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Destiny Emigration an Exhibtion in Cooperation with FOTOHOF Archiv, Salzburg and Mandello, Barcelona/New York
GERTI DEUTSCH (1908-1979) JEANNE MANDELLO (1907-2001) Destiny Emigration An exhibtion in cooperation with FOTOHOF archiv, Salzburg and Mandello, Barcelona/New York Das Verborgene Museum at the European Month of Photography Berlin Destiny Emigration reconstructs the stories of two Jewish photographers, Gerti Deutsch and Jeanne Mandello. Each left her country when the Nazis took power. Gerti Deutsch Gerti Deutsch, Oskar Kokoschka, Salzburg 1958 escaped Vienna for London in 1936, two years before Austria was annexed by the Germans. Jeanne Mandello had already fled Frankfurt in 1934, heading first for Paris and then for Montevideo in Uruguay. Gerti Deutsch: Vienna 1908 – 1979 London Born in 1908 and raised in the heart of Vienna, she trained as a photographer in 1933 – 1935 at the Graphische Lehr- und Versuchsanstalt in her native town. Austrofascism had already curtailed the liberal lifestyle and its propaganda proclaimed a visual aesthetic in photography that glorified the homeland. Gerti Deutsch, on the other hand, preferred everyday motifs that were at odds with this norm, such as her high-angle shot of people waiting at a provincial railway station (1930s), and the diagonals that were a hallmark of modern photography. In 1936 she left Vienna for London, where her principal client until 1950 was the liberal, anti-fascist “Picture Post”, founded by Stefan Lorant in 1938. She produced 64 pictorial Jeanne Mandello, Arbeiter, reports on cultural topics and current affairs, including photographic series on subjects Montevideo 1945 like the Jewish refugee children brought over from Germany (1938) or Austrian POWs Duration returning home from the war (1948). Having managed to salvage most of her work, she 29th September 2016 – 5th February 2017 returned to Austria to take pictures after the Second World War, not only at the Opening 28th September 2016, 19 h traditional Salzburg Festival but also of country people at rural festivals. -
Occassional Papers: the New Photography 1920S–1940S
occasional papers DEPARTMENT OF INTERNATIONAL AND AUSTRALIAN PHOTOGRAPHY Introduction cover: UMBO Selbst (Self- The National Gallery of Australia began acquiring Over the years many substantial talks have been portrait) c 1930, printed 1980 gelatin silver photograph photographic art in 1972, and in 2012 current given by staff and guest speakers, and those papers National Gallery of Australia, holdings are over 25000 works, of which over half that were not published are now planned to be Canberra, purchased 1983 are Australian. This significant print collection is progressively placed on the Gallery’s website. above: Lev Levitsky complemented by the National Gallery of Australia Tsar Nicholas II of Russia and A number of specific strengths exist in the Gallery’s Tsarina Alexandra Research Library’s excellent and extensive catalogue with children, Peter Hof, collection, including holdings of modernist 16th August 1901 of photographic literature. National Gallery of Australia, photography of the 1920s to 1930s. This paper Canberra, purchased 2006 The story of the development of the Gallery’s addresses background material to the modern photography collection has been told in the Gallery’s photography collection and has been contributed publication Building the collection, released in 2003. by Robert Deane, former Assistant Director Significant new directions began in 2006 with a (Administration), currently a volunteer and new focus on the representation of the history of Honorary Researcher. photography in the Asia-Pacific region, announced in October 2005 by Director Ron Radford in his Gael Newton Senior Curator, Photography A vision for the National Gallery of Australia. June 2012 (That document and further information can be found on the Gallery’s website: nga.gov.au, see tabs for ‘information’ and ‘collections’.) The New Photography 1920s–1940s ‘Photography is the art of the revolution’1 The Great War saw the annihilation of an entire societies through the fields of advertising, left: Cover of Das Deutsche Lichtbild 1927. -
Read a Free Sample
BILL BRANDT 2 The Museum of Modern Art, New York BILL BRANDT SHADOW & LIGHT Sarah Hermanson Meister 5 Published in conjunction with the Published by The Museum of Front cover: Belgravia, London, 1951. exhibition Bill Brandt: Shadow and Light, Modern Art, New York Gelatin silver print, 9 ¼ x 7 ½" (23.5 x Director’s Foreword ............................. 6 1 LoNDON IN THE THIRTIes ........ 32 List of Plates .........................................182 at The Museum of Modern Art, New 11 West 53 Street 19.1 cm). Collection David Dechman York (March 6–August 12, 2013), New York, NY 10019 and Michel Mercure Glenn D. Lowry organized by Sarah Hermanson Meister, www.moma.org (see page 150) 2 NORTHERN ENGLAND .............. 70 Curator, Department of Photography. “No Rules”: An Illustrated .....................186 © 2013 The Museum of Modern Art, Back cover: Henry Moore, 1960. Gelatin Acknowledgments ................................ 8 Glossary of Bill Brandt’s Major support for the exhibition is New York silver print, 9 ⅛ x 7 ¹³⁄16" (23.1 x 19.8 cm). provided by GRoW Annenberg/ The Museum of Modern Art, New York. Sarah Hermanson Meister 3 WORLD WAR II ............................84 Retouching Techniques Annenberg Foundation, The Robert All works by Bill Brandt are © 2013 Gift of Edwynn Houk Mapplethorpe Foundation, Heidi and Bill Brandt Archive Ltd. Copyright (see page 118) Lee Ann Daffner Richard Rieger, Ronit and William credits for certain illustrations are cited .............................. 10 4 PORTRAITS ................................. 108 Berkman, and by Peter Schub, in honor in the photograph credits on page 207. Endpapers: Detail of Cuckmere River, Shadow and Light: of Anne and Joel Ehrenkranz. Research All rights reserved. Sussex, 1963 The Life and Art of Bill Brandt Bill Brandt’s Published ....................... -
Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945
Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 i © 2014 Jennifer Elizabeth Anne Rudd All rights reserved ii Abstract Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd This study offers a history of the concept of realism in portrait photography through the examination of a set of categories that have colored photographic practices since the origins of the medium in 1839: the posed and the candid. The first section of this study deals with the practices of posing in early photography, with chapters on the daguerreotype, the carte de visite, and the amateur snapshot photograph. Considering technological advances in conjunction with prevailing cultural mores and aesthetic practices, this section traces the changing cultural meaning of the portrait photograph, the obsolescence of the pose, and the emergence of an “unposed” aesthetic in photography. The second section of this study examines three key photographers and their strategies of photographic representation, all of which involved candid photography: it looks at Erich Salomon’s pioneering photojournalism, Humphrey Spender’s politicized sociological photography, and Walker Evans’ complex maneuvering of the documentary form. Here, the emphasis is on the ways in which the trope of the candid informed these three distinct spheres of photography in the early 20th century, and the ways in which the photographic aesthetic of candor cohered with—or contested—political and cultural developments of the interwar period in Germany, Britain, and the United States. -
Picture Stories: the Rise of the Photoessay in the Weimar Republic
INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 Picture Stories: the Rise of the Photoessay in the Weimar Republic Anton Holzer Translated by Elisabeth Lauffer HCM 6 (1): 1–39 DOI: 10.18352/hcm.520 Abstract Between the mid-1920s and the early 1930s German photojournalism experienced a profound, far-reaching upheaval. Up until this time, the illustrated mass media had favoured the reproduction of single photos, but during this brief period the photo-essay rose to prominence. Photographs and texts were integrated into a new, complex narrative unity: photo- reportage. This article aims to reconstruct the historical conditions under which modern photo-reportage arose during the Weimar Republic. It will also revise certain accepted judgements about the history of photojournal- ism between the world wars. The development of modern photojournalism has until now been identified almost exclusively with the achievements of individual protagonists, mainly prominent photographers. Although these individuals played an important role in the production process of photo- reportage, they were rarely consulted regarding editorial questions and layout. In order to better understand the economic development of photo- reportage and its growth as a medium, it is necessary to examine the edito- rial work being done behind the scenes at the magazines and newspapers of the time. This article will therefore focus more on the development of the media and economic macrostructures at play in the emergence and growth of photo-reportage, and less on individual photographers’ contributions and photojournalistic output. -
Lorant's Picture Post
LORANT’S PICTURE POST Michael Hallett Stefan Lorant with Michael Hallett, Lenox Mass, February 1997 photo: Sue Mead ‘What is the use of a book’, thought Alice, ‘without pictures or conversations.’ Lewis Carroll from Alice in Wonderland, 1865 For Heinz K. Henisch (1922-2006) who understood the Lorant enigma, and provided unwavering support, wisdom & wit. The ARTicle Press: Michael Hallett was Founding Publishing Editor for The ARTicle Press, a publishing venture run by the University of Central England's Department of Art (now Birmingham City University, School of Art). The Press published some fifteen scholarly publications and one journal between late-1990 and March 1997. It was very much a one-man show in those early days of the computer using Apple Mac and Pagemaker. Republishing in 2020 The Real Story of Picture Post was originally published in 1994 by The ARTicle Press with copyright being retained by the two authors. Stefan Lorant published much of his later work with his own imprint, Author’s Edition. Now The Real Story of Picture Post is being republished with additions by Michael Hallett under his own imprint, CrabApple Publications. The crab apple is a versatile fruit indigenous to Worcestershire. Published by CrabApple Publications, Worcester. U.K. Designed with Pages using Helvetica Neue fonts. Copyright © 2020 Michael Hallett All rights reserved. The scanning, uploading and electronic sharing of any part of this book without the permission of the author is unlawful piracy and theft of the author’s intellectual property. Thank you for your support of the author’s rights. ISBN see back cover First edition / v2.3a / September 10, 2020 The author can be contacted at [email protected] The dedication that Stefan Lorant wrote on Michael Hallett’s copy of The Real Story of Picture Post The Real Story of Picture Post (original text) Michael Hallett, Principal Lecturer, School of Theoretical & Historical Studies in Art & Design, University of Central England. -
Evoking Genocide Scholars and Activists Describe the Works That Shaped Their Lives
Evoking Genocide Scholars and Activists Describe the Works That Shaped Their Lives Edited by Adam Jones The Key Publishing House Inc. Copyright © 2009 Adam Jones All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without prior written permission. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First Edition 2009 The Key Publishing House Inc. Toronto, Canada Website: www.thekeypublish.com E-mail: [email protected] ISBN 978–0–9782526–9–4 paperback Cover design and typesetting Olga Lagounova Indexer Jennifer South Printed and bound in ....... This book is printed on paper suitable for recycling and made from fully sustained forest sources. Library and Archives Canada Cataloguing in Publication Evoking genocide : scholars and activists describe the works that shaped their lives/editor, Adam Jones. — 1st ed. Includes bibliographical references and index. ISBN 978-0-9782526-9-4 1. Genocide. 2. Genocide — Psychological aspects. 3. Genocide in literature. 4. Genocide in art. 5. Scholars — Biography. 6. Social reformers — Biography. 7. Political activists — Biography. I. Jones, Adam, 1963– HV6322.7.E96 2009 364.15’1 C2009–900699–5 Published in association and grant from The Key Research Centre (www.thekeyre- search.org). The Key Publishing promotes mutual understanding, respect and peaceful coexistence among the people of the world. We represent unique and unconventional voices whose objective is to bring tolerance, peace, harmony, and happiness to our human society. The Key Publishing House Inc. -
In Search of the Ideological Origins of the Holocaust
IN SEARCH OF THE IDEOLOGICAL ORIGINS OF THE HOLOCAUST Cyprian Blamires MA (Oxon) D.Phil Maryvale Institute Lecture given at the Center of European Studies and the School of Humanities and Social Sciences Pontificia Universidad Católica Madre y Maestra 25 June 2020 Good afternoon. I would like to thank Dr. Armenteros and Dr. Bello for inviting me to speak with you today. I am very sorry that I cannot be with you in person in Santo Domingo to give this conference. I look forward to coming to visit and speak on another topic at a later date. What I am going to do today is to offer a first glance at a book which I have been working on since the publication of my World Fascism: a Historical Encyclopedia .1 The subject is incredibly important, but at the same time extremly delicate. The Holocaust: one of the most horrendous atrocities in all of modern history, which consisted in the deliberate and systematic shooting, gassing, or murder by brutal neglect of human beings, men, women, children, picked up from all over Europe and sent by train to a hideous end. This war waged by Hitler and his inner cabinet against the Jews of Europe has been the object of a vast quantity of studies. However, only a relatively small number of them has addressed the central question: Why? Why did the National Socialist leaders decide not simply to enslave or rob or exploit the Jews, but actually to remove them from the face of the earth? I am a historian of ideas. -
Reading Magazines: Stefan Lorant and Picture Post, 1939-1941 : A
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2012 Reading Magazines: Stefan Lorant And Picture Post, 1939-1941 : A Study Of The icP ture Editor's Work From The Archive Of Modern Conflict's Collection Hila Cooper Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation Cooper, Hila, "Reading Magazines: Stefan Lorant And Picture Post, 1939-1941 : A Study Of The icturP e Editor's Work From The Archive Of Modern Conflict's Collection" (2012). Theses and dissertations. Paper 1304. This Thesis is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. READING MAGAZINES: STEFAN LORANT AND PICTURE POST, 1939-1941. A study of the picture editor’s work from the Archive of Modern Conflict’s Collection Hila Cooper BA Honors University of Haifa, 2007 A thesis presented to Ryerson University and The Archive of Modern Conflict (AMC), Toronto in partial fulfillment of the requirements of Master of Arts in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2012 © Hila Cooper i AUTHOR’S DECLARATION PAGE I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. -
Cover of the Manuscript For
©2010 COPYRIGHT FOR THIS WORK IS HELD BY DAVID J. MARCOU AND MATTHEW A. MARCOU CoverAll Picture of the Manuscript Post photos, for 1937: -1957, are derived from the Hulton Collection and are provided courtesy of Getty Images. Other illustrations for this text can be found at the end of this book in the appendix. CREDIT MUST BE GIVEN TO DAVID J. MARCOU AS AUTHOR All the Best Britain’s Picture Post Magazine, Best Mirror and Old Friend to Many, 1938-57. First cover of Picture Post Magazine, Oct. 1, 1938 taken by Kurt Hutton; Photo courtesy of Getty Images #74218345 Researched and Written by David J. Marcou. Original Draft‘s Copyright©1993 David J. Marcou and Matthew A. Marcou. Final Draft‘s Copyright©2010++ David J. Marcou and Matthew A. Marcou. For my parents (David Ambrose and Rose Caroline Marcou), my son (Matthew Ambrose Marcou), the rest of our family, our friends, all my editors, publishers, students, teachers, as well as the diverse and talented people (living or deceased) who made a profound contribution to the art of the photo-essay with Picture Post -- especially Stefan Lorant, Sir Edward Hulton, Sir Tom Hopkinson, Bert and Sheila Hardy, James Cameron, Nachum Tim Gidal, Robert Kee, Matthew Butson (of Getty Images), and Jon Tarrant, former editor of the British Journal of Photography, the staffs of the La Crosse Public Library (the online publisher for this text, with the UW-La Crosse Library), Wisconsin Historical Society, National Portrait Gallery of Britain, the Smithsonian Institution, the Museum of Modern Art, the International Center of Photography, the George Eastman House Library, the British Museum, the national libraries of South Korea, Britain, France, Ireland, the Philippines, Australia, and America, and all those who assist the lives of myself and my extended family. -
Robert Capa Fényképezôgépe Rögzített
2009. július 3 – október 11. ROBERT LUDWIG MÚZEUM Kortárs Mûvészeti Múzeum Museum of Contemporary Art CAPARober t CAPA 1 A 20. század számos világtörténelmi jelentôségû In the public mind, the most vivid images of ROBERT eseményérôl az a kép él a köztudatban, amelyet crucial events of 20th-century world history were CAPA Robert Capa fényképezôgépe rögzített. Legnagy- originally recorded by the camera of Robert Capa. szerûbb és legismertebb fotói olyan elemi erejû His greatest and most famous photos have an 2009. július 3 – október 11. | 3 July – 11 October, 2009 képek, amelyek sûrített formában közvetítik az elemental power to crystallize the essence of Ludwig Múzeum – Kortárs Mûvészeti Múzeum | Ludwig Museum – Museum of Contemporary Art utókornak egy történelmi pillanat lényegét. Robert historical moments for posterity. Capa jelen volt ott, ahol fontos dolgok történtek. When important things were happening, Robert A kiállítást rendezte a Magyar Nemzeti Múzeum | The exhibition was organized by the Hungarian National Museum Kalandvágytól és elhivatottságtól hajtva vett részt Capa was there. Driven by a thirst for adventure and azokban az eseményekben, amelyeket elsôként vagy a commitment to his task, he was the first or sole kurátor | curator egyedüliként ô dokumentált, és amelyek késôbb chronicler of events that later proved to be turning Páldi Lívia, a Mûcsarnok fôkurátora | Chief Curator of Mûcsarnok|Kunsthalle Budapest valóban történelmi fordulópontoknak bizonyultak. points in history. kiállítás tervezés | exhibition design Európai és amerikai képes magazinokban Reproduced in European and American illustrated Bak Andrea százezerszámra reprodukált és sokszorosított magazines by the hundreds of thousands, Capa’s képeivel Capa a 20. század egyik legfontosabb photos made him one of the most important annalists szakértôk | advisors: Baji Etelka történész-szakmuzeológus PhD | historian, Cs. -
Stefan Lorant Collection, Ca
http://oac.cdlib.org/findaid/ark:/13030/tf6d5nb1hh No online items Finding aid for the Stefan Lorant collection, ca. 1869-1993 Finding aid prepared by Brent Maddox. Finding aid for the Stefan Lorant 920024 1 collection, ca. 1869-1993 Descriptive Summary Title: Stefan Lorant collection Date (inclusive): ca. 1869-1993 (bulk 1920-1992) Number: 920024 Creator/Collector: Lorant, Stefan, 1901-1997 Physical Description: 47.0 linear feet(47 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: A founder of modern pictorial journalism. Photographic documentation collected by Lorant represents German history from the Bismarck era to the Nuremberg Trials (ca. 1871-1946). A smaller portion of the collection consists of stills from Lorant's silent films and personal photographs of himself, his friends, and family. Extensive correspondence from his American years primarily concerns book projects. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English and German. Biographical/Historical Note Stefan Lorant was born Lóránt Istvánt in Budapest on February 22, 1901. His father was director of Erdélyi, the largest photographic studio in Budapest. Lorant attended the Lutheran Evangelical Gymnasium and the Academy of Economics, where his classmates included Johnny von Neumann and Nobel laureates Eugene Wigner, Dennis Gábor, and Georg von Bekesy. Lorant began taking photographs with a postcard camera, progressed to portrait photos, and in 1914 started publishing photos in Budapest newspapers and magazines.