By today’s standards, the cover of a fashion magazine is about as creative as baby formula. There’s the requisite torso (airbrushed to a fair thee well) positioned to allow for the requisite cover lines, which more often than not contain the number 25. Now compare that to the Vogue cover of January 1950: Jean Patchett’s face reduced to a beauty mark, mouth, eye, brow and nose. If ever there were a visual haiku, this is it. Woman distilled to her essence; the sum of her parts more alluring than the whole. The image also speaks to the artistic origins of its creator, Erwin Blumenfeld, a sought-after fashion photographer in the 1940s and ’50s, who immigrated to New York by way of Berlin, Amsterdam and Paris, with a detour in several French internment camps. Blumenfeld was a polymath. He could paint, write and draw; and, in the spirit of his age, he excelled at collage, later photomontage, cutting and pasting as a way to make sense of the world. In “Erwin Blumenfeld: I Was Nothing But a Berliner, Dada Montages 1916-1933’’ (Hatje Cantz), Helen Adkins collects and annotates Blumenfeld’s Dadaist trove. Never meant for public airing, the collages — given away as gifts and sent as letters, mainly to his future wife — are grotesquely personal yet tell the story of a generation decimated by war in jokester patois. In a text fragment entitled “Who I Am,” Blumenfeld wrote: “I play the following roles with the art of deceit: human being, Jew, infant whose testicles have been stolen, painter-poet-prince, thinker, stinker. …”
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