Tag: women artists, women in the arts

Edith von Schrenck, um 1919

Grete Kolliner :: Edith von Schrenck (Tänzerin), um 1919; Fotografin Grete Kolliner, Wien; Quelle Nachlass Edith von Schrenck, Waldemar-Bonsels-Stiftung. | src Münchner Stadtbibliothek blog
Die schöne Frau Nr. 1, 1926. Edith von Schrenck : Die Tänzerin von Waldemar Bonsels | src ÖNB
Grete Kolliner :: Die Tänzerin Edith von Schrenck. Vintage silver print. Photographer’s blind-stamp on bottom left. | src MutualArt
Die schöne Frau Nr. 1, 1926. Edith von Schrenck : Die Tänzerin von Waldemar Bonsels (full page) | src ÖNB

Edith von Bonsdorff by Apollo

Atelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff (also Bonsdorff, Bonsdörff), 1917-1919. | src FHA ~ Museovirasto
Atelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff, 1917-1919. Inscriptions: Edith Helena v. Bonsdorff (1890-1968) os. Andersen’s dance artist, on the back of the picture in the middle. | src Finnish Heritage Agency (Museovirasto)
Atelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff (also Bonsdorff, Bonsdörff), 1917-1919. | src FHA ~ Museovirasto
Atelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff (also Bonsdorff, Bonsdörff), 1917-1919. | src FHA ~ Museovirasto
Atelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff (also Bonsdorff, Bonsdörff), 1917-1919. | src FHA ~ Museovirasto
Atelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff (Bonsdorff, also Bonsdörff), 1917-1919. | src FHA ~ Museovirasto

Eastern Beauty, ca. 1933

Violet Keene Perinchief (1893-1967) :: Eastern Beauty. A portrait of a Chinese Lady, silver gelatin print mounted on exhibition board, Toronto, ca. 1933. [Original photograph signed lower left in pencil: Violet Keene] | src Bonhams
Violet Keene Perinchief (1893-1967) :: Eastern Beauty. A portrait of a Chinese Lady, silver gelatin print mounted on exhibition board, Toronto, ca. 1933. [Original photograph signed lower left in pencil: Violet Keene] | src Bonhams
Violet Keene Perinchief (1893-1967) :: Eastern Beauty. A portrait of a Chinese Lady, silver gelatin print mounted on exhibition board, Toronto, ca. 1933. [Original photograph signed lower left in pencil: Violet Keene] | src Bonhams
Violet Keene Perinchief (1893-1967) :: Eastern Beauty. A portrait of a Chinese Lady, silver gelatin print mounted on exhibition board, Toronto, ca. 1933. [Original photograph signed lower left in pencil: Violet Keene] | src Bonhams

This portrait is an example of one of the many that Violet Keene became famous for. She established and ran a studio in Toronto for her mother’s work from 1933, and later a studio for her own photography. She studied photography under her mother’s guidance from an early age, and this portrait has many of the classic Minna Keene attributes of her portraits taken in Cape Town around 1910, notably the floral background and position of the face looking away from the camera. Violet exhibited her work around the world and had a loyal following. [quoted from source]

Decorative Study: Pomegranates

Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Pomegranates, ca. 1910. Carbon print with some details reduced by hand. | src Stephen Bulger Gallery
Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Pomegranates, ca. 1910. Carbon print with some details reduced by hand. | src Stephen Bulger Gallery
Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Pomegranates, ca. 1910. Carbon print with some details reduced by hand. | src Stephen Bulger Gallery
Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Pomegranates (aka Decorative Study), ca. 1910. Green carbon print by Minna Keene. | src The Royal Photographic Society Collection, Victoria and Albert Museum, London via Getty Images

The subject of this photograph is believed to be of Violet Keene, Minna Keene’s daughter, according to Getty Images.

Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Decorative Study nº 1. Pomegranates, Cape Town, South Africa, ca. 1906. Carbon print, mounted on exhibition board. Original photograph. | src Bonhams

A fine example of a signed exhibition-quality image of one of Minna Keene’s most famous of images, taken at her home in Cape Town. Using her young daughter Violet as the model, she created an iconic Pre-Raphaelite image, combining the beauty of a young girl with nature. This image was included in the famous Tate London Exhibition in 2016, Painting with Light alongside Julia Margaret Cameron, Millais, Emerson, Goodall, Hacker, Rossetti, and others. In 1911, “Pomegranates” was awarded Picture of the Year at the London Photographic Salon. [quoted from source]

Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Decorative Study nº 1. Pomegranates, Cape Town, South Africa, ca. 1906. Carbon print, mounted on exhibition board. Original photograph. | src Bonhams

Amelia Earhart, Toronto, 1932

Violet Keene Perinchief :: Amelia Earhart, Toronto, 1932. Gelatin silver print. | src The Ryerson Image Centre
Violet Keene Perinchief :: Amelia Earhart, Toronto, 1932. Gelatin silver negative digitally reversed. | src Ryerson Image Centre
Violet Keene Perinchief :: Amelia Earhart, Toronto, 1932. Gelatin silver negative (left) and gelatin silver negative digitally reversed (right). | src Ryerson Image Centre
Violet Keene Perinchief :: Amelia Earhart, Toronto, 1932. Gelatin silver negative (left) and gelatin silver negative digitally reversed (right). | src Ryerson Image Centre

African Appeal, ca. 1935

Violet Keene Perinchief :: African Appeal, circa 1935. Phyllis Marshall. Gelatin silver print with hand retouching. | src Ryerson Image Centre
Violet Keene Perinchief :: African Appeal, circa 1935. Phyllis Marshall. Gelatin silver print with hand retouching. | src Ryerson Image Centre
Violet Keene Perinchief :: African Appeal, circa 1935. Phyllis Marshall. Signed, in pencil, au print recto. | src Stephen Bulger Gallery
Violet Keene Perinchief :: African Appeal, circa 1935. Phyllis Marshall. Signed, in pencil, au print recto. | src Stephen Bulger Gallery

Untitled (portrait), ca. 1910

Minna Keene (1861-1943) :: Sunshine and Shadow, 1904. (Photo from The Royal Photographic Society Collection – Victoria & Albert Museum, London) | src Getty Images
Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Untitled, circa 1910. Printed circa 1910. Carbon print mounted to single-ply period board and additional two-ply period board. | src Stephen Bulger Gallery and Flickr

Valerie Bettis’ “Leap”

Barbara Morgan :: Valerie Bettis, "Leap" [A woman leaping and twisting in the air, her feet and skirt visible], 1935-1945. src The J. Paul Getty Museum
Barbara Morgan :: Valerie Bettis, “Leap” [A woman leaping and twisting in the air, her feet and skirt visible], 1935-1945.
src The J. Paul Getty Museum
Barbara Morgan :: Valerie Bettis, "Leap" [A woman leaping and twisting in the air, her feet and skirt visible], 1935-1945. src The J. Paul Getty Museum
Barbara Morgan :: Valerie Bettis, “Leap” [A woman leaping and twisting in the air, her feet and skirt visible], 1935-1945.
src The J. Paul Getty Museum

Lili Madzsar, 1920s

Madzsar Lili tornamutatvány közben, az 1920-as évek elején. Magántulajdon. Digitális példánya az MTA BTK Művészettörténeti Intézetben | Lili Madzsar, daughter of Alice Madzsar, during a gymnastic exercise on the podium in the early 1920s. Private collection. Digital copy at the Institute of Art History of the Hungarian Academy of Sciences. | src papageno.hu

In 1926, Madzsar wrote the book New Ways of Women’s Body Culture, which proved extremely popular. The new 1929 edition was expanded with movement art chapters. Madzsar also plays an important role in Hungarian dance history: she created several public movement art performances with the school’s students and other participants, mostly from a working-class background. The image above was published in: Dr. Madzsarné Jászi Alice: A női testkultúra új útjai, 1926