Friday, September 23, 2011

Eva Watson-Schütze

Eva Watson-Schütze





"Woman with Lily," ca. 1903

"Mother and Children Look at an Album," 1904


"Children Reading," ca. 1900

""Jane Byrd McCall Whitehead with Ralph Radcliff-Whitehead, Jr."



"Frederico Stallforth"


Eva Watson-Schütze biography from The National Museum of Women in the Arts:

Like many late-19th-century photographers, Eva Watson-Schütze originally intended to become a painter. Born Eva Lawrence Watson, the native of Jersey City, New Jersey, spent six years studying at the Pennsylvania Academy of the Fine Arts, primarily with Thomas Eakins. By her late twenties, however, Watson had developed a passion for photography. Between 1894 and 1896 she shared a studio space with another Academy alumna, and the following year she opened her own Philadelphia portrait studio. Within four years Watson had established a significant reputation as a professional photographer -- exhibiting her works in the prestigious Philadelphia Salon and in group shows that traveled to London and Paris; writing articles on photography for several periodicals; and being labeled one of the "Foremost Women Photographers of America."

Watson married the German-born lawyer Martin Schütze in 1901 and moved to Chicago. There, Watson-Schütze's career continued to prosper: in 1902 she was elected to membership in the Linked Ring, an important London-based organization that promoted pictorialism (emphasizing the artistic as opposed to the purely documentary aspects of photography); the next year she was a founding member of the Photo-Secession; and in 1905 she had her work exhibited at Alfred Stieglitz's influential New York gallery, 291.

Watson-Schütze established a new studio in Chicago and soon attracted a large and appreciative clientele for her romantic, yet powerfully composed portraits and figure studies. Beginning in 1902, she and her husband spent their summers in Woodstock, New York. Eventually, Watson-Schütze lived there six months out of the year, working on photography and painting.

Friday, September 16, 2011

Izis -- Israëlis Bidermanas


Izis -- Israëlis Bidermanas  (1911–1980)










Jacques Prevert



 
Edith Piaf

Jacques Prevert


Israëlis Bidermanas biography from Breitbart:


Chagall painting the ceiling of the Paris opera, young lovers kissing by the Seine, grimy-faced children at play in the streets: French photographer Izis captured the poetry of Paris in the 1950s. Izis (Israëlis Bidermanas) was born in Lithuania.

Izis was part of the French humanist movement that focused on scenes of everyday Parisian life, but he never achieved the fame of his contemporaries Robert Doisneau, Henri Cartier-Bresson, Willy Ronis and Brassai.

Born Izraelis Bidermanas in Lithuania under Tsarist Russia, Izis fled his country at the age of 19, arriving in Paris penniless and enormously grateful for the refuge afforded to him.

"He wrapped his arms around Paris," said Izis' son, Manuel Bidermanas, a former director of the Sygma photo agency.

A melancolic, at times brooding artist, Izis injected some of that sadness into his work. His photographs of working-class Paris -- children in the street, men eating in cafes, laundry hanging from clotheslines -- show hardship but also dignity.

"I would say his work had a form of poetic sadness," said Bidermanas. "He believed that we were all, deep down, quite fragile."

"Izis' "poetic sadness" was rooted in personal tragedy.

During the war, Izis, his wife and Manuel, then only three years old, were forced to flee Paris when it came under German occupation. The family was taken in by farmers in a village near Limoges.

Izis' parents and brother who had stayed behind in Lithuania were killed during the mass extermination of Jews.

In 1944, he joined the French Resistance and put his talent at the service of the cause, snapping shots of Resistance fighters. Those portraits of young men established him as a name in photography.

Returning to Paris, Izis opened a small studio and in 1949 went to work for Paris Match magazine, where he stayed for 20 years.

Some of his famous works include a 1952 photo of Albert Camus, looking out from a Paris apartment balcony, with knitted brow, and choreographer Roland Petit, his fingers outstretched to show a dance movement.

He published several books of photographs and in 1951 was invited to display his work alongside Doisneau, Cartier-Bresson, Ronis and Brassai at New York's MoMA.

Izis scored a major scoop in 1963 when he was allowed to photograph Marc Chagall painting the ceiling of the Paris Garnier Opera house, at a time when the choice of the artist stirred controversy.

Paris Match ran a 20-page spread on the Chagall photos showing the Belarus-born artist, then 76, staring up at his masterpiece, paint brush in hand.

A series of photographs he did at the 1953 coronation of Queen Elizabeth gave him international exposure and he also made an emotional journey to Israel in 1952.

"This is 'my Paris' that I have always photographed," he wrote in the 1970s. "It is not modern Paris, neither is it old Paris."
Izis died at his Paris home in May 1980 at the age of 79.

Friday, September 9, 2011

James Ravilious

James Ravilious





Archie Parkhouse with Ivy for Sheep, Millhams, Dolton, Devon, England, 1975

Jean Pickard Leading Her Flock, Woolridge, Dolton, Devon, England, 1975

Farrier Shoing a Horse, Bradstone, Devon, England, 1999

Dr Paul Bangay Visiting a Patient, Langtree, Devon, England, 1981

Gatehouse and Garden, Lanhydrock House, Cornwall, England, 1990

Dovecote, Abbaye de Mortemer, Normandy, France, 1985

View towards Iddesleigh and Dartmoor, Iddesleigh, Devon, England, c1985


Many thanks for Robin Ravilious for her cooperation and kind permission to reproduce James' work here on Masters of Photography.


A Biography from James Ravilious: A Photographer of Rural Life:

James Ravilious was born at Eastbourne, England, the second son of Eric Ravilious, the war artist, wood-engraver and designer. James studied art at St Martin's School of Art, London, and then taught painting and drawing in London for some years. He married Robin Ravilious (daughter of the glass-engraver Laurence Whistler) in 1970, and in 1972 they moved to Devon to live in a cottage near her family home in Dolton. They had two children: Ben and Ella.

In the early 1970's James took up photography (self-taught), having seen its potential in the work of the great French photographer Henri Cartier-Bresson. Now John Lane, director of the arts centre in the neighbouring village of Beaford, invited James to contribute some work to the newly set up Beaford Archive, intended as a photographic record of life in a largely unspoilt, but vulnerable, country area. What started as a short-term project grew into a seventeen year obsession. In that time James took over 80,000 black and white images of all aspects of local life: landscape, farming, everyday life in the local towns and villages, and their special occasions. He also borrowed and copied over 5,000 early photographs of the same area.

The resulting historical span, and detail, he gave to the Archive makes it probably the most intensive record of any rural area in England. But it is more than that. Though never posed, James's pictures are composed with the eye of an artist, and they capture subtle qualities of light - the result of years of experiment with pre-war Leica cameras and uncoated lenses. Above all, they are warmed by his affection and admiration for the people whose lives he recorded. His pictures reveal real life as it was being lived in late 20th century rural England when the country traditions that have been handed down for hundreds, if not thousands, of years were still part of everyday existence.

In addition to his work for the Beaford Archive, James undertook many private commissions, such as the arts and environment body Common Ground's influential Save Our Orchards campaign, Somerset County Council's Mendip Project, and recording work for Devon County Council. He also photographed in France (especially in Normandy and the Cevennes), as well as in Italy, Greece and Ireland, and other parts of the British Isles. Privately, he took a number of colour images in Devon that parallel his work for the Beaford Archive.

James's work has been exhibited in England, France and America; and can be seen in several collections. He published a number of books of his photographs, and contributed to many others. In 1997 he was given Honorary Membership of the Royal Photographic Society in recognition of his contribution to photography. He died of lymphoma in 1999.

Friday, September 2, 2011

Ben Shahn




"I became interested in photography when I found my own sketching was inadequate."

"I was primarily interested in people, and people in action, so that I did nothing photographically in the sense of doing buildings for their own sake or a still life or anything like that."

"When you talk about war on poverty it doesn't mean very much; but if you can show to some degree this sort of thing then you can show a great deal more of how people are living and a very great percentage of our people today."

"Whatever I get involved in, I'm totally involved, you see."

"An amateur is someone who supports himself with outside jobs which enable him to paint. A professional is someone whose wife works to enable him to paint."





"Say Cheesburger," Columbus, Ohil, 1938

"Amity City," Louisiana, 1935

"American Gothic," 1935

"Players," Scotts Run, West Virginia, 1935

"Red House Kids," Red House, West Virginia, 1935

"The Pantitorium," 1938

"The Signpost Up Ahead," Crossville, Tennessee, 1935

"Blind Street Musician," 1935

"Dr. Davidage," Amity City, Louisiana, 1935

"Boone County," Arkansas, 1935



Ben Shahn was born in Kaunus, Lithuania in 1898. He emigrated to New York with his family in 1906. He became a lithographer's apprentice after completing his schooling. He later attended both New York University and the National Academy of Design from 1917 to 1921.

In the 1920s Shahn became part of the social realism movement. Social Realism is a term used to describe the works of American artists during the Depression era who were devoted to depicting the social troubles of the suffering urban lower class: urban decay, labor strikes, and poverty. His early work was concerned with political issues of the time, while his later work portrayed the loneliness of the city dweller. Text and lettering formed an integral part of his designs and his work was often inspired by news reports.

After working in lithography until 1930, his style crystallized in a series of 23 paintings concerning the Sacco-Vanzetti trial. Shahn came to prominence in the 1930s as with "The Passion of Sacco and Vanzetti". Shahn dealt consistently with social and political themes. He developed a strong and brilliant sense of graphic design revealed in numerous posters. His painting Vacant Lot (Wadsworth Atheneum, Hartford, Conn.) exhibits a poetic realism, whereas his more abstract works are characterized by terse, incisive lines and a lyric ic intensity of color. The Blind Botanist (Wichita Art Mus.) is characteristic of his abstractions. Shahn's murals include series for the Bronx Central Annex Post Office, New York City.

From 1933 to 1938 he worked as a photographer for the Farm Security Administration, producing masterful images of impoverished rural areas and their inhabitants. Shahn used photographs throughout his career for both composition and content. The photographer position at the FSA was a dream job for Shahn because it provided him the opportunity to travel though Depression-era America taking pictures. He later used those photographs for his paintings years later. Critics in his time felt that using photographs for paintings diminished the value of a painting. However, Shahn's work became the most popular artist of his age. His work was on the cover of Time and well as the Museum of Modern Art.

Shahn has been described as a man of uncompromising beliefs and an artist who spoke to the world. Shahn continuously adopted new themes and mediums to define the human condition of his time. Active until the end of his career, Shahn was also a distinguished lecturer, teacher, and writer.

Friday, August 26, 2011

Adolph de Meyer


"Adolph de Meyer" by Frederick Hollyer





"Gertrude Vanderbilt," American Vogue, 1917

"Josephine Baker," 1925

"Mary Pickford"

"Ann Pennington"

"Still Life, Hydrangea," 1907

"Dolores," (ca) 1919

"Glass and Shadows," 1912

Untitled

"Dorothy Smoller," American Vogue, 1919


Biography from Wikipedia:

Adolph de Meyer (September 1, 1868 - January 6, 1949) was a photographer famed for his elegant photographic portraits in the early 20th century, many of which depicted celebrities such as Mary Pickford, Rita Lydig, Luisa Casati, Billie Burke, Irene Castle, John Barrymore, Lillian Gish, Ruth St. Denis, King George V of the United Kingdom, and Queen Mary. He was also the first official fashion photographer for the American magazine Vogue, appointed to that position in 1913.

Reportedly born in Paris and educated in Dresden, Adolphus Meyer was the son of a German Jewish father and Scottish mother -- Adolphus Louis Meyer and his wife, the former Adele Watson.

In 1893 he joined the Royal Photographic Society and moved to London in 1895.

He used the surnames Meyer, von Meyer, de Meyer, de Meyer-Watson, and Meyer-Watson at various times in his life. From 1897 he was known as Baron Adolph Edward Sigismond de Meyer, though some contemporary sources list him as Baron Adolph von Meyer and Baron Adolph de Meyer-Watson.

In editions dating from 1898 until 1913, Whitaker's Peerage stated that de Meyer's title had been granted in 1897 by Frederick Augustus III of Saxony, though another source states "the photographer inherited it from his grandfather in the 1890s". Some sources state that no evidence of this nobiliary creation, however, has been found.

On 25 July 1899, at Holy Trinity Church, Sloane Street, Cadogan Square, in London, England, de Meyer married Donna Olga Caracciolo, an Italian noblewoman who had been divorced earlier that year from Nobile Marino Brancaccio; she was a goddaughter of Edward VII. The couple reportedly met in 1897, at the home of a member of the Sassoon banking family, and Olga would be the subject of many of her husband's photographs.

From 1898 to 1913 de Meyer lived in fashionable Cadogan Gardens, London, and between 1903 and 1907 his work was published in Alfred Stieglitz's quarterly Camera Work. Cecil Beaton dubbed him "the Debussy of photography". In 1912 he photographed Nijinsky in Paris.

On the outbreak of World War I, the de Meyers, who in 1916 took the new names of Mahrah and Gayne, on the advice of an astrologer, moved to New York City, where he became a photographer for Vogue from 1913–21, and for Vanity Fair. In 1922 de Meyer accepted an offer to become the Harper's Bazaar chief photographer in Paris, spending the next 16 years there.

On the eve of World War II in 1938, de Meyer returned to the United States, and found that he was a relic in the face of the rising modernism of his art.

He died in Los Angeles in 1946, his death being registered as 'Gayne Adolphus Demeyer, writer (retired)'. Today, few of his prints survive, most having been destroyed during World War II.