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YOUSUF KARSH Helden Aus Licht Und Schatten

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YOUSUF KARSH Helden Aus Licht Und Schatten Kronprinzenpalais Unter den Linden 3 Berlin-Mitte Lehrer-/Schülermaterial zur Ausstellung YOUSUF KARSH Helden aus Licht und Schatten 7. Dezember 2000 bis 27. Februar 2001 Eine Ausstellung des Deutschen Historischen Museums, Berlin im Kronprinzenpalais, Unter den Linden 3, 10117 Berlin Täglich außer mittwochs 10 bis 18 Uhr donnerstags 10 bis 22 Uhr letzter Ausstellungstag (27. Februar) bis 22 Uhr Eintritt frei! Peter Lorre Inhaltsverzeichnis Yousuf Karsh 1946 I. These der Ausstellung Seite 02 II. Ausstellungsrundgang Seite 03 III. Von Armenien nach Kanada - Lebensstationen Seite 05 IV. Arbeitsaufgaben für Schulklassen in den Fächern Bildende Kunst und Geschichte (ab 11. Kl.) Seite 08 V. Karshs Modelle Seite 12 VI. Literatur- und Internettipps Seite 13 Information und Kontakt Büro für Museumspädagogik und Besucherservice Stefan Bresky, Brigitte Vogel Tel.: 030-20 30 4-415/-416 Mobil: 01795196396 Fax: 030-20 30 4-408 e-mail: [email protected] Internet: http://www.dhm.de/ausstellungen/karsh Seite 1 © DHM, Büro für Museumspädagogik I. THESE DER AUSSTELLUNG Janet Yates, die für die Ausstellung recherchierte und das Aus- stellungskonzept mitentwickelte, vertritt folgende These über das künst- lerische Schaffen von Yousuf Karsh: »Mit Yousuf Karsh präsentiert das Deutsche Historische Museum einen der bedeutendsten Porträtfotografen des 20. Jahrhunderts. Den Prominenten, die er im Bild festhielt, verlieh er heroischen Glanz. Er folgt damit der großen Tradition, die mit den Porträtmalern des 17. und 18. Jahrhunderts ihren Höhepunkt hatte. Seine Fotos von den »very impor- tant persons« seiner Zeit sind inzwischen historische Dokumente. Mit Hingabe, Ausdauer und vorausschauendem Blick schuf Yousuf Karsh ein umfangreiches Werk. Von den 100 einflussreichsten Persönlichkeiten des 20. Jahrhunderts, die das »Who´s Who« 1999 auflistet, fotografierte er weit über die Hälfte und wurde selbst - als einziger Fotograf - in den Kreis der Großen gewählt. Sein Charme und seine Überzeugungskraft machten den »Moment der Wahrheit« möglich - jenen unerlässlichen Augenblick, in dem das Gegenüber sich öffnete und ihm sein Gesicht zeigte. Der beste Beweis seiner Kunst ist, dass sich Karshs Fotografien in einer bilderüber - frachteten Kultur ins Gedächtnis der Betrachter geprägt haben. Die Vielseitigkeit seines Werks ist allerdings kaum bekannt. Viele der hier Ruth Draper gezeigten Fotografien sind zum ersten Mal ausgestellt. Sie ermöglichen Yousuf Karsh einen umfassenden Blick auf Karshs Werk: Werbeaufnahmen und 1936 Industriefotografie, Standfotos zu Filmprojekten, Fotobücher und seine frühen Arbeiten als Porträtfotograf für den Alltagsbedarf. Seine Fotografien von Theateraufführungen bezeugen seinen Umgang mit Beleuchtungseffekten, die er nutzte, um seine Helden aus Licht und Schatten zu erschaffen.« (Janet Yates ist freischaffende Kuratorin in Ottawa. Sie entwickelte in Kanada und Europa interkulturelle und interdisziplinäre Ausstellungs- konzepte.) © DHM, Büro für Museumspädagogik Seite 2 II. AUSSTELLUNGSRUNDGANG Raum 1 Prominentenporträts Yousuf Karsh trat mit dem Porträt, das er am 30. Dezember 1941 vom britischen Premierminister Winston Churchill fotografierte, über Nacht ins Rampenlicht. Er hatte zwar schon viel Prominenz mit der Kamera fest- gehalten, doch dieser eine Druck auf den Auslöser machte ihn als Fotograf politischer Persönlichkeiten, Berühmtheiten und Künstler welt- weit bekannt. Danach öffneten die Großen dieser Welt ihm Tür und Tor. Im Herbst 1943 reiste Karsh von Ottawa nach London und fotografierte 42 berühmte Zeitgenossen. Seine Porträts wurden weit über den amerikanischen Kontinent hinaus veröffentlicht und bilden den Grundstock für sein erstes Buch »Faces of Destiny - Schicksalsgesichter«. Karsh fotografierte die Berühmten Nordamerikas und Europas. Einladungen, sein persönlicher Unternehmungsgeist und kommerzielle George Bernard Shaw Yousuf Karsh Aufträge tragen zu seinem internationalen Erfolg bei und führen zu einer 1943 eindrucksvollen, breit angelegten Sammlung von Porträts der Hollywood Stars für die Zeitschrift LIFE. Raum 2 »Karsh of Ottawa« Nachdem Karsh in Quebec von seinem Onkel in die Anfänge der Fotografie eingewiesen wurde, ging er von 1928 bis 1930 zu John H. Garo nach Boston, Mass. in die Lehre. Dessen Porträtkunst stand ganz im Zeichen der späten Piktoralisten mit ihren malerischen Fotografien. Schon dort hält Karsh die Prominenz im Bild fest. 1932 zog Karsh nach Ottawa und knüpfte Kontakte zum Ottawa Little Theatre, wo er die Schauspielerin Solange Gauthier, kennen lernte. Durch John H. Garo of Boston das Theater machte sich Karsh die neuen Möglichkeiten des Kunstlichts Yousuf Karsh und der Regie zueigen. Durch das Theater und Solange, die bald seine 1930 (erste) Frau und seine Geschäftsführerin wurde, knüpfte er Kontakte zu den führenden Größen der Stadt. Bald war er der »Hoffotograf« aller Honoratioren, die in Ottawa lebten oder die Stadt besuchten, so dass auch seine finanzielle Situation bald nichts mehr zu wünschen übrig ließ. Sein Logo »Karsh of Ottawa« spiegelt seine lebenslange Anhänglichkeit an jenen Ort, in dem seine Karriere begann. Raum 3 Kommerzielle Arbeiten Yousuf Karshs kommerzielle Arbeiten sind weniger bekannt und wurden bisher selten ausgestellt. Mit zwei im Vergleich zu seinen bisherigen Arbeiten untypischen Fotografien für Kodak unternahm er 1945 seine ersten Schritte in die Welt der Werbung. Auch bei den Zeit- schriftenreklamen für die Spirituosenfirma Calvert und den Titelseiten für Canadian Home Journal wich er von seinem charakteristischen Stil ab. 1950 machte er eine Serie eindrucksvoller Industrieaufnahmen für das Seite 3 © DHM, Büro für Museumspädagogik Stahlwerk Atlas Steel und die Automobilfabrik Ford of Canada. In der heroisierten Darstellungsweise der Arbeiter scheint seine persönliche Handschrift durch, nun mit der Absicht »diesmal den arbeitenden Menschen zu verherrlichen.« Karshs Fotografien kursieren weltweit in Zeitschriften, aber auch auf Briefmarken und Münzen. Schon früh in seiner Karriere erkannte er die Chance, die ihm die Massenmedien sowohl finanziell als auch im Hinblick auf einen breit angelegten Vertrieb seiner Arbeiten boten. Die Öffentlichkeit war Karshs eigentliches Publikum, und die unterschied- lichen Medien boten ihm Gelegenheit, seine unverwechselbaren Bilder auf den Markt zu bringen. Raum 4 Große Erfolge Arbeiter am Ölbohrturm In den fünfziger Jahren entwickelte Yousuf Karsh in seiner Porträtkunst Yousuf Karsh einen unverkennbaren Stil. Die Fachzeitschrift Popular Photography zähl- 1952 te Karsh 1959 zu einem der »Zehn bedeutendsten Fotografen der Welt«, zusammen mit Richard Avedon, Ansel Adams, Henri Cartier Bresson, Irving Penn, Alfred Eisenstaedt, W. Eugene Smith, Philippe Halsman, Gjon Mili und Ernst Haas. Sein kontinuierlich wachsendes Werk bot reichlich Material für Fotobände mit bemerkenswerten Bildern. Seit den achtziger Jahren sind Karshs Arbeiten - parallel zu den Fotobänden mit Prominentenporträts - ergänzt durch unbekannte Aufnahmen in zahlreichen Ausstellungen zu besichtigen. Yousuf Karsh arbeitete bis in die späten achtziger Jahre an seinem Lebenswerk. Raum 5 Projekte Im Verlauf seines Lebens nahm Yousuf Karsh neben seinen traditionellen Martin Luther King Porträtserien zahlreiche andere Projekte in Angriff. Diese Auftrags- Yousuf Karsh arbeiten zeigen nicht nur seine typische Handschrift - die Heroisierung 1962 der Charaktere und seine meisterliche Beleuchtungstechnik. Sie sind faszinierende Beispiele für seine Arbeitsweise außerhalb des eigenen Ateliers. 1951 fotografierte er für die Zeitschrift Maclean's eine vielteilige Fotoserie über kanadische Städte. Dabei konzentrierte er sich auf Land und Leute - auf geographische und menschliche Aspekte Kanadas. Außerdem arbeitete er als Standfotograf für verschiedenen Filme. Nicht immer lassen sich diese Aufnahmen als »typisch Karsh« erkennen. Viele dieser Fotos wurden bisher selten ausgestellt und standen im Schatten der überwältigenden Prominentenporträts - Karshs Hauptwerk. Karshs »anderes Gesicht« gilt es noch zu entdecken. Weizenfelder bei Regina Yousuf Karsh 1952 © DHM, Büro für Museumspädagogik Seite 4 III. VON ARMENIEN NACH KANADA - Lebensstationen des Yousuf Karsh Der 1908 geborene Karsh lebt seit 1924 in Kanada. Die folgende Abbildung zeigt ihn jedoch mit einem Kopfschmuck, der an die Märchen von »Tausend und einer Nacht« denken lässt. Der Turban weist in Richtung Orient und in der Tat stammt Yousuf Karsh aus Mardin in Armenien/Türkei. Die Auswanderung der Familie Karsh von Armenien/Türkei über Syrien nach Kanada erinnert an ein dunkles Kapitel der Geschichte: Zeugnisse armenischer Kultur besitzen wir seit Beginn des 1. vorchrist- lichen Jahrtausends. Mit den Eroberungen der osmanischen Türken im 16. Jahrhundert werden die Armenier zu einer christlichen Minderheit mit eigener Schrift im islamischen Osmanischen Reich. Nach dem Zerfall des Osmanischen Reiches entwickelte auch das Volk der Armenier im 19. Jahrhundert eine Nationalbewegung. Auf türkischer Seite führten diese Entwicklungen zu Plänen für eine gezielte Schwächung des armenischen Volkes. Zwischen 1894 und 1896 lässt der osmanische Sultan Abdul Hamid II. mindestens 100.000 Yousuf Karsh mit Turban Armenier von türkischen und kurdischen Spezialeinheiten ermorden. John H. Garo Zwangsbekehrung zum Islam und Vertreibungen ins Exil folgen. 1929 Ein englischer Beobachter kam 1897 zu dem Schluss: »Die Armenier werden mit allerhöchster Wahrscheinlichkeit ausgerottet werden, soweit sie nicht in andere Länder entkommen können.« (Ramsey, W.M.,
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