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The camera at the Bauhaus served as an instrument for the documentation of the Bauhaus objects and architecture, resulting in many photographs that look like modern still lives. For example, there are some interesting compositions of teapots from the metal workshop. Since cameras were relatively affordable for the students, these were also used to record their daily life life at the Bauhaus. Within this documentation of daily life at the Bauhaus by the female photographers, many of the images are shaped by (self-)portraiture. Self-awareness of the subject becomes apparent when looking at self-portraits, as it is a staged image that can tell us about the way the photographer wanted to depict herself. These examples show us Marianne Brandt portraying herself through a shiny metal ball, which identified her with her profession. Marianne Brandt is also remembered as a pioneering photographer, taking photographs that featured unusual angles and intriguing reflections—in particular, self-portraits—and distorted and disorienting reflections in glass and metal surfaces, as in the second image (Self portrait, from 1928/29). She created experimental still-life compositions, but also playful and expressionistic self-portraits that represent her as a strong and independent New Woman of the Bauhaus.
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#mariannebrandt #bauhausphotography
“With Florence Henri’s photos, photographic practice enters a new phase, the scope of which would have been unimaginable before today…Reflections and spatial relationships, superposition and intersections are just some of the areas explored from a totally new perspective and viewpoint.” - László Moholy-Nagy, December 20, 1928
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Florence Henri (1893-1982) trained as a painter under Léger and turned to photography after enrolling at the Bauhaus in Dessau in 1927. Encouraged by Hungarian photographer László Moholy-Nagy, Henri became a major figure in avant-garde photography from the end of the 1920s into the 1940s. Reflecting Bauhaus: Photographs & Painting is currently showing @atlasgallery thru 18 May.
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Image: Portrait Composition (Margarete Schall), 1928
Headed to Kyoto today to attend the talk on the Influence of the Bauhaus on Japanese Photography. This should be right up my alley. I’m excited for this. Speakers are Christiane Stahl, Sonia Voss, and Kotaro IIzawa. The talk will be in both English and Japanese. #kyotographie #bauhaus #kyotographie2019 #Kotaro IIzawa #bauhausphotography #Sonia Voss #Christiane Stahl #japanesephotography #japanesephoto #bauhausinfluence #Japan #photography #analogue #analoguephotography #germanphotography #Ryosokuin #composition #materiality #rhythm #movement #Alfredehrhardt #avantgarde #germanavantgarde #日本写真 #バウハウス #アナログ #アナログ写真 #京都写真
For this year's Bauhaus anniversary a lot is talked about the male heroes of the art school. The women at the Bauhaus, however, have been less noticed. At the same time, they also decisively shaped the "Gesamtkunstwerk Bauhaus". For example, the metal designer Marianne Brandt, whose teapots or sugar bowls are among the most famous Bauhaus works ever. The photograph is Brandt's self portrait.
#bauhaus100 #bauhaus #mariannebrandt #metaldesign #mariannebrandtdesign #reflection #bauhausphotography #bauhausarchiv #bauhausclothing
We are posting up a series of photograms that we have for sale. Prices range from $200 to $175,000.
Laszlo Moholy-Nagy: Untitled Positive Photogram. Silver print, 9-1/4 x 6-7/8 in. (235 x 175 mm), 1925/1925, unmounted. 376.
Stamped on reverse of print: "Moholy-Nagy, berlin, chbg 9, fredericiastr. 27 atelier." There are three-four other known prints of this image, and one is in an institutional collection. The exact photogram from which this positive print was made has never been published, although variations utilizing the same objects have appeared in prints.
Provenance: artist; Chicago School of Design; William Larson, who was a teacher at the school. For more information on his positive prints from original photograms, see: Andreas Haus, Moholy-Nagy, pp.134-135, 142, 145-146 and 150.
See: Rice and Steadman, Photographs of Moholy-Nagy, p.62; Alex Novak, For the Love of the Image: A Selection of 110 Photographs, p.41, pl.44.
Atlas Gallery exhibits photographs and paintings by celebrated Bauhaus artist Florence Henri (1893-1982). Originally trained as a painter, Henri turned to photography after enrolling at the Bauhaus school of art, design and architecture in Dessau in 1927 where she encountered Constructivism, Surrealism, Dadaism and De Stjil. Having previously featured in major exhibitions worldwide, this will be the first time for almost twenty years that such a rare collection of works has been exhibited in the UK. Florence Henri: Reflecting Bauhaus: Photographs and Painting is on show 29 March to 18 May.
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Image: Composition (Nature Morte), 1931 © Martini & Ronchetti, courtesy Archives Florence Henri
@atlasgallery
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