Pesquisando por: "OTTO DIX" - Fotoarena - Agência de fotojornalismo

alb5151560 Hugo Erfurth, Ludwig Mies van der Rohe, paper, oil print, image size: height: 38,4 cm; width: 27,6 cm, label: cardboard verso: top left in typescript: Hugo Erfurth added by hand in lead: Mies v. d. Rohe; lower right in typescript: HUGO ERFURTH (1874-1948): PORTRAIT MIES VAN DER ROHE, oil print, Inv. No. 263 A, inscribed: cardboard and: in lead: oil print; cabinet 14/15, upper drawer, stamp: cardboard and right: inventory stamp of the Staatliche Landesbildstelle, handwritten in lead supplemented: 263 A, inscribed: Passepartout o.: left in lead: 220; right in lead: 233, portrait photography, portrait, portrait, architect, portrait, self-portrait of an artist, portrait, en face, Maria Ludwig Michael Mies, At the beginning of the 20th century Hugo Erfurth was one of the most famous professional photographers in Germany, alongside Rudolph Dührkoop and Nicola Perscheid. After completing an apprenticeship as a photographer, he opened his own studio in Dresden at the age of only 22. Soon Erfurth orientated himself towards the up-and-coming pictorialist photography, participated in numerous amateur photographic exhibitions from 1894 onwards and managed to make a name for himself both as an artistically ennobled amateur and successful professional photographer. Portraits are central to his work, which he began taking in 1906 in his new studio, a classicist palace, in a stylishly elegant ambience, appealing to the wealthy bourgeoisie. He also produced numerous portraits of famous personalities, including Käthe Kollwitz, Otto Dix and Joachim Ringelnatz. While his studies around 1905 still show full-length figures depicted in an atmospheric way, from the 1920s onward the focus is on the face, which is photographed against a simple monochrome background. Here, his pictorial approach corresponds to the portrait of classical modernism, whereby the technique of oil printing emphasizes the softness and materiality of the pigments and at the same time places the portraits in the art.

alb5151034 Hugo Erfurth, Paul Klee, Staatliche Landesbildstelle Hamburg, collection on the history of photography, paper, oil print, image size: height: 38.4 cm; width: 27.6 cm, dry stamp, HUGO ERFURTH, DRESDEN 1928, GDL, o. in lead: K 59 Atelier, No. 1 Portrait of Paul Klee Hugo Erfurth Dresden; o. in blue colored pencil: 602e [crossed out in lead]; lower right in lead: 26 label: cardboard: top left in typewriter: Hugo Erfurth, Paul Klee; lower right in typescript: HUGO ERFURTH (1874-1948): PORTRÄT PAUL KLEE, oil print, inv. no. 256, inscribed: cardboard and: in lead: oil print; cabinet 14/15, upper drawer, stamp: cardboard and right: inventory stamp of the Staatliche Landesbildstelle, handwritten in lead supplemented: 256, inscribed: Passepartout o. left in lead: 220; right in lead: 233, portrait photography, portrait, historical person, artist, painting, At the beginning of the 20th century, Hugo Erfurth was one of the most famous professional photographers in Germany, alongside Rudolph Dührkoop and Nicola Perscheid. After completing an apprenticeship as a photographer, he opened his own studio in Dresden at the age of only 22. Soon Erfurth orientated himself towards the up-and-coming pictorialist photography, participated in numerous amateur photographic exhibitions from 1894 onwards and managed to make a name for himself both as an artistically ennobled amateur and successful professional photographer. Portraits are central to his work, which he began taking in 1906 in his new studio, a classicist palace, in a stylishly elegant ambience, appealing to the wealthy bourgeoisie. He also produced numerous portraits of famous personalities, including Käthe Kollwitz, Otto Dix and Joachim Ringelnatz. While his studies around 1905 still show full-length figures depicted in an atmospheric way, from the 1920s onward the focus is on the face, which is photographed against a simple monochrome background. Here, his pictorial approach corresponds to the portrait of classical modernis.

alb5147139 Hugo Erfurth, Hugo Erfurth, formerly J. S. Schröder, Dresden-Johannstadt, Reissigerstrasse 46, cardboard, intaglio printing, image size: height: 16.2 cm; width: 9.7 cm, in lead: repro no, inscribed: in lead: repro no, Stamp: cardboard o. r.: handwritten in lead: 311, inscribed: in lead: repro no, layout and typography, letters, alphabet, typeface, coin, At the beginning of the 20th century Hugo Erfurth was one of the most famous professional photographers in Germany, along with Rudolph Dührkoop and Nicola Perscheid. After completing an apprenticeship as a photographer, he opened his own studio in Dresden at the age of only 22. Soon Erfurth orientated himself towards the up-and-coming pictorialist photography, participated in numerous amateur photographic exhibitions from 1894 onwards and managed to make a name for himself both as an artistically ennobled amateur and successful professional photographer. Portraits are central to his work, which he began taking in 1906 in his new studio, a classicist palace, in a stylishly elegant ambience, appealing to the wealthy bourgeoisie. He also produced numerous portraits of famous personalities, including Käthe Kollwitz, Otto Dix and Joachim Ringelnatz. While his studies around 1905 still show full-length figures depicted in an atmospheric way, from the 1920s onward the focus is on the face, which is photographed against a simple monochrome background. Here, his pictorial approach corresponds to the portrait of classical modernism, whereby the technique of oil printing emphasizes the softness and materiality of the pigments and at the same time places the portraits in the art-photographic tradition. Erfurth is a co-founder of the Gesellschaft Deutscher Lichtbildner (1919), teaches at the Leipzig Academy and moves from Dresden to Cologne in the 1930s, where he builds up an art collection. After his Cologne studio and archive were destroyed in the Second World War, Erfurth rescued himself in Gaienhofen on Lake Constance. (Ca.

alb5145529 Hugo Erfurth, Hilde-Marie, silver gelatin paper, black and white positive process, image size: height: 16,2 cm; width: 9,7 cm, signed and dated, exposed: Hilde-Marie 1898, inscribed: recto: exposed at lower margin: HUGO ERFURTH, pre. J. S. Schröder, DRESDEN, Reissigerstr. 46, in lead: repro no, inscribed: cardboard: repro no, Stamp: cardboard o. r.: handwritten in lead added: 311, portrait photography, girl, portrait, half-length portrait, At the beginning of the 20th century Hugo Erfurth is one of the most famous professional photographers in Germany, next to Rudolph Dührkoop and Nicola Perscheid. After completing an apprenticeship as a photographer, he opened his own studio in Dresden at the age of only 22. Soon Erfurth orientated himself towards the up-and-coming pictorialist photography, participated in numerous amateur photographic exhibitions from 1894 onwards and managed to make a name for himself both as an artistically ennobled amateur and successful professional photographer. Portraits are central to his work, which he began taking in 1906 in his new studio, a classicist palace, in a stylishly elegant ambience, appealing to the wealthy bourgeoisie. He also produced numerous portraits of famous personalities, including Käthe Kollwitz, Otto Dix and Joachim Ringelnatz. While his studies around 1905 still show full-length figures depicted in an atmospheric way, from the 1920s onward the focus is on the face, which is photographed against a simple monochrome background. Here, his pictorial approach corresponds to the portrait of classical modernism, whereby the technique of oil printing emphasizes the softness and materiality of the pigments and at the same time places the portraits in the art-photographic tradition. Erfurth is a co-founder of the Gesellschaft Deutscher Lichtbildner (1919), teaches at the Leipzig Academy and moves from Dresden to Cologne in the 1930s, where he builds up an art collection. After his Cologne studio and archive were destroyed i.

alb5141783 Hugo Erfurth, Dominikus Böhm, Staatliche Landesbildstelle Hamburg, collection on the history of photography, silver gelatin paper, black and white positive process, image size: height: 60.5 cm; width: 46 cm, inscribed: verso o. in the middle: in lead: Dominikus Böhm, stamp: verso in the middle: printed emblem of the GDL [Gesellschaft Deutscher Lichtbildner], label: passepartout verso o. l.: in typescript: Hugo Erfurth, Dominikus Böhm, handwritten with black felt-tip pen: 1938; Hugo Erfurth, Dresden/Cologne, Dominikus Böhm, 1938, stamp: passepartout verso top left: top left: stamp of the Staatliche Landesbildstelle Hamburg, and in the middle handwritten with ballpoint pen: 258, portrait photography, portrait, architect, book, bust, en face, beard, Dominikus Böhm, At the beginning of the 20th century, Hugo Erfurth is one of the most famous professional photographers in Germany, along with Rudolph Dührkoop and Nicola Perscheid. After completing an apprenticeship as a photographer, he opened his own studio in Dresden at the age of only 22. Soon Erfurth orientated himself towards the up-and-coming pictorialist photography, participated in numerous amateur photographic exhibitions from 1894 onwards and managed to make a name for himself both as an artistically ennobled amateur and successful professional photographer. Portraits are central to his work, which he began taking in 1906 in his new studio, a classicist palace, in a stylishly elegant ambience, appealing to the wealthy bourgeoisie. He also produced numerous portraits of famous personalities, including Käthe Kollwitz, Otto Dix and Joachim Ringelnatz. While his studies around 1905 still show full-length figures depicted in an atmospheric way, from the 1920s onward the focus is on the face, which is photographed against a simple monochrome background. Here, his pictorial approach corresponds to the portrait of classical modernism, whereby the technique of oil printing emphasizes the softness and materiality o.

alb5143599 Hugo Erfurth, double portrait in the landscape, paper, oil print, image size: height: 14,8 cm; width: 20,2 cm, signed: recto u. re. in lead: Hugo Erfurth 1912, inscribed: verso in the middle: in lead: oil, stamp: verso and left: inscribed: inside right passepartoutside: in lead and in the middle: Hugo Erfurth, 1912, ('Oel') s. backside!, Kh 1981, lower right in lead: cat. No. 419, inscribed: verso passe-partout cardboard and left: in lead: 7, portrait photography, double portrait, mother, daughter, meadow, pasture, artist and his family, At the beginning of the 20th century, Hugo Erfurth, along with Rudolph Dührkoop and Nicola Perscheid, was one of the most famous professional photographers in Germany. After completing an apprenticeship as a photographer, he opened his own studio in Dresden at the age of only 22. Soon Erfurth orientated himself towards the up-and-coming pictorialist photography, participated in numerous amateur photographic exhibitions from 1894 onwards and managed to make a name for himself both as an artistically ennobled amateur and successful professional photographer. Portraits are central to his work, which he began taking in 1906 in his new studio, a classicist palace, in a stylishly elegant ambience, appealing to the wealthy bourgeoisie. He also produced numerous portraits of famous personalities, including Käthe Kollwitz, Otto Dix and Joachim Ringelnatz. While his studies around 1905 still show full-length figures depicted in an atmospheric way, from the 1920s onward the focus is on the face, which is photographed against a simple monochrome background. Here, his pictorial approach corresponds to the portrait of classical modernism, whereby the technique of oil printing emphasizes the softness and materiality of the pigments and at the same time places the portraits in the art-photographic tradition. Erfurth is a co-founder of the Gesellschaft Deutscher Lichtbildner (1919), teaches at the Leipzig Academy and moves from Dresden to Cologne.

alb5148744 Hugo Erfurth, Thuringian peasants, paper, platinum printing, image size: height: 11.2 cm; width: 15.7 cm, inscribed and dated: Cardboard recto above and below the print: in brown ink: 93, H. Erfurth, Dresden, inscribed: cardboard verso: lower left in dark brown ink: Box 9 Thuringian Peasants; lower left with black felt-tip pen: Hugo Erfurth, Dresden, repro no, inscribed: cardboard back side: lower left in dark brown ink: Box 9 Thuringian peasants; lower left with black felt-tip pen: Hugo Erfurth, Dresden, repro no, stamp: cardboard back side and right: handwritten with ballpoint pen added: 311, stamp: cardboard back side: and in the middle, ; lower right: handwritten in blue ink supplemented: box 29/11; at the bottom: location of the Staatliche Landesbildstelle Hamburg, handwritten in lead supplemented: 26, 30, portrait photography, group portrait, folk costume, regional costume, inn, coffee house, pub, rural life, At the beginning of the 20th century, the state of Hamburg was the only state to have an inventory stamp. Century ranks Hugo Erfurth beside Rudolph Dührkoop and Nicola Perscheid among the most well-known occupation photographers in Germany. After completing an apprenticeship as a photographer, he opened his own studio in Dresden at the age of only 22. Soon Erfurth orientated himself towards the up-and-coming pictorialist photography, participated in numerous amateur photographic exhibitions from 1894 onwards and managed to make a name for himself both as an artistically ennobled amateur and successful professional photographer. Portraits are central to his work, which he began taking in 1906 in his new studio, a classicist palace, in a stylishly elegant ambience, appealing to the wealthy bourgeoisie. He also produced numerous portraits of famous personalities, including Käthe Kollwitz, Otto Dix and Joachim Ringelnatz. While his studies around 1905 still show full-length figures depicted in an atmospheric way, from the 1920s onward the focus is on the fa.