Baron Adolf De Meyer was born in Paris, he was the first official fashion photographer for the American magazine Vogue and Vanity Fair in 1913, a post he abruptly abandoned in 1923 to work for rival Harper's Bazaar, he was meticulous, eccentric, a dandy, an arbiter of taste and trends who immortalized the first three decades of twentieth-century society and shaped the genre of fashion photography. De Meyer married Olga Caracciolo, an Italian noblewoman, and Olga would be the subject of many of her husband's photographs. The de Meyers' marriage was one of marriage of convenience rather than romantic love, since the groom was homosexual and the bride was bisexual or lesbian. Meyer wrote "Marriage based too much on love and unrestrained passion has rarely a chance to be lasting, whilst perfect understanding and companionship, on the contrary, generally make the most durable union." On the outbreak of World War I, the de Meyers moved to New York City, where he became a photographer for Vogue from 1913–21, and for Vanity Fair. In 1922 de Meyer accepted an offer to become the Harper's Bazaar chief photographer in Paris, spending the next 16 years there. De Mayer began doing flattering photographs of Belle Époque aristocrats, actors, financiers, and industrialists. His portraits of the sparkling beauties of the fin de siècle Smart Set were his calling card to a position and profession in Edwardian society. He introduced the use of dramatic lighting, of a male model, and of two or more models in the same picture. His influences included the Impressionists, and the Symbolist artists Klimt and Watts, as well as Whistler. A great manipulator of light and shadow, he also veiled his lens in gauze, extensively used backlighting, inserted light sources in unexpected places, and retouched directly on the negative. In the 1920s, the de Meyers returned to Europe. As they aged, it is reported, they became increasingly dependent on cocaine and opium. The baron’s career deteriorated as younger photographers, armed with the new 35mm camera, began stepping out of the confines of the studio and scoffing at the soft-focus lens. After Olga died, de Meyer destroyed much of his work and adopted his young lover as his son. He dies in Beverly Hills penniless and forgotten in Hollywood. Jeanne Eagels Elizabeth Arden-Advertisement-1926 1921 Baron de Meyer, Ballerina Desiree Lubovska Desiree Lubovska standing by a window, wearing a dark dress in Georgette crepe, with fringed waist, by Jean Patou Elizabeth Arden-Advertisement-1926 Gertrude Vanderbilt Whitney -AmericanVogue1917 Nijinsky in L'après-midi d'un faune - 1912 Vogue 1921
Baron Adolf De Meyer was born in Paris, he was the first official fashion photographer for the American magazine Vogue and Vanity Fair in 1913, a post he abruptly abandoned in 1923 to work for rival Harper's Bazaar, he was meticulous, eccentric, a dandy, an arbiter of taste and trends who immortalized the first three decades of twentieth-century society and shaped the genre of fashion photography. De Meyer married Olga Caracciolo, an Italian noblewoman, and Olga would be the subject of many of her husband's photographs. The de Meyers' marriage was one of marriage of convenience rather than romantic love, since the groom was homosexual and the bride was bisexual or lesbian. Meyer wrote "Marriage based too much on love and unrestrained passion has rarely a chance to be lasting, whilst perfect understanding and companionship, on the contrary, generally make the most durable union." On the outbreak of World War I, the de Meyers moved to New York City, where he became a photographer for Vogue from 1913–21, and for Vanity Fair. In 1922 de Meyer accepted an offer to become the Harper's Bazaar chief photographer in Paris, spending the next 16 years there. De Mayer began doing flattering photographs of Belle Époque aristocrats, actors, financiers, and industrialists. His portraits of the sparkling beauties of the fin de siècle Smart Set were his calling card to a position and profession in Edwardian society. He introduced the use of dramatic lighting, of a male model, and of two or more models in the same picture. His influences included the Impressionists, and the Symbolist artists Klimt and Watts, as well as Whistler. A great manipulator of light and shadow, he also veiled his lens in gauze, extensively used backlighting, inserted light sources in unexpected places, and retouched directly on the negative. In the 1920s, the de Meyers returned to Europe. As they aged, it is reported, they became increasingly dependent on cocaine and opium. The baron’s career deteriorated as younger photographers, armed with the new 35mm camera, began stepping out of the confines of the studio and scoffing at the soft-focus lens. After Olga died, de Meyer destroyed much of his work and adopted his young lover as his son. He dies in Beverly Hills penniless and forgotten in Hollywood. Jeanne Eagels Elizabeth Arden-Advertisement-1926 1921 Baron de Meyer, Ballerina Desiree Lubovska Desiree Lubovska standing by a window, wearing a dark dress in Georgette crepe, with fringed waist, by Jean Patou Elizabeth Arden-Advertisement-1926 Gertrude Vanderbilt Whitney -AmericanVogue1917 Nijinsky in L'après-midi d'un faune - 1912 Vogue 1921
Camera and Photography News, Reviews, Tips and Tutorials ‣ By Bill Dobbins www.billdobbinsphotography.com The earliest fashion photography was necessarily stiff and awkward in a time when lenses and emulsions were slow and studio lighting was essentially primitive. But even as photo technology improved the fashion images remained much the same since that was the style that was accepted and expected. One photographer who had
El Barón Adolph de Meyer (1868 - 1946), fue un fotógrafo de principios del siglo 20, famoso por sus elegantes retratos, muchos de los cuales representaban a celebridades.También fue el primer fotógrafo de moda oficial de la revista Vogue América, designado para ese puesto en 1913.
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Baron Adolf De Meyer was born in Paris, he was the first official fashion photographer for the American magazine Vogue and Vanity Fair in 1913, a post he abruptly abandoned in 1923 to work for rival Harper's Bazaar, he was meticulous, eccentric, a dandy, an arbiter of taste and trends who immortalized the first three decades of twentieth-century society and shaped the genre of fashion photography. De Meyer married Olga Caracciolo, an Italian noblewoman, and Olga would be the subject of many of her husband's photographs. The de Meyers' marriage was one of marriage of convenience rather than romantic love, since the groom was homosexual and the bride was bisexual or lesbian. Meyer wrote "Marriage based too much on love and unrestrained passion has rarely a chance to be lasting, whilst perfect understanding and companionship, on the contrary, generally make the most durable union." On the outbreak of World War I, the de Meyers moved to New York City, where he became a photographer for Vogue from 1913–21, and for Vanity Fair. In 1922 de Meyer accepted an offer to become the Harper's Bazaar chief photographer in Paris, spending the next 16 years there. De Mayer began doing flattering photographs of Belle Époque aristocrats, actors, financiers, and industrialists. His portraits of the sparkling beauties of the fin de siècle Smart Set were his calling card to a position and profession in Edwardian society. He introduced the use of dramatic lighting, of a male model, and of two or more models in the same picture. His influences included the Impressionists, and the Symbolist artists Klimt and Watts, as well as Whistler. A great manipulator of light and shadow, he also veiled his lens in gauze, extensively used backlighting, inserted light sources in unexpected places, and retouched directly on the negative. In the 1920s, the de Meyers returned to Europe. As they aged, it is reported, they became increasingly dependent on cocaine and opium. The baron’s career deteriorated as younger photographers, armed with the new 35mm camera, began stepping out of the confines of the studio and scoffing at the soft-focus lens. After Olga died, de Meyer destroyed much of his work and adopted his young lover as his son. He dies in Beverly Hills penniless and forgotten in Hollywood. Jeanne Eagels Elizabeth Arden-Advertisement-1926 1921 Baron de Meyer, Ballerina Desiree Lubovska Desiree Lubovska standing by a window, wearing a dark dress in Georgette crepe, with fringed waist, by Jean Patou Elizabeth Arden-Advertisement-1926 Gertrude Vanderbilt Whitney -AmericanVogue1917 Nijinsky in L'après-midi d'un faune - 1912 Vogue 1921
Baron de Meyer Portrait 1907 The Ottoline Divine Story endeavored here means creating a mood-an aesthetic- that Ottoline would like, love actually, and thrive in. One of the central inspirations is her Memoirs and letters. I have a small beautifully put together book of letters-correspondence between Ottoline and the Poet, D'Arcy Cresswell called Dear Lady Ginger, edited by Helen Shaw. Michelangelo's Profile with Oriental Headdress in Sanguine Ottoline was a copious correspondent-Always writing in a Signature ink color- Sanguine -on paper described in Dear Lady Ginger as a pale tinted quality paper with a printed letterhead of the Gower Street, London, address. Along with this- a description of her hand writing- " The Many Capitals, an inseparable part of Lady Ottoline's handwriting in her letters." A Copy of Ottoline's Flourishes of Script Though I can not duplicate her exuberance, I have experimented with different fonts and the current one I've used is Reenie Beenie. There are a number of options and I have changed it several times hoping to create the most authentic style. There is a reason for it all- the BackGround of the Page is a greyed Orchid- taking cues from the colors preferred by women in their dress prior to World War I. The colors in the de Meyer Portrait Of OTTOLINE reflect this preference. After the Great War, these colors continued to be used along with the addition of jewel tones-ruby, emerald, topaz and amethyst. Ottoline's own color preferences would broaden as the times changed too-yet She would never abandon her very Original style-whether it be an ink color or a skirt length. Another de Meyer autochrome portrait from 1908 of Tamara Karsavina reflect the same colors I've favored in the presentation of OTTOLINE DIVINE. I adore this portrait and the Era and the Story of OTTOLINE DIVINE-I hope you are enjoying the Journey too.
Luisa Casati Stampa di Soncino, Marchesa di Roma (Milan, 23 January 1881 - London, 1 June 1957) was an eccentric Italian heiress, muse, and patroness of the arts in early 20th century Europe. THE MARCHESA CASATI
En Inde orientale, piqueniquer n’est pas du tout une petite affaire. Dans un pays où seuls les mois de décembre à février permettent de goûter aux plaisir d’un soleil tropical insupportable autrement, le pique-nique est un passe-temps hivernal qui est pris très au sérieux. Dans ce travail, réalisé de 2013 à 2015, j’examine ce phénomène.Picnicking is far from a simple affair in eastern India. In a land where the fleeting months of December to February offer the only time to ‘enjoy’ the otherwise unbearable tropical sun, picnicking is a winter pastime that’s taken very, very seriously. This work, done between 2013 and 2015 takes a look at this phenomenon.
Роберте Кьюзи. 1932. Для Elizabeth Arden cosmetics. Фотограф: барон Адольф де Мейер. В 1912 году де Мейер опять посещает Соединенные штаты Америки. Его работы экспонируютя в галерее Штиглица, печатаются в его журнале. В конце 1913 барон де Мейер с женой вынужденно переезжают из Европы в США, так…
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Maker: Baron Adolf De Meyer (1868-1946) Born: France Active: UK,USA,France Medium: photogravure Size: 9 in x 7 in Location: France Object No. 2009.028 Shelf: A-7 Publication: Camera Work XL, 1912 Camera Work, A Pictorial Guide, Dover, 1978, pg 117 Camera Work, Stieglitz, Steichen and Their Contemporaries, Photofile, Thames & Hudson 1991, pl 12 Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997 pg 679 Landt & Lisl Dennis, Collecting Photographs, E.P. Dutton, New York, 1977, pg 6 Sylvie Aubenas et Dominique Versavel, Objets dans L'Objectif, Isthme Editions, Paris, 2005, pg 89 Other Collections: Musee d'Orsay Provenance: Morehouse Gallery Rank: 800 Notes: To view our archive organized by themes and subjects, visit: OUR COLLECTIONS For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
El llamado “Debussy de la fotografía” según Cecil Beaton, fue el primer fotógrafo oficial de moda a principios del siglo XX. Famosas actric...
Пикториали́зм (англ. pictorialism, от англ. pictorial — живописный) — течение в европейском и американском фотографическом искусстве конца XIX — начала ХХ вв., подчеркивавшее в фотографии те черты, которые сближали ее с живописью и графикой эпохи (импрессионизм, живопись прерафаэлитов, символизм,…
