Photographs from the Estate of Isabel Wachenheimer by Anonymous

Photographs from the Estate of Isabel Wachenheimer Possibly 1945 - 1949

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photography, gelatin-silver-print

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portrait

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still-life-photography

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photography

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gelatin-silver-print

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modernism

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realism

Dimensions height 85 mm, width 65 mm

This black and white photograph, part of the Estate of Isabel Wachenheimer, presents us with a portrait of a young woman, likely taken in the mid-20th century. The soft waves of her hair, gently framing her face, evoke a sense of classical beauty, reminiscent of figures in Renaissance paintings. Consider how hair, throughout history, has been a potent symbol of identity, status, and even rebellion. In antiquity, flowing hair symbolized vitality and freedom. Yet, observe how carefully styled her hair is, a conscious act of self-presentation. One might recall Botticelli’s Venus, whose flowing locks are both sensual and indicative of her divine nature. Here, the controlled waves suggest a taming of wildness, perhaps reflecting societal expectations. The gaze, too, invites contemplation, for eyes are the mirror of the soul. In the subject's direct, yet gentle, look, one senses a complex inner world, an echo of the psychological depth sought by artists across the ages. This image embodies the continuous dialogue between past and present, mirroring and evolving within the currents of time.

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rijksmuseum's Profile Picture
rijksmuseum over 1 year ago

Isabel Wachenheimer still signed with her concentration camp number, ‘K.Z. häftling No 918’ three months after she was liberated. Just see the inscription on the back of a portrait photograph of her taken on 25 September 1945. Isabel was a broken person after the war. She slowly recuperated from a fractured vertebra in Davos (Switzerland). In November 1946 Isabel married Leo Blumensohn, a fellow victim she met in the Westerbork transit camp.

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