Tag: women artists

Colette Baltzakis · Hands

sequence
Colette Baltzakis (1926-2014) :: Hands # 1, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 1, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 2, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 2, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 3, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 3, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 4, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 4, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 5, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 5, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 6, Paris, 1952. | src Colette Baltzakis Collection at eye-eye
Colette Baltzakis (1926-2014) :: Hands # 6, Paris, 1952. | src Colette Baltzakis Collection at eye-eye

Maud Cronhielm (in 1920s)

Maria Sundström :: Maud Cronhielm fotograferad inför kostymbal i Karlskrona (Porträtt), 1920s. | src Sörmlands museums samlingar
Maria Sundström :: Maud Cronhielm fotograferad inför kostymbal i Karlskrona (Porträtt), 1920s. | src Sörmlands museums samlingar
Maria Sundström :: Maud Cronhielm fotograferad inför kostymbal i Karlskrona (Porträtt), 1920s. | src Sörmlands museums samlingar
Hugo Fredrik Cederin :: Maud Cronhielm (Porträtt), 1920s. | src Sörmlands museums samlingar
Hugo Fredrik Cederin :: Maud Cronhielm (Porträtt), 1920s. | src Sörmlands museums samlingar
Hugo Fredrik Cederin :: Maud Cronhielm (Porträtt), 1920s. Visitkort. | src Sörmlands museums samlingar
Hugo Fredrik Cederin :: Maud Cronhielm (Porträtt), 1920s. Visitkort. | src Sörmlands museums samlingar

Leni Riefensthal by Lotte Jacobi

Atelier Jacobi :: Kleine Sphinx. Leni Riefensthal showed strong dramatic qualities in The White Hell of Pitz Palu (1929). Scherl's Magazin, Band 6, Heft 2, Februar 1930
Atelier Jacobi :: Kleine Sphinx. Leni Riefensthal showed strong dramatic qualities in The White Hell of Pitz Palu (1929). Scherl’s Magazin, Band 6, Heft 2, Februar 1930
Kleine Sphinx. Die schöne Filmschauspielerin Leni Riefenstahl, die in dem Hochigebirgsfilm „Die weiße Hölle vom Piz Palü” starke darstellerische Kraft verriet. Phot. Atelier Jacobi, Berlin. Scherl's Magazin, Band 6, Heft 2, Februar 1930
Kleine Sphinx. Die schöne Filmschauspielerin Leni Riefenstahl, die in dem Hochigebirgsfilm „Die weiße Hölle vom Piz Palü” starke darstellerische Kraft verriet. Phot. Atelier Jacobi, Berlin. Scherl’s Magazin, Band 6, Heft 2, Februar 1930

Francesca’s nude self-portraits

Francesca Woodman :: Untitled, Providence, Rhode Island, 1976 (Self-portrait, nude with glass) | Kode museer
Francesca Woodman ~ Untitled, Providence, Rhode Island, 1975-1978. Christen Sveaas’ Kunststiftelse. | Private Eyes @ Kode museer
Francesca Woodman ~ Untitled, Providence, Rhode Island, 1976 (Self-portrait, nude with glass) | src Sotheby’s
Francesca Woodman :: Untitled, Providence, Rhode Island. Relating to Portrait of a Reputation, 1975-76. | src Sotheby's
Francesca Woodman ~ Untitled, Providence, Rhode Island. Relating to Portrait of a Reputation, 1975-76. | src Sotheby’s

Justema by Mather, ca. 1923

Margrethe Mather :: Semi-nude [Billy Justema Wearing a Kimono], ca. 1923. Center for Creative Photography. University of Arizona, Tucson
Margrethe Mather :: Semi-nude [Billy Justema wearing a Kimono]; ca. 1923. Center for Creative Photography. University of Arizona, Tucson

When Margrethe Mather (1885 or 1886-1952) met Billy Justema in 1922, she was 36 and he was 17. Through spending time with him, Mather found a way out of her grief over the unexpected suicide of her close friend Florence Deshon. Through their relationship, Justema searched for a state of mind that would allow him to define both his artistic path and his sexuality. Mather photographed him as an enigma, as he was at the time to himself, in the process creating a portfolio to rival that of Alfred Stieglitz’s images of Georgia O’Keeffe. I could point out the sure compositional structure that informs Billy Justema in a Kimono (above), the curves and angles that form a harmonious whole, all things typical of Mather’s work. [quoted from The Blue Lantern on blogspot]