http://www.anamorfose.be/ New photos to the collection en Copyright (c) 2012 Xavier Debeerst info@anamorfose.be (Xavier Debeerst) info@anamorfose.be (Xavier Debeerst) Fri, 10 Feb 2012 02:14:01 -0500 Zen-Cart v. v 2.1.4 14.02.2008 15:26 RSS 2.0 Feed 1440 http://www.anamorfose.be/figure-photography/interwar-body-culture Collector's room is the photo gallery for vintage art photos by Anamorfose There is the online photo gallery your visiting now and there is the brick and mortar Collector's Room in Izegem, Belgium. At both locations we offer unique prints for sale by mostly European photographers. The collection is organized in different themes from 1880 until 1950. Online vintage photo gallery specialized in historical black and white photography The idea of the collectors room is inspired on the 18th century Fench concept of a comfortable Room for Art where people joined to talk about art. The selection of this vintage and historical photos is my personal choice of images. There isn't a specific theme of subject. After more then twenty years of collecting photos there are images that are burned in your memory. These vintage photos are brought together in this section of the website. I hope you enjoy visiting this Room for Vintage Art Photography. info@anamorfose.be (Xavier Debeerst) http://www.anamorfose.be/figure-photography/interwar-body-culture Mon, 12 Sep 2011 21:08:00 -0400 http://www.anamorfose.be/interwar-body-culture/books-publications info@anamorfose.be (Xavier Debeerst) http://www.anamorfose.be/interwar-body-culture/books-publications Mon, 24 May 2010 17:54:18 -0400 http://www.anamorfose.be/interwar-body-culture/interwar-dance Physical exercise was an important part of the body culture. Especially for the inhabitants of the larger cities, who had little or no exercise, this was revolutionary. Athletes and sportsmen became the new heroes. There are many analogies with the present day situation: the focus on a healthy body, the (re)discovery of the countryside, recreative sports…  Today the focus is on the individual.  During the interwar period, however, the focus was on the masses and the community and the individual was of minor importance. The willingness of the people to participate in the mass spectacles inspired many political parties. Mass spectacles were (mis)used for political purposes. One of the major examples here are the Olympics of Berlin inn 1936. In the Forties Gerhard Riebicke photographed a similar mass spectacle in Berlin. In his photographical report we can clearly identify the relationship between gymnastics and dance. Dance lived indeed a new élan. The new scientific and philosophical insights had led to a modern body language. Especially Rudolf von Laban (1879 – 1958), founding father of the study of motion (Eukinetik), was the main innovator. The line between dance and gymnastics became more vague. The further liberation of the body and nude dancing were logical consequences. In the exhibition this phenomenon is documented by a rare series of photographs made by a student at the Labanschüle in Hamburg in 1927. Von Laban also contributed to the choreography of the Olympic Games in Berlin. One year later he fled to the United Kingdom. Under the influence of the photography of sports and gymnastics, dance photography evolved from portraits of the dancers to images of the dance as such. Movements and choreography became more and more important. All attention was drawn to the expression of the body. Light, cadrage and extreme angles contributed to an expressive form. Proportionally the dancer became smaller in the image providing more space to the environment. Montage and collage became the obvious next steps. Examples of this evolution are the pictures of Edith Dewilde, by Jozef Desiré Massot. Obviously also artistic and intellectual circles shared the enthusiasm for the mania for physical movement. Dance became a new source of inspiration for painters, sculptors and photographers. The sports photos by the Russian photographer Igor Kotelnikov (Russia, 1903) used by Vladimir Lebedev as sources of inspiration for his paintings and book illustrations are good examples of the interaction between the different arts.  Film and photography fully used this new body language and founded a new movement photography. info@anamorfose.be (Xavier Debeerst) http://www.anamorfose.be/interwar-body-culture/interwar-dance Mon, 25 May 2009 13:14:59 -0400 http://www.anamorfose.be/interwar-body-culture/interwar-gymnastics info@anamorfose.be (Xavier Debeerst) http://www.anamorfose.be/interwar-body-culture/interwar-gymnastics Mon, 25 May 2009 13:05:31 -0400 http://www.anamorfose.be/interwar-body-culture/linkebeek-1931 Nudism was not only popular in Germany. Also in Ghent and Linkebeek there were nudist camps on isolated private grounds, well-hidden from the curious public. The nudist camp in Linkebeek is mainly known through Willy Kessels’ photos (1898 -1974), out of which the exhibition show a number of unknown photographs. In 1931 the camp was closed down by the police and the nudists were arrested.  Precisely on that moment Kessels was making his pictures. The photograph of the door destroyed by the police is a silent witness. Next to Kessels’ photographs from Linkebeek, we also present a reportage made by the nudists themselves. This reportage illustrates the activities in the camp very well. info@anamorfose.be (Xavier Debeerst) http://www.anamorfose.be/interwar-body-culture/linkebeek-1931 Mon, 25 May 2009 12:48:19 -0400 http://www.anamorfose.be/interwar-body-culture/olympic-games-berlin-1936 The healthy and powerful body as the symbol of a nation was masterly depicted by Leni Riefenstahl (1902 – 2003) in the film “Olympia”, a photo reportage about the Olympic Games in 1936 in Berlin. The antique roots of the games became the model for an ideal society. Riefenstahl turned the ceremony into a ritual, and at the same time into perfect propaganda for the Nazi regime. Although Riefenstahl remains very controversial up until today, her films and books are still references. There are a lot of picture postcards and official publications about the Olympic Games of 1936. In this exhibition, however, we have chosen to show the Games from the perspective of the spectator. The amateur photos provide a more intriguing image of the atmosphere and the political impact. For her film “Olympia” Leni Riefenstahl was inspired by that other cult film, “Wege zu Kraft und Schönheit” (1925) of Wilhelm Prager. Riefenstahl was involved in both productions: in “Wege zu Kraft und Schönheit” she acted, in “Olympia” she would direct as well. There are many analogies in the language of both films. “Wege zu Kraft und Schönheit” was a promotion picture to the modern body culture. The new health cult goes back to different myths. The German civilian is depicted as a fat bourgeois living an unhealthy and unethical life. The film had to motivate spectators to develop a healthy mind in a healthy body. Only fit and balanced individuals could save the nation. Gerhard Riebicke (Germany, 1878 – 1957) was the photographer on the set of “Wege zu Kraft und Schönheit”. Same of the photographs he made then have now become icons of present day nude photography.   In the exhibition we show both film, next to a large number of original documents and photographs by Gerhard Riebicke. info@anamorfose.be (Xavier Debeerst) http://www.anamorfose.be/interwar-body-culture/olympic-games-berlin-1936 Mon, 25 May 2009 12:50:21 -0400 http://www.anamorfose.be/interwar-body-culture/the-free-body Nudism was a logical consequence of the philosophical and ethical evolutions of the end of the Nineteenth Century. All over Europe nudist schools, institutions and camps were founded. A full and well-organised nude culture became a fact with its own organisations and publications. During the interwar period nudism grew spectacularly, especially in Germany. Until the Thirties there was a social basis and a political tolerance. Nudism was accepted and the publications could be sold freely. Only the Church and the bourgeois establishment had their occasional objections, but the critics were not strong enough to break up the movement. There were nudists in all layers of society. In the beginning the FKK had two tendencies: a labour movement with communist sympathies and a more intellectual movement, based on different philosophical ideas. Only a minority of the nudists supported the racial issues. With the rise of the Nazist society in 1933 there was a period of juridical uncertainty. Nudism was no longer compatible with the ethical theses of Nazism. The political powers also feared a too large influence of communism. On the other hand the Nazi ideologists recognised nudism as a possible ally for their racial doctrine. From 1933 to 1936 nudism was banned and the members of FKK were obliged to become members of a politically controlled organisation. The effect of the ban was very small. The influence of national-socialism could however be noticed in the activities of the nudists.  There was a lot of focus on gymnastics and sports. Present-day nudism has no relation at all with the fascist doctrines. info@anamorfose.be (Xavier Debeerst) http://www.anamorfose.be/interwar-body-culture/the-free-body Mon, 25 May 2009 12:46:34 -0400