Posts Tagged ‘Jeanloup Sieff’

Auction | Playing with the Female Form

Friday, October 25th, 2013

Modern & Contemporary Photographs
Hotel Drouot, Paris, France
Auction: 30th October, 2013
Private previews: by appointment until 25th October, 2013
Exhibition: Hotel Drouot
29th October & 30 October, 2013


Above, Purple Nude. Erwin Blumenfeld, New York, 1940
€1,500–2,000


Distorsion #159. Andre Kertesz, Paris, 1933
€8,000–10,000


The works about to go on show in Centre Pompidou’s Surrealism & the Object (30th October 2013 – 3rd March 2014) demonstrate that objects were the main preoccupation of the surrealist movement. The human body was another, but often, as in Man Ray’s photograph The coat-stand (1920) – one of the exhibits – the body, almost invariably female, was itself objectified.

Ray’s image of Jean Cocteau, showing the artist with his sculpture Débourre-pipes (1928, not shown), the floating, decapitated head of a woman sculpted in wire, is one of almost 300 lots in a varied sale of Modern & Contemporary Photographs at Hotel Drout in Paris, in which an array of early travel photography, modernist interiors, Parisian and American street life, glamour portraits, and portraits of a good number of other famous artists, will be auctioned.

A total of 44 photographs by André Kertesz, from a Swiss collection, exude a strong presence amongst the list of lots. In 1930, Carlo Rim, the editor of the magazine VU, asked Kertész to take his portrait. Kertész, who was already experimenting with distortion, persuaded Rim to do it at the hall of distorting mirrors at Luna Park fun fair in the Bois de Boulogne. Shortly after, a pair of portraits of Rim – one with an overly tapered body, the other making him appear dwarfed – appeared together in VU.

The idea of using distortion in art probably had its genesis in the African and Polynesian wood carvings that had begun to appear in Europe in the late 19th century, the influence of which was absorbed and first exploited by Picasso and later by, among others, Henry Moore, as well as the surrealist sculptor, Giacometti. For many artists, exploring distortion was also a way of dealing with the atrocious mutilations that were the legacy of the Great War.

During the early years of the new century, women had begun to demand, and had won, greater freedom for themselves. Parisian women, during the 1920s, were the first to be released from the corset by Coco Chanel and, in the same decade two-piece bathing costumes, which were little more than a bra and skimpy shorts set, began to appear on the French Riviera. Nudes, as the subjects of ‘tasteful’, artistic photography were becoming less taboo, which led to magazine editors in France becoming more daring. And, impressed by the distorted portraits he saw in VU, the editor of the rather racy Le Sourire (Smile) magazine asked Kertész to make a series of distorted nude images of two female models. However, the editor didn’t – or was not allowed – to publish them, and it wasn’t until 1976, when they appeared in the book André Kertész Distortion (Editions du Chêne Paris), that they became one of the photographer’s most famous series. A number of images from this series, including the bizarre and disturbing Distortion #159, (above), and some of Kertész’s earlier, experimental prints are also included in the sale.


Les Jeux de la Poupée. Hans Bellmer, 1935
€1,000–1,500



Nu blanc. Jeanloup Sieff, Paris, 1967
€2,000–3,000


Gog et Magog. Pierre Molinier, c 1965
€2,500-3,000


As a child, in Germany, Hans Bellmer, (1902-1975) found refuge from an oppressive family atmosphere in a secret garden decorated with toys and visited by young girls, who joined in sexual games. In the 1920s he became involved with the Dada movement, and in 1933, built his life-sized Puppe (Doll) sculpture, a representation of his yearning to escape from the reality of Nazi Germany. In 1934, he published ten photographs of this work accompanied by a prose poem in which he demonstrated how the seemingly innocent pastimes of his childhood had developed into the sexual fantasies of an adult. Acclaimed and adopted by the Parisian surrealists in 1935, he published a French translation of Die Puppe – La Poupé. That summer he altered the sculpture giving it ball-joints to allow for increased mobility – the stomach became a large sphere around which two pelvises could be articulated, each with its own legs and feet – pushing it into the area of distortion. The auction includes a hand-tinted print, made in 1970, entitled Les Jeux de la Poupée (1935, above), and dedicated to Man Ray.

Meanwhile, in a theatrical form of distortion, former landscape painter, who quickly turned to fetishistic/erotic photography, Pierre Molinier’s (1900-1976) Gog et Magog photomontage (1965, above) typically, placing her in a sexy stage set, removes his model’s body, reducing her to a head at the crux of four stockinged legs, each terminating in patent and pointed stilletto-heeled shoes. With something akin to Molinier’s staging, for Jean Paul-Goude’s Grace Jones Revised and updated (1978, not shown, a print is included in this sale), each of the black singer’s limbs, as well as her neck, are slimmed down, stretched and given a highly-polished finish, so that she resembles a life-size, semi-naked, art-deco-inspired, carved mahogany figure.


Nude. Weegee (aka Arthur H Fellig) New York, c 1940
€1,200–1,500


One of the surprises in the Hotel Drout event is a sensitive nude study (above), shot in the studio around 1940, by Weegee (aka Arthur H Fellig) – better known for his stark black and white New York street scene photojournalism. In the 1950s Weegee experimented with distortion, producing nudes, including Nude (easel trick and plastic lens) c 1953-6, which appeared in the book Weegee’s Women, (Showplace, first published, July 1956), in which the model appears to have extremely long, giraffe-like legs, and Marilyn Monroe (plastic lens) c 1960, where a beautiful initial image of MM pursing her lips, eyes closed, as if waiting for the camera to kiss her, is altered in a succession of distortions, rendering her unrecognisable.

Rare examples of male distortion, two of Philippe Halsman’s (1906-1979) famous images of Salvador Dali (not shown), from the photographer and artist’s 1954 collaboration ‘Dali’s Mustache’, will also go under the hammer.

Lot #175, Jeanloup Sieff’s (1933-2000) thin, twisted and angular Nu blanc (1967, above) might be a template for the figure of the modern woman that has proliferated via women’s fashion magazines since the 60s, whereas Erwin Blumenfeld (1897-1969) who is represented in the sale by Purple Nude (1940, top) proves that the visual dismemberment of a female model need not invoke feelings of revulsion, but rather that by careful and sympathetic reconstruction, a sphisticated image of subtle and elegant female beauty can be created.


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Photography | Big Nudes

Friday, June 24th, 2011

Le Imaginaire du Nu
Hotel Drouot, Paris. Exhibition 27th & 28th June 2011. Sale 28th June

Nudes, especially as a subject for books, exhibitions and auctions, are big right now, especially in France. Not that the nudes themselves are huge in proportions, you understand, with the possible exception of the amazons in high stilettos in Helmut Newton’s classic, Big Nudes (1990) that is among a list of 10 books on this particular génre of photography selected for La Lettre de la Photographie by photographer and collector, Bruno Mouron, prompted, almost certainly, by the huge up coming auction and exhibition L’imaginaire du Nu at Hôtel Drouot in Paris.

Early daguerreotypes and prints will be sold back to back with photographs from the beginning and middle of the 20th century: Bill Brandt, Robert Doisneau, Horst, Krull, Man Ray, Willy Ronis and contemporary works by, among others, Araki, Bourdin, Ralph Gibson, David Hamilton, Sam Haskins, Horvat, Lindbergh, George Platt-Lynes, Jeanloup Sieff, Bert Stern and Joel Peter Witkin. The majority, as might be expected, are images of women but male nudity is also represented in pictures by, for example, Bruce of Los Angeles and Robert Mapplethorpe.

Interesting to note, though, that despite the current vogue, we’re already halfway through the year and Mapplethorpe’s Nudes 2011 calender, which includes graphic black and white images of both males and females of our species is still available from Te Neues.

Pamela Hanson, Carla Bruni, Vogue Hommes, 1994, top
Man Ray, Meret Oppenheim, 1935, below


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Swiss goes pop in Düsseldorf

Wednesday, February 23rd, 2011


Zeitgeist & Glamour: The decades of the jet set

February 5th – May 15th, 2011, NRW Forum Düsseldorf, Germany

Diane Arbus, Eve Arnold, Richard Avedon, David Bailey, Harry Benson, Guy Bourdin, Raymond Depardon, Terence Donovan, Elliott Erwitt, Ron Galella, Dennis Hopper, William Klein, Robert Mapplethorpe, Billy Name, Terry O’Neill, Bob Richardson, Jeanloup Sieff, Francesco Scavullo, David Bailey, Lord Snowdon, Bert Stern (Bert Stern’s Twiggy, VOGUE, 1967. © Bert Stern. See above)… just some of of the photographers, whose work is represented in this exhibition, many of whom were or became, alongside the glamorous subjects they followed from the Côte d’Azur, St. Moritz, Paris, London, Rome, and New York– among them, Brigitte Bardot, Jackie Kennedy, Maria Callas, Andy Warhol, Truman Capote, Mick Jagger, Karl Lagerfeld – jet-setters themselves.

On show are 400 photographs, never exhibited before in public, from the Swiss collector Nicola Erni that collectively capture the unique zeitgeist of the 2oth century’s Swinging 60s and early 70s – Warhol’s Factory, Studio 54, Swinging London, Blow up, Pop Art, sex, drugs and rock‘n’roll – as seen through the lens of famous portrait and fashion photographers. Individually, each of these was creating new styles of photography, developing new techniques and forms of presentation that shaped the visual culture of the era. The paparazzi (See picture above – which may well have been the product of a prior arrangement between and in the interests of both subject and photographer(s) – by Giacomo Alexis: Un gelato in faccia di Rino Barillari da Sonia Romanoff in Via Veneto, Roma, 1970. © Giacomo Alexis) are represented, too; a new breed of photographer, who took pictures of famous personalities in their private lives and sold them to whichever newspaper and magazine bid the highest.

Were you around in the 60s & 70s? What do/did you think about all this stuff?
Please leave a comment

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