First edition, first printing. Soft cover. Photographically illustrated wrappers. Photographs by Dora Kallmus (Madame d'Ora). Text by Jan E. Adlmann and Monika Faber. Includes an exhibition chronology, a bibliography and a list of works. Designed by Rowntree Advertising, Inc. 60 pp., with 6 four-color plates, 24 halftone plates and numerous reference illustrations. 11-7/8 x 8-1/2 inches. This first edition was limited to 3000 copies. Published on the occasion of the 1987 exhibition Madame d'Ora: Vienna &amp; Paris 1907-1957 at the Vassar College Art Gallery (traveled to the Fashion Institute of Technology, New York and the Ringling Museum of Art, Sarasota, Florida).

Dora: Vienna and Paris 1907-1957 : The Photography of Dora Kallmus

Arts & Photography

Faber, Monika

Photography & Video

Vassar College Art Gallery

Machen Sie mich schön, Madame d'Ora!: Dora Kallmus - Fotografin in Wien und Paris 1907 bis 1957

Ruelfs, Esther

Vukovic, Magdalena

Brandstätter Verlag

Photographie Der Moderne in Prag 1900-1925

Kroutvor, Josef

Distributed Art Pub Inc

The process of creating a portrait involves much more than the dialogue between the photographer and his model. The visual experience shared by portrait subjects, authors and viewers casts self-presentation and photographic interpretation into pre-existing molds. Yet individuality and spontaneity gained significant ground in the years following the turn of the century, when efforts to escape from dictorial rule in the late 1930s led to even greater concern with individuality. The resulting portraits document the changing image of middle-class society in Germany and Austria, while demonstrating the rise of photography as an independent force. Gradually, the refined salon portraits of such artists as Nikola Perscheid and the Atelier d'Ora gave way to the crystalline elegance of heads and faces by Trude Fleischmann, Lotte Jacobi and Hugo Erfurth. Umbo's extreme close-ups, Helmar Lerski's light-modeling and Laszlo Moholy-Nagy's experiments radically altered the human image in entirely unexpected ways. Containing some 150 portraits by more than 35 photographers, this book offers a splendid survey of portrait photography in Germany and Austria from 1900 to 1938.

Portraits Of An Age

Moortgat, Elisabeth

Hatje Cantz Publishers

German scientist and photographer Heinrich Kühn (1866-1944) was one of the central figures in the establishment of international art photography at the turn of the twentieth century. Having studied botany and medicine, Kühn made his first photograph in the late 1870s, dedicating himself solely to the medium within a decade. He achieved this dedication through the support of American photographers Alfred Stieglitz, Edward Steichen and others. After a meeting in 1904, Stieglitz and Kühn initiated an almost 30-year-long correspondence, ushering in an era of pioneering experimentation with autochrome and other photographic processes. Critical to Kühn's success was an offset process he perfected, which allowed him to deliberately dissolve the sharpness of the image and alter its brightness. The results are gorgeous, dreamy images full of rich, delicate color. Around 1910, Kühn reduced the romantic cosmos of Pictorialism to the point where his compositions became almost abstract, so that only the study of light and the rendering of tonal values mattered. He later returned to exploring the photograph as objective record, concentrating mainly on writing and to experiments in photographic technology. This landmark volume surveys the works of a revelatory photographer.

Heinrich Kuhn: The Perfect Photograph

Mahler, Astrid

Hatje Cantz

This visually stunning volume offers perceptive examinations of several renowned German and Austrian Expressionist artists who redefined modern self-portraiture. The self-portrait has been a vital aspect of artistic expression throughout history. Neo-Classical painters such as El Greco and Rembrandt formalized the practice, and the first half of the 20th century saw a dramatic transformation in the self-portrait's style and context, especially in the hands of the German and Austrian Expressionists. Vibrant reproductions of works by Egon Schiele, Max Beckmann, Ernst Ludwig Kirchner, Oskar Kokoschka, and others are accompanied by essays that explore how these artists--many of whom were classified as "degenerate" by the Nazi party--imbued their images with eloquent expressions of resistance, isolation, entrapment, and provocation. From Schiele's erotically charged and overtly physical paintings to Beckmann's emotionally fraught depictions of psychic trauma, this important examination of a powerful aspect of modern European painting brilliantly illustrates how the Expressionist self-portrait became a powerful weapon against artistic oppression.

The Self-Portrait, from Schiele to Beckmann

Natter, Tobias G.

Schneede, Uwe

Weppelmann, Stefan

Peters, Olaf

History & Criticism

Prestel

Discover the work of legendary fashion and society photographer Madame d'Ora, who documented both the glamour and the tragedy of 20th-century Europe. Born Dora Kallmus (1881-1963), the Austrian fashion and portrait photographer who went by the moniker Madame d'Ora was the most acclaimed portraitist of fin de siècle Vienna. After relocating to Paris in the 1920s, she opened one of the most stylish Art Deco portrait studios where her models included Pablo Picasso, Josephine Baker, and Collette, among many others. This book, accompanying the largest exhibition devoted to Madame d'Ora ever presented in the United States, includes sections focusing on the different periods of the photographer's life, from her early upbringing as the daughter of Jewish intellectuals in Vienna, to her days as a premier society portraitist, through her survival during the Holocaust.

Madame d'Ora

Fashion

Madame d'Ora: Wien, Paris : Portraits aus Kunst und Gesellschaft 1907-1957 (German Edition)

Reference

Foreign Language Study & Reference

Brandstatter

<div>How photographs became art. Paragons & Afterimages:&nbsp;the pair of terms refers to correlations between images, but also to their production, where reference is made to already existing images. In the art academies and schools of applied arts in the 19th and early 20th century, photographs served as "models" or "paragons," and served as their individual didactic type of image. Photographic reference material was an important aid in the creative practice of aspiring artists; and in the course of their use, "afterimages" were created in art classes, including: paintings, sculptures, drawings, and graphics. The archives of the Berlin University of the Arts have preserved a unique and valuable photographic teaching collection that dates back to the 1850s and had already been created at the predecessor institutions, the Berlin Art Academy, and the leading School of Decorative Arts. With approximately 25,000 individual photographic prints, and additional bundles and albums, this collection is unique in Germany. Hardly noticed for a long time, it has in recent years been archivally and scientifically reviewed. This collection is presented for the first time in this book and with the exhibition organized by the Münchner Stadtmuseum.&nbsp;</div>

Paragons Afterimages: Photographs from the Berlin University of the Arts, 1850–1930

Lowis, Kristina

Derenthal, Ludger

Kalcher, Antje

Locher, Hubert

Snoeck Publishing Company

This book is a retrospective of the most personally meaningful and significant works of Austrian artist Günter Brus. In the late 1950s, at the very start of his career, Günter Brus developed a style very close to that of Abstract Expressionism. By 1964 he had become involved with the Theatre of Orgies and Mysteries (alongside Hermann Nitsch and Otto Mühl) and began to stage one-man performances centering on ritual and social catharsis. In these performances, conserved in the form of sketches, photographs and film, the artist used his body as material and medium to denounce the social, political and religious taboos of Western society. During the 1970s Brus' work became more sinister, embodied in the dark, neurotic drawings of that stage of his career. These drawings, first in black and white and later in color, explored illustration, symbolism, and the aesthetics of cruelty, while maintaining their focus on the human body as a primary protagonist. For the past three decades, Brus has concentrated on the creation of 'poem-pictures', literature and theatrical stage design. This publication presents the most personal and significant examples of the artist's work.

Günter Brus: Nervous Stillness on the Horizon

Actar and Museu d'art Contemporani de Barcelona (M

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