culture
Alfred Eisenstaedt :: First lesson at Truempy dance school, Berlin, 1930, printed in 1995. | src Sotheby’s

Three studies by Domü, 1927

Scherzo. Sonderaufnahme für Tempo. Phot. Domü. Tempo Magazin, 1927, Heft 2. | src Flickr
Studie. Sonderaufnahme für Tempo. Phot. Domü. Tempo Magazin, 1927, Heft 2. | src Flickr
Das Grauen [The Horror]. Sonderaufnahme für Tempo. Phot. Domü. Tempo Magazin, 1927, Heft 2. | src Flickr

Dugdale’s nudes cyanotypes

John Dugdale :: A Moment I Linger, 2001. Cyanotype photograph. Signed, titled and dated on verso. | src Holden Luntz Gallery
John Dugdale :: I Linger to See a Beauty that Comes before Me, 2001. Cyanotype. | src Holden Luntz Gallery
John Dugdale :: Kathleen and John with Delphinium, 2000. Cyanotype. | src Holden Luntz Gallery
John Dugdale :: Spring Calls Me, 1997. Cyanotype. | src Holden Luntz Gallery
John Dugdale :: The Annunciation, 1997. Cyanotype photograph. | src Holden Luntz Gallery

Cats and cat people

Chats. Photographe anonyme. France, vers 1870. Tirage sur papier albuminé. | src Lumière des roses – Other Pictures Spécial Noël
Photographe anonyme. Matelot et chat rescapés d’un naufrage. Angleterre, vers 1920. Tirage argentique. | src Lumière des roses – Paris Photo
Pirate bathing beauties. Photographe anonyme. Long Beach, New York. États-Unis, vers 1930. Tirage argentique. | src Lumière des roses – Other Pictures Spécial Noël