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Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde and others, WOMEN

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WOMEN
Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde and others

June 27th – September 19th, 2009

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Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde, Heinz Hajek-Halke, Elfriede Stegemeyer, Weegee, Aaron Siskind, Josef Sudek, Chargesheimer, Ed van der Elsken, Gerard P. Fieret, Marcel Broodthaers, Louis Faurer, Helmut Newton, Daido Moriyama, Michael Ruetz, Rudolf Bonvie, Jen Davis, Oliver Sieber

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Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde, Heinz Hajek-Halke, Elfriede Stegemeyer, Weegee, Aaron Siskind, Josef Sudek, Chargesheimer, Ed van der Elsken, Gerard P. Fieret, Marcel Broodthaers, Louis Faurer, Helmut Newton, Daido Moriyama, Michael Ruetz, Rudolf Bonvie, Jen Davis, Oliver Sieber

Hans Bellmer, Erwin Blumenfeld, Pierre Jahan, Anneliese Kretschmer, Grit Kallin-Fischer, Franz Roh Werner Rohde, Elfriede Stegemeyer, Sasha Stone, VINTAGE PHOTOGRAPHY II

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VINTAGE PHOTOGRAPHY II

Hans Bellmer, Erwin Blumenfeld, Pierre Jahan, Anneliese Kretschmer, Grit Kallin-Fischer, Franz Roh Werner Rohde, Elfriede Stegemeyer, Sasha Stone

September 9th – October 21st, 2005

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Press Release
Hans Bellmer, Erwin Blumenfeld, Pierre Jahan, Annelise Kretschmer, Grit Kallin-Fischer, Franz Roh, Werner Rohde, Elfriede Stegemeyer,
Sasha Stone

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Press Release
Hans Bellmer, Erwin Blumenfeld, Pierre Jahan, Annelise Kretschmer, Grit Kallin-Fischer, Franz Roh, Werner Rohde, Elfriede Stegemeyer,
Sasha Stone

ANNELIESE KRETSCHMER, Portraits 1920s-1960s

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Portraits 1920s-1960s

ANNELIESE KRETSCHMER

September 10th – October 22nd, 2004

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The photographic work of Annelise Krfetschmer (1903-1987) spans a period of time over five decades, beginning in the middle of the 1920s. After attending the School of Decorative Arts in Munich, where she studied drawing and bookbinding, she first worked voluntarily in the portrait studio of E. Kaenel in Essen (1922-1924), and then as master disciple of Franz Fiedler in Dresden (1924-1928).

Except for small series with images from trips to Paris and Hiddensee, Annelise Kretschmer concentrated on portraiture. She published her work regularly in publications like “Das Atelier” and, towards the end of the 1920s she opened in Dortmund her own portrait studio. In 1920 she participated in the legendary traveling exhibition “Film und Foto,” and in 1930 the exhibition “Das Lichtbild”. In 1928 she married the sculptor Sigmund Kretschmer. Through him her experience of contemporary art was deepened.
The early photographs of Annelise Kretschmer are to be seen in the context of “New Photography,” where she experimented with cropping and form, whereby in the sphere of portraiture it is always the personality of the subject which is central.
Two themes define the portrait photography of Annelise Kretschmer: images of her children in the 1930s, and the culturally active people and citizens from the area of her hometown Dortmund until the 1960s. The portraits of her children as well as her professional studio portraits are characterized by a great psychological intensity, which Annelise Kretschmer created through a concentration on mimic and gesture of the subject. At the same time, the environment is often diffused through strict cropping, the use of light and shadow and the clever choice of background, which appears in part almost painterly.

In 1943 the Kretschmer family moved to the region of Breisgau. In 1950 Anneliese Kretschmer reopened her studio, which had been destroyed in the war. In 1953 Sigmund Kretschmer died and from 1958 the artist worked together with her youngest daughter Christiane von Konigslow. Again, the “psychological portrait” formed the basis of her work, whereby her photographic style appears cooler and more objective. From the late 1950s it is mainly artists, like the sculptor Ewald matare or the photographer Albert Renger-Patzsch, who were photographed by Annelise Kretschmer.

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The photographic work of Annelise Krfetschmer (1903-1987) spans a period of time over five decades, beginning in the middle of the 1920s. After attending the School of Decorative Arts in Munich, where she studied drawing and bookbinding, she first worked voluntarily in the portrait studio of E. Kaenel in Essen (1922-1924), and then as master disciple of Franz Fiedler in Dresden (1924-1928).

Except for small series with images from trips to Paris and Hiddensee, Annelise Kretschmer concentrated on portraiture. She published her work regularly in publications like “Das Atelier” and, towards the end of the 1920s she opened in Dortmund her own portrait studio. In 1920 she participated in the legendary traveling exhibition “Film und Foto,” and in 1930 the exhibition “Das Lichtbild”. In 1928 she married the sculptor Sigmund Kretschmer. Through him her experience of contemporary art was deepened.
The early photographs of Annelise Kretschmer are to be seen in the context of “New Photography,” where she experimented with cropping and form, whereby in the sphere of portraiture it is always the personality of the subject which is central.
Two themes define the portrait photography of Annelise Kretschmer: images of her children in the 1930s, and the culturally active people and citizens from the area of her hometown Dortmund until the 1960s. The portraits of her children as well as her professional studio portraits are characterized by a great psychological intensity, which Annelise Kretschmer created through a concentration on mimic and gesture of the subject. At the same time, the environment is often diffused through strict cropping, the use of light and shadow and the clever choice of background, which appears in part almost painterly.

In 1943 the Kretschmer family moved to the region of Breisgau. In 1950 Anneliese Kretschmer reopened her studio, which had been destroyed in the war. In 1953 Sigmund Kretschmer died and from 1958 the artist worked together with her youngest daughter Christiane von Konigslow. Again, the “psychological portrait” formed the basis of her work, whereby her photographic style appears cooler and more objective. From the late 1950s it is mainly artists, like the sculptor Ewald matare or the photographer Albert Renger-Patzsch, who were photographed by Annelise Kretschmer.

GERMAN VINTAGE PHOTOGRAPHS FROM AUGUST SANDER TO OTTO STEINERT

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GERMAN VINTAGE PHOTOGRAPHS

FROM AUGUST SANDER TO OTTO STEINERT

November 3rd, 2001 – January 26th, 2002

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The exhibition “German Vintage Photographs – from August Sander to Otto Steinert” covers a time frame of a half a century in the history of German photography. Beginning with the photographic achievements of the leading representatives of the New Vision movement in the Weimar Republic and extending to subjective photography and the fotoform group, independent, artistic and applied photography are featured in the exhibition.

Photography dating from the Weimar era is characterised by a great diversity in form and expression. During this period of Gleichzeitigkeit des Ungleichzeitigen (simultaneity and diversity), the possibilities of the photographic medium were investigated using a wide variety of approaches in terms of technique and formal composition. In the exhibition, these approaches range from the New Objectivity photographs by Albert Renger-Patzsch, portraits from August Sander’s monumental project “Man in the Twentieth Century” and nude photographs by Heinz Hajek-Halke, through to experimental and applied photographs by Bauhaus artists such as Laszlo Moholy-Nagy, Hannes Meyer, Walter Peterhans and Lotte Gerson.

The thirties and forties are represented by the surreal images of Hans Bellmer and Herbert List, portraits by Wols and Anneliese Kretschmer, nature photographs by Alfred Ehrhardt, Hein Gorny and Elfriede Stegemeyer as well as architectural and industrial photographs by Adolf Lazi and Werner Mantz.

The post-war photographers, particularly the members of the fotoform group on show in the exhibition, such as Otto Steinert, Peter Keetman and Ludwig Windstosser explicitly modelled themselves on their great precursors from the Weimar era. Nevertheless, their photographs, which primarily seek out the beauty of natural forms and their detailed textures, are devoid of anything utopic or playful in their application of the photographic medium. Their aim was to capture reality as it presents itself in images of the greatest possible formal severity and highest degree of technical perfection – even where experimental techniques were used. In the so-called subjective photography, “the conception, individual creativity, was the dominant feature” (Ute Eskildsen).

Erich Angenendt
Auriga Verlag
Theo Ballmer
Irene Bayer
Hans Bellmer
Aenne Biermann
Katt Both
Chargesheimer
Rudolf Dührkoop
Alfred Ehrhardt
Hugo Erfurth
Lotte Gerson
Hein Gorny
Walter Gropius
Arvid Gutschow
Heinz Hajek-Halke
Ruth Hallensleben
Raoul Hausmann
Heinrich Heidersberger
Jacob Hilsdorf
Lotte Jacobi
Peter Keetman
Edmund Kesting
Anneliese Kretschmer
August Kreyenkamp
Siegfried Lauterwasser
Adolf Lazi
Kurt Leppien
Herbert List
Werner Mantz
Hannes Meyer
Willi Moegle
Lucia Moholy
Laszlo Moholy-Nagy
Oskar Nerlinger
Walter Peterhans
Albert Renger-Patzsch
Franz Roh
August Sander
Toni Schneiders
Lotte Stam-Beese
Elfriede Stegemeyer
Otto Steinert
Liselotte Strelow
Marlene Tamm
Georg Trump
Ludwig Windstosser
Dr. Paul Wolff
Wols
Piet Zwart

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The exhibition “German Vintage Photographs – from August Sander to Otto Steinert” covers a time frame of a half a century in the history of German photography. Beginning with the photographic achievements of the leading representatives of the New Vision movement in the Weimar Republic and extending to subjective photography and the fotoform group, independent, artistic and applied photography are featured in the exhibition.

Photography dating from the Weimar era is characterised by a great diversity in form and expression. During this period of Gleichzeitigkeit des Ungleichzeitigen (simultaneity and diversity), the possibilities of the photographic medium were investigated using a wide variety of approaches in terms of technique and formal composition. In the exhibition, these approaches range from the New Objectivity photographs by Albert Renger-Patzsch, portraits from August Sander’s monumental project “Man in the Twentieth Century” and nude photographs by Heinz Hajek-Halke, through to experimental and applied photographs by Bauhaus artists such as Laszlo Moholy-Nagy, Hannes Meyer, Walter Peterhans and Lotte Gerson.

The thirties and forties are represented by the surreal images of Hans Bellmer and Herbert List, portraits by Wols and Anneliese Kretschmer, nature photographs by Alfred Ehrhardt, Hein Gorny and Elfriede Stegemeyer as well as architectural and industrial photographs by Adolf Lazi and Werner Mantz.

The post-war photographers, particularly the members of the fotoform group on show in the exhibition, such as Otto Steinert, Peter Keetman and Ludwig Windstosser explicitly modelled themselves on their great precursors from the Weimar era. Nevertheless, their photographs, which primarily seek out the beauty of natural forms and their detailed textures, are devoid of anything utopic or playful in their application of the photographic medium. Their aim was to capture reality as it presents itself in images of the greatest possible formal severity and highest degree of technical perfection – even where experimental techniques were used. In the so-called subjective photography, “the conception, individual creativity, was the dominant feature” (Ute Eskildsen).

Erich Angenendt
Auriga Verlag
Theo Ballmer
Irene Bayer
Hans Bellmer
Aenne Biermann
Katt Both
Chargesheimer
Rudolf Dührkoop
Alfred Ehrhardt
Hugo Erfurth
Lotte Gerson
Hein Gorny
Walter Gropius
Arvid Gutschow
Heinz Hajek-Halke
Ruth Hallensleben
Raoul Hausmann
Heinrich Heidersberger
Jacob Hilsdorf
Lotte Jacobi
Peter Keetman
Edmund Kesting
Anneliese Kretschmer
August Kreyenkamp
Siegfried Lauterwasser
Adolf Lazi
Kurt Leppien
Herbert List
Werner Mantz
Hannes Meyer
Willi Moegle
Lucia Moholy
Laszlo Moholy-Nagy
Oskar Nerlinger
Walter Peterhans
Albert Renger-Patzsch
Franz Roh
August Sander
Toni Schneiders
Lotte Stam-Beese
Elfriede Stegemeyer
Otto Steinert
Liselotte Strelow
Marlene Tamm
Georg Trump
Ludwig Windstosser
Dr. Paul Wolff
Wols
Piet Zwart