Beatrix Potter's father Rupert took up photography in the 1860s when it was still a relatively new art form. An enthusiastic and skilled amateur, he was elected to the Photographic Society of London in 1869 and later contributed to photographic exhibitions. Closely observed by Beatrix, Rupert often assisted his friend Sir John Everett Millais by photographing backgrounds for paintings and sitters for portraits. In her journal Beatrix recalls her father photographing the former prime minister W.E. Gladstone for Millais' portrait of 1885:'They kept off politics of course, and talked about photography … how far would the art be carried, did papa think people would ever be able to photograph in colours?'
Rupert's favourite and most forbearing subject was Beatrix herself. Photography was an expensive and laborious process but she appears to have endured patiently the elaborate choreography and the camera's uncomfortably long exposure. Here, the photographic account of Beatrix's life from childhood to marriage is a legacy of Rupert's passion for both photography and his beloved daughter. He captures her at home in London and on holiday in the countryside; sombre and formal among family, relaxed and playful among her pet dogs and rabbit, Benjamin Bouncer.
It was Beatrix's delight to accompany her father on photographic expeditions. Happy to be by his side and excited by the possibilities of the new art form, she also became an avid photographer. She inherited one of her father's old cameras,'a most inconveniently heavy article … which has been breaking my back since I took to that profession.' Through photography Rupert instructed Beatrix in the art of composition, and like Millais she too took photographs to record details that she would later use in her art.
DIEHL starts its “Flaneur” selection with 42 works of the Soviet photo journalist Dmitry Baltermants. Best known for his pictures of the Soviet battlefield during World War II.
During World War II, Baltermants covered major battles for Izvestia and for the Red Army newspaper Na Razgrom Vraga. He fought and photographe...
Le 24 mars 1976, le peuple argentin subit un coup d’état militaire. C’est le début d’une ère de répression sanglante, où quelque 30 000 personnes disparaissent et près de 500 bébés sont volés. Mais s’ouvre également une période d’ultralibéralisme d&ea...
Blindspot Gallery is pleased to present Coastline featuring emerging Chinese photographer Zhang Xiao’s award-winning series Coastline that focuses on the continuous 18,000 kilometres of China’s coastline. The series does not merely capture the seaside landscape of these coastal areas, but also witnesses the changes o...
Du dépouillement des clichés de Catherine Lambermont se dégage une poésie narrative. Ses images composent une suite d’instants d’observation libre. Son travail réhabilite le continuum qui caractérise chaque frontière. La frontière est le lieu du lien. Entre le corps et l’es...
Eric Rondepierre a choisi de montrer au sein d'un travail multiforme, certaines des oeuvres qui ont partie liée au cinéma, depuis ses débuts en 1992. Sur un parcours de vingt ans, 56 pièces ont été prélevées dans dix séries : Excédents, Annonces, Précis...
Simone Nieweg is a photographer of gardens and landscapes. Her work, as it has manifested itself over the past thirty years, knows no other interest. At the same time, a certain serenity hovers over her pictures. In them, nature seems entirely focused on itself. One immediately notices that human beings are absent. The allure of colors and shapes...
« Je ne peux m’empêcher, atteste Gérard Uféras, d’associer la pratique de l’Art à la notion d’amour et de partage ». (extrait de son livre Etats de grâce, éditions du Fantom)
«Egyptian pack» evokes many associations - here are both Petersburgers favorite topic of werewolves (see the movie of E. Yufit «Corpsmen werewolves») and references to the Perm animal style.
Also we can recall British film «The Wicker Man» (1973) with its ritual procession of the man-beasts, ho...