Куклы из Muppet Show и их звезды-двойники.
Звезды и куклы (30 фото) " FreeBash - домашняя библиотека развлечений
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Hans Bellmer (French, b. Silesia, 1902-1975), The Doll (Self-Portrait with the Doll) [Die Puppe (Selbstporträt mit der Puppe)], 1934, Gelatin-silver print, 11-¾ x 7-¾ inches, Collection of Carla Emil and Rich Silverstein, © 2007 Artists Rights Society (ARS), New York / ADAGP, Paris.The story of photography’s extraordinary success and popularity in Austria, Czechoslovakia, Germany, Hungary, and Poland during a time of tremendous social and political upheaval, is presented in Foto: Modernity in Central Europe, 1918-1945. The exhibition includes more than 150 photographs, books, and illustrated magazines from several dozen American and international collections, many on view in the United States for the first time.Foto places famous talents, including Hungarian-born Bauhaus professor László Moholy-Nagy, German dadaist Hannah Höch, and Czech artist Josef Sudek, in the company of one hundred exemplary but largely lesser-known individuals from this golden age of photography and birthplace of photographic theory. In this region, photography inspired the imagination of hundreds of progressive artists, provided a creative outlet for thousands of dedicated amateurs, and became a symbol of modernity for millions through its use in magazines, newspapers, advertising, and books.“To recover the crucial role played by photography in the region, and in so doing delineate a central European model of modernity, is the double aim of Foto: Modernity in Central Europe, 1918-1945,” said Earl A. Powell III, director, National Gallery of Art. “Profound thanks go to the Central Bank of Hungary, the Trellis Fund, and to the many public and private supporters and lenders who made this exhibition possible.”Photomontage was pioneered as a technique for radical art in central Europe in early 1919, and it flourished there through the end of World War II. The artists of German Dada, such as John Heartfield, Max Ernst, and Hannah Höch, responded through photomontage to the mechanization and fragmentation of bodies during World War I, as seen in Heartfield’s Fathers and Sons (1924). In areas where WWI broke apart vast empires and brought hope to its constituent populations, particularly in Poland and Czechoslovakia, photomontage reflected a widespread optimism, seen in Jindrich Styrský’s Souvenir (1924).One highly influential legacy of modernist photography in central Europe is darkroom experimentation, for instance the play of abstract shadows in Jaromír Funke’s series Abstract Photo (1927-1929). For theorists and practitioners such as László Moholy-Nagy, Franz Roh, and Karel Teige, experimental camera work represented truly modern photography. Innovative methods were taught in art schools from Dessau to Lviv, Prague, and Bratislava, and the works were shown in large didactic exhibitions mounted in cities across the region, helping to broaden the acceptance of modernity.Scenes of urban bustle or new construction, frequently taken from unusual angles or in extreme close-up, typify a modern style of image-making that became popular around 1930 — a style embodied by László Moholy-Nagy’s iconic Berlin Radio Tower (1928). The exploding image world popularized modernity in a region filled with anxieties over such sudden and massive changes. Out of this “photomania” came many of the great talents represented in the international illustrated press: Life magazine and the Parisian tabloid Vu are unthinkable without Martin Munkacsi and André Kertész, both of whom got their start in Hungary.The neue Frau or New Woman was a subject of intense public debate that was not only reflected in but also shaped by photography: pictures of female athletes and dancers, or new genres for the illustrated press such as the “photo essay” pioneered by studio photographer Yva (Else Neuländer-Simon). Male portraits by Lucia Moholy, Trude Fleischmann, and Éva Besny? give their subjects a distinctly effeminate look, while others by August Sander or Lotte Jacobi capture the “androgyny chic” of certain German cultural circles, as seen in Jacobi’s Klaus and Erika Mann (c. 1928-1932).Surrealism has long been thought of mainly as a French phenomenon, yet a tremendous surrealist output, particularly in photography, originated in central Europe. Artists in Czechoslovakia and Poland expanded on surrealism’s concepts, even in provincial towns such as Olomouc or Lviv, home to the groups f5 (Czech, 1933-;1938) and Artes (Polish, 1929-;1936), respectively. These artists pursued a variety of image-making methods, from pseudo-documentary to happenings staged for the camera and fantastic self-portraits or photomontages, as seen in Jer