photography
portrait
17_20th-century
new-objectivity
photography
geometric
black and white
monochrome photography
monochrome
monochrome
Editor: This is Yva’s "Travel and Sailor suit", a black and white photograph from around 1932. There’s such a relaxed feel to it, the geometric shapes and the model perched so casually create this strangely elegant and cool atmosphere. What catches your eye when you look at it? Curator: Ah, Yva! She's whispering secrets of a Berlin that was… just before the lights went out. It's not just the geometric dance, darling; it's the mood. That louche pose… does it not strike you as subtly defiant? She’s holding onto that stick, but is it for support or… to push against something? Editor: Defiant, yes! I see what you mean. Like she's on the verge of setting off, but also unwilling to move? The stick could be a sailing mast perhaps. Do you think it references her travels somehow? Curator: Maybe a bit of both. “Travel” and "sailor suits"…suggests a journey and a uniform, doesn't it? It's New Objectivity, so it strips things back, showing only the essentials. No romance, just the angles and the shadow, all these shapes but it hides just as much. Yva always left breadcrumbs to follow, I suspect. Don't you think so? Editor: Definitely! Now that you mention the shadows, I can almost feel the cool studio light shaping her form. It’s clever how Yva suggests movement while also keeping things so static. Thank you, this was super insightful! Curator: The pleasure was all mine. Remember, art is never a fixed point. Feel it, wander through it, argue with it. The photograph ends only where you begin.
Comments
An elegantly dressed young woman lounges on a white block as if on the gunwale of a boat. With her right hand she braces herself on a wooden pole suggestive of a railing. Using a minimum of everyday props, the photographer Yva created a holiday atmosphere in her studio. The model is staged from the side in such a way as to enhance the outfit to best effect. The hazy triangular forms in the background are reminiscent of pennants. This photograph was taken on commission from the Berlin School of Textile and Fashion Design and distributed as an advertising image by the Schostal agency, which supplied numerous magazine publishers with pictorial material. Following the National Socialist accession to power in 1933, Yva was required to apply for membership in the Reich Press Chamber in order to continue her work as a commercial photographer. On account of her Jewish descent, however, her application was rejected. Her working conditions were severely limited as a result. Under the increasing threat of the destruction of her livelihood, she saw no alternative but to turn the administration of her studio over to her friend, the art historian Charlotte Weidler. In 1938, Yva was prohibited from practising her profession altogether. She gave up her studio and tried to eke out a living as a radiographer in the Jewish Hospital of Berlin. In 1942 she was arrested, deported, and murdered in the Sobibor extermination camp.
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