photography, gelatin-silver-print
portrait
new-objectivity
photography
gelatin-silver-print
nude
Copyright: Public Domain
This is Hugo Erfurth’s photograph of artist Käthe Kollwitz, taken at some point in the 20th century. The photograph comes into being through light. You know, the darkroom, the chemicals, the light exposure on the photographic plate. Kollwitz’s dress and headpiece point to the imaginary, to the theatre and to the self-fashioning of the artist’s persona. I wonder how it felt for Kollwitz to perform herself in Erfurth’s studio. What did they talk about? Was it collaborative? Did they disagree? There is an awkwardness in her gesture, a fragility. I can relate to that. As an artist, it’s important to develop a thick skin, to take risks, to be experimental. But it's also nice when a work embraces vulnerability. I am reminded of other photographs of artists such as Man Ray’s photographs of Lee Miller. Artists looking at artists and seeing something of themselves. This photograph shows how artists inspire one another and are always in dialogue. It embraces ambiguity, allowing for multiple interpretations.
Comments
Hugo Erfurth was one of the most important portrait photographers in Germany during the Weimar Republic. He was highly appreciated, especially in artist circles, for the sensitive portrayals in which he managed to capture the subject’s psyche. Whereas in the 1920s his prominent models still came primarily from the realm of culture and theatre, in the 1930s he focused increasingly on leading figures in business and politics. With the aid of noble printing techniques that lend his depictions striking depth, he emphasized the superiority of his photographs, which already fetched high prices during his lifetime. Erfurth’s creed was to remain ‘true, clear, and faithful to life’ in his artistic works—regardless of his models’ political outlooks.
Join the conversation
Join millions of artists and users on Artera today and experience the ultimate creative platform.
CollectMore like this
