Erwin Blumenfeld
Erwin Blumenfeld, Vogue Paris, Eiffel Tower, May 1939
Erwin Blumenfeld, Untitled, c. 1940s
Erwin Blumenfeld, Untitled, n.d.
Erwin Blumenfeld, Untitled Portrait, New York, c. 1942
Erwin Blumenfeld, Untitled, n.d.
Erwin Blumenfeld, Untitled, New York, c. 1945
Erwin Blumenfeld, Untitled, Paris, 1936
Erwin Blumenfeld, Self Portrait in Paris Studio, c. 1937
Erwin Blumenfeld, Untitled, n.d.
Erwin Blumenfeld, Untitled Nude, n.d.
Erwin Blumenfeld, Untitled Nude, New York, c. 1952
Erwin Blumenfeld, Untitled, n.d.
Erwin Blumenfeld, Projected Shadow, c. 1941
Erwin Blumenfeld, Untitled nude, Paris, c. 1937
Erwin Blumenfeld, Portrait of Cecil Beaton, 1940s
Erwin Blumenfeld, The minotaur or the dictator, 1936
Erwin Blumenfeld, La Pudeur, Paris, 1937
Erwin Blumenfeld, Wet Veil, c. 1937
Erwin Blumenfeld, Untitled, n.d.
Erwin Blumenfeld, Nude, 1942
Erwin Blumenfeld had a full retrospective at the Jeu de Paume in Paris in 2013, so the arc of his photographic career, and its movements from Dada and Surrealism into the realms of high fashion, has been comprehensively detailed relatively recently. Given that context, this show takes a smart approach and heads for a narrow theme – the interconnected nature of Blumenfeld’s use of drapery, shadows, and veiling in his photography, primarily as seen in 1930s and 1940s pictures of the female form but also in a few portraits. It’s a tight edit, and that commonality of subject matter allows us to follow Blumenfeld’s experiments with composition and process more closely.
