FABER Monika, VUKOVIC Magdalena, DREYFUS Jean-Marc.
The Surface and the Flesh: Madame d'Ora, Vienna-Paris, 1907-1957.
Hazan
Regular price
€24,95
| N° d'inventaire | 28156 |
| Format | 27 x 24 |
| Détails | 144 p., illustrated, paperback. |
| Publication | Paris, 2023 |
| Etat | Nine |
| ISBN | 9782754113243 |
What could be more exceptional in the history of photography than the coexistence, in the same artist, of practices covering apparently antagonistic fields: that of fashion and that of documentary activity?
Between the recording, often considered futile, of the surface and the ornaments that cover it (choice of clothing, valorization of the beauty and glamour of the models) and that of the miseries of the world, of bodies, including in their rawest dimension, the flesh, the photographer Madame d'Ora operates a fascinating aesthetic back and forth. If she remains attentive to artists or personalities of a unique modernity bringing together Klimt's Vienna and the Paris of the avant-gardes in the interwar period, Madame d'Ora nevertheless becomes, after the Second World War, the witness who photographs the human disasters affecting her country of origin, Austria, ravaged by Nazism. But also, captivated by the cruel poetry of slaughterhouses, she explores macabre themes that her creative work on fashion could not have suggested.
This is a unique work which is presented here in all its aspects for the first time in France.
Between the recording, often considered futile, of the surface and the ornaments that cover it (choice of clothing, valorization of the beauty and glamour of the models) and that of the miseries of the world, of bodies, including in their rawest dimension, the flesh, the photographer Madame d'Ora operates a fascinating aesthetic back and forth. If she remains attentive to artists or personalities of a unique modernity bringing together Klimt's Vienna and the Paris of the avant-gardes in the interwar period, Madame d'Ora nevertheless becomes, after the Second World War, the witness who photographs the human disasters affecting her country of origin, Austria, ravaged by Nazism. But also, captivated by the cruel poetry of slaughterhouses, she explores macabre themes that her creative work on fashion could not have suggested.
This is a unique work which is presented here in all its aspects for the first time in France.
Between the recording, often considered futile, of the surface and the ornaments that cover it (choice of clothing, valorization of the beauty and glamour of the models) and that of the miseries of the world, of bodies, including in their rawest dimension, the flesh, the photographer Madame d'Ora operates a fascinating aesthetic back and forth. If she remains attentive to artists or personalities of a unique modernity bringing together Klimt's Vienna and the Paris of the avant-gardes in the interwar period, Madame d'Ora nevertheless becomes, after the Second World War, the witness who photographs the human disasters affecting her country of origin, Austria, ravaged by Nazism. But also, captivated by the cruel poetry of slaughterhouses, she explores macabre themes that her creative work on fashion could not have suggested.
This is a unique work which is presented here in all its aspects for the first time in France.