Skip to main content


Showing posts from March, 2012

Hugo Erfurth (1874-1948)

Hugo Erfurth, Marc and Bella Chagall, 1923

Hugo Erfurth, Oskar Kokoschka, 1920

Hugo Erfurth, Max Beckmann, 1928

Helmar Lerski (1871-1956)

Series Köpfe des Alltags: 1928 - 1930, published 1931

source: George Eastman House

(Yemenititischer Knabe) “Yemenite Boy” 1933

George Hendrik Breitner (1857-1923)

George Hendrik Breitner, Girl in Red Kimono, Geesje Kwak, 1893–95

The Dam in Amsterdam, 1895 - 1898 pencil and brush on paper, 40 × 51 cm

George Hendrik Breitner, "View of construction site in Amsterdam?" (n.d.),  modern scan from original negative. Collection RKD, The Hague

George Hendrik Breitner:
Afbraak hoek Wijde Steeg, Amsterdam, ca.1908-10, oil on canvas.

Oudezijds Achterburgwal, Amsterdam (c. 1890–1900) Photograph, 30 x 35 cm, Rijksmuseum, Amsterdam

 "View of Schiedamsedijk and the corner with Leuvebrugsteeg" (circa 1906),
gelatin silver print. Collection RKD, The Hague

George Hendrik Breitner, "Horses and a passerby on Cruquiusweg" (n.d.),
modern scan from original negative. Collection RKD, The Hague


Second-sight: The Photographs of George Hendrik Breitner

Snapshot: Painters and Photography, Bonnard to Vuillard

An amateur art: the photographs of Emile Zola

EMILE ZOLA. A Restaurant, Taken from the First Floor
or Staircase of the Eiffel Tower, Paris, 1900.

Emile Zola (1840-1902) learned the rudiments of photography in 1888 from Victor Billaud, a newspaper editor in Royan during a vacation period at the sea side locality, in the Atlantic coast of France. After the completion of his cycle of novels titled The Rougon-Macquart in 1894, Zola dedicated himself fully to photography as a devoted amateur with a quasi-professional zeal and knowledge of photographic technique. He developed his own negatives and made enlargements as well as duly recorded experiments with materials and methods. His photographs document the artist’s private environment, his travels, family life, friends and his interest in all things modern as a witness to a changing world and to the developments of modern culture and of modern life.
Photography is not a central subject in his literary works, and yet his late dedication to photography can be seen as an integral …

Alfred Stieglitz (1864-1946) : modernity and the city

Winter - Fifth Avenue, 1893
carbon print (?)
39.9 x 32.4 cm.

The Terminal/New York, by Alfred Stieglitz, 1902

Reflections—Night, New York, by Alfred Stieglitz, circa 1896

From My Window at the Shelton, North, 1931


Alfred Stieglitz at the Metropolitan Museum
Alfred Stieglitz at George Eastman House

Robert Demachy (1859–1936)

Robert Demachy "In Brittany", 1904 From: Camera Work, No 5 1904

Robert Demachy "Toucques Valley", 1906 from: Camera Work. No 16 1906

Robert Demachy Dancer, c. 1909

Robert Demachy Academie,  1900

Robert Demachy Struggle, 1904

Clarence Hudson White (1871 – 1925)

Clarence H. White The Ring Toss, 1899

Clarence H. White Drops of Rain, 1903

Clarence H. White, Boy with Wagon, 1898 from: Camera Work, No 23, 1908

Alfred Stieglitz: The Eloquent Eye (1999)

Alfred Stieglitz: The Eloquent Eye (1999) A PBS documentary

link:   Alfred Stieglitz (1864–1946) and American Photography

The Photo Secession

Advertisement for the Photo-Secession
and the Little Galleries of the Photo-Secession, 
designed by Edward Steichen.
Published in Camera Work no. 13, 1906

The following notice appeared in Camera Work, no. 3, Supplement, July 1903
The Photo-Secession
    "So many are the enquiries as to the nature and aims of the Photo- Secession and requirements of eligibility to membership therein, that we deem it expedient to give a brief résumé of the character of this body of photographers.     The object of the Photo-Secession is: to advance photography as applied to pictorial expression; to draw together those Americans practicing or otherwise interested in the art, and to hold from time to time, at varying places, exhibitions not necessarily limited to the productions of the Photo-Secession or to American work.     It consists of a Council (all of whom are Fellows); Fellows chosen by the Council for meritorious photographic work or labors in behalf of pictorial photography, and Associates elig…

The Linked Ring

 The Photographic Salon exhibition of 1902 (source: Leggat pdf)
The Salon was created in 1893 by members of the Linked Ring.

"Many artists regard the hanging of their work at the Royal Academy almost as an accolade. So too with photographers. In the 1880s, the exhibitions mounted by the Photographic Society were regarded as the premier event. However, several of its members were becoming increasingly dissatisfied with the Society's emphasis on scientific as opposed to aesthetic matters. As time went on differences between the photographic scientists and photographic artists became greater and more acrimonious, and Henry Peach Robinson was becoming increasingly frustrated by the failure of the Photographic Society to recognize that there was an artistic dimension as well as a scientific one to photography. The Photographic News for 19 August 1892 pinpointed the problem: "If photography is ever to take up its proper position as an art it must detach itself from science and …