tristesse engraved december 2011
contents
page 3-12: wilson ‘snowflake’ bentley page 13-19: evelyn dunbar page 20-28: albert renger-patzsch page 29-35: kalvoda alois page 36-51: william henry fox tolbat page -52-53: irmãs brontë page 54-56: margaret erath page 57-72: jaromir funke page 73-77: pages from a japanese childrens book page 78-93: mary blair page 94-113: arabia finland page 114-128: lhoták kamil page 129-136: jan svoboda page 137-151: pat albeck page 152-153: by an unknown photographer page 154-164: an archive # 3
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Wilson A. Bentley - ‘snowflake’ wilson "Under the microscope, I found that snowflakes were miracles of beauty; and it seemed a shame that this beauty should not be seen and appreciated by others. Every crystal was a masterpiece of design and no one design was ever repeated., When a snowflake melted, that design was forever lost. Just that much beauty was gone, without leaving any record behind." (1925)
A self educated farmer, Bentley attracted world attention with his pioneering work in the area of photomicrography, most notably his extensive work with snow crystals (commonly known as snowflakes). By adapting a microscope to a bellows camera, and years of trial and error, he became the first person to photograph a single snow crystal in 1885. He would go on to capture more than 5000 snowflakes during his lifetime, not finding any two alike. His snow crystal photomicrographs were acquired by colleges and universities throughout the world and he published many articles for magazines and journals including, Scientific American and National Geographic. In 1931 his book "Snow Crystals", containing more than 2400 snow crystal images, was published by McGraw-Hill but has long been out of print. On December 23, 1931, Bentley died at the family farmhouse in Jericho. Because of his wonderful work with snow crystals, he became affectionately known as "Snowflake" Bentley.
e evelyn dunbar (1906-1960)
Evelyn Mary Dunbar was born in Reading on 18 December 1906. Educated at Rochester Grammar School for Girls, Dunbar’s first foray into commercial artistry was illustrating children's stories. Prior to 1939, while still a student at The Royal College of Art, she worked collaboratively as a muralist, most significantly, in Brockley, Kent at Brockley Boys' School. Up to and during the production of 'The Brockley Murals' she had a close, if not romantic, association with her tutor, the artist Charles Mahoney (1903–1968). An enthusiastic gardener, she collaborated with Mahoney to write and illustrate Gardeners’ Choice (Routledge, 1937). Routledge had already noted the potential of Evelyn Dunbar as an illustrator when she added little pen and ink chapter motifs to The Scots Weekend and Caledonian Vade-Mecum for Host, Guest and Wayfarer, a 'cultural Scots holiday guide' edited by Donald and Catherine Carswell (1936). A later collaborative publication was A Book of Farmcraft (Longmans, 1942) with Michael Greenhill, a recruiter of Land Army girls at Sparsholt training centre[6] out of which Dunbar's 'official war paintings' issued. In 1942 Dunbar married a Royal Air Force auxiliary operative, Roger Folley, who was employed during and after World War II as an agricultural economist. The marriage was childless, but the couple became foster parents in the mid to late 1950s, fostering first one young boy then another adolescent during school holiday periods. The boys came from The Caldecott Community, a residential school for 'the maladjusted' founded by Leila Rendel and Phyllis Potter in 1911. In 1956 ‘ED’, as she tended to sign her paintings, accepted an invitation by Dora Cohen, the charismatic founder principal of Bletchley Park Training College in Buckinghamshire to paint two large commemorative panels for the college library. The panels were based on Dunbar's interpretation of the College emblem, a ‘horn and alpha within omega symbolism'. This referred to the College motto “In my end is my beginning”. Dunbar, who was a Christian Scientist, continued to receive commissions for portraiture and landscape painting up to her sudden death at age 54, which occurred while she was out strolling with her husband on the North Downs combe below their home in Hastingleigh, Kent.
a canning demonstration 1940
landgirls hostel 1943
landgirls pruning at east malling 1944
study for decoration; flight 1930
a landgirl and the bail bull 1945
a albert renger-patzsch (1897-1966)
Albert Renger-Patsch, born in Würzburg on June 22, 1897, was the co-founder and mastermind behind the photographic movement "New Objectivity" in Germany. Renger-Patsch began to study chemistry in Dresden after his military service in World War I; however, he broke off his studies to take a position in 1922 as director of the Picture Archive of the Folkwang Publishing Company in Hagen. After brief work-related stops along the way in Berlin and Kronstadt, he returned to Folkwang, and there he published his own first book of photographs in 1925. In the same year, he left the publisher in order to establish himself in Bad Harzburg as an independent photographer. In 1927, Albert Renger-Patsch had his first larger exhibit in Lübeck, and in 1928, his book "Die Welt ist schön" [The World is Beautiful] appeared, a book that broke ground for the "New Objectivity" movement. His photographs are characterized stylistically through their precise objectivity and formal sharpness. Albert Renger-Patsch turned strictly away from the "romanticizing" art photography of his time and demanded absolute fidelity to the object being photographed, precise illumination of the subjects, accuracy of detail, and perfect control of the optical and chemical processes. According to Albert Renger-Patsch, the point is "to create photographs with the resources of photography that can endure by means of their photographic qualities without borrowing from art". Many pictures in "Die Welt ist schön" thematize the industrial culture of the prewar era. Fascination with the rational power of technology and machines is a typical characteristic of the "New Objectivity" movement. Among its German representatives, one can also name August Sander and Karl Blossfeld. In the following years, Renger-Patsch worked in a studio in the FolkwangMuseum Essen, he participated in the exhibit "Film and Foto" in Stuttgart, and he produced numerous photographs of industrial and city landscapes. Beginning in 1933, he taught for one year at the Folkwang School and worked on assignments for businesses such as for example the Schott Glassworks in Jena. During World War II, a sizeable portion of his photo archive was destroyed by bombs. After 1944, Renger-Patsch lived in Wamel near Soest, where he published several volumes of photographs.
k kalvoda alois (1875-1934)
ď ˇ william henry fox talbot (1800-1877)
William Henry Fox Talbot was born on 11 February 1800 in Melbury, Dorset, into a well-connected family. His father died when he was less than a year old and he and his mother lived in a succession of homes until she remarried in 1804. Talbot went to Cambridge University in 1817. In 1832, he married Constance Mundy and the same year was elected as MP for Chippenham. In 1833, while visiting Lake Como in Italy, his lack of success at sketching the scenery prompted him to dream up a new machine with lightsensitive paper that would make the sketches for him automatically. On his return to England, he began work on this project at his home at Lacock Abbey in Wiltshire. Thomas Wedgwood had already made photograms - silhouettes of leaves and other objects - but these faded quickly. In 1827, Joseph NicĂŠphore de Niepce had produced pictures on bitumen, and in January 1839, Louis Daguerre displayed his 'Daguerreotypes' - pictures on silver plates - to the French Academy of Sciences. Three weeks later, Fox Talbot reported his 'art of photogenic drawing' to the Royal Society. His process based the prints on paper that had been made light sensitive, rather than bitumen or copper-paper. Fox Talbot went on to develop the three primary elements of photography: developing, fixing, and printing. Although simply exposing photographic paper to the light produced an image, it required extremely long exposure times. By accident, he discovered that there was an image after a very short exposure. Although he could not see it, he found he could chemically develop it into a useful negative. The image on this negative was then fixed with a chemical solution. This removed the light-sensitive silver and enabled the picture to be viewed in bright light. With the negative image, Fox Talbot realised he could repeat the process of printing from the negative. Consequently, his process could make any number of positive prints, unlike the Daguerreotypes. He called this the 'calotype' and patented the process in 1841. The following year was rewarded with a medal from the Royal Society for his work. Fox Talbot was also an eminent mathematician, an astronomer and archaeologist, who translated the cuneiform inscriptions from Nineveh. He died on 11 September 1877.
Latidos - IrmĂŁs BrontĂŤ prĂłlogo: Prism and light Latidos gathers a selection of stories with a shared, uncommon ways of perceiving the world. Sometimes realistic and at other times delirious and poetic in tone, the authors journey through (briefly and fable-like) the hidden spaces between science, religion, paganism, nature, history, mythology and aesthetics, in a voracious curiosity and innocently available way of looking at the world. Crossing over borders shamelessly, they are drawing pathways as if to attempt to understand the world. - Pedro Nora The text above served as an introduction to the edition of Latidos published in Portugal in 2010. These stories appear on a regular basis and in english for the first time in tristesse engraved.
Care
Emily stood on the high fence where climbing plants would rub graciously. She looked distractedly far away, holding the wood firmly with her hands. Her love was the stones which were holding her on the ground by the shoes and the green stems which were holding her at the hips. Without them it would not be certain if she would be home at night for supper.
m margaret erath two album covers
biographical information about Margaret Erath is scarce however what I have been able to discover is that she graduated from Irving High School in washington and, later, from Parsons School of Design. She worked as a textile designer for many years in New York City at the Gloria Bucé Studio. During the 70’s & 80’s she concentrated on fine art, exhibiting her work in several prominent galleries. She also produced designs for posters and for record sleeves, such as those for ‘wide world children’s records’. She also illustrated a series of spanish lesson publications.
j jaromir funke (1896-1945)
Jaromir Funke (Czechoslovakia, 1896-1945), born in Skuteè, studied both medicine and law before pursing photography. Influenced by František Drtikol, he began exploring the intellectual and photographic possibilities of surrealism, constructivism, poeticism and expressionism in the early 1920's. A leading member of the Czech avant-garde, Funke was known for the way in which he played photographic games—with, perhaps, a trivial object, a mirror and light, creating an interesting composition of forms which look much like photogrammes. In 1924 he co-founded the Czech Photographic Society with Josef Sudek and Adolf Schneeberger. Two years later he produced a well-know series of surrealist images of store windows originally titled Glass and Reflection. Also influential as a teacher, Funke served for several years as editor of the journal Fotograficky obzor (Photographic Horizons). In 1931, he began teaching in Bratislava and Prague and was an influential mentor, writer, and exhibitions organizer for fourteen years.
j pages from a japanese childrens book
m mary blair (1911-1978) Born October 21, 1911 in McAlester, Oklahoma, Mary Browne Robinson moved to Texas while still a small child, and later to California when she was about 7. Having graduated from San Jose State College, Mary won a scholarship to the renowned Chouinard Art Institute in Los Angeles. In 1934, she married another artist, Lee Everett Blair Both Blairs soon began to work in the animation industry, joining the Ub Iwerks studio. Lee went on to work at the Harman-Ising studios before ultimately joining the Walt Disney studio where he was joined by his wife in 1940. She worked briefly on art for Dumbo, an early version of Lady and the Tramp and a second version of Fantasia. After leaving the studio for a brief time in 1941, Mary traveled to various South American countries with Walt and Lillian Disney and other artists on a research tour as part of President Franklin D. Roosevelt's Good Neighbor policy. During those trips, Mary and Lee worked on concept art for the animated feature films Saludos Amigos and The Three Caballeros. After that she worked on several package films including Fun and Fancy Free and worked on 2 partially animated features Song of the South and So Dear to My Heart. The early 1950s were a busy time for the Disney studio, with an animated feature released nearly every year. Mary Blair was credited with color styling on Cinderella (1950), Alice in Wonderland (1951) and Peter Pan (1953) and the artistic influence of her concept art is strongly felt in those films as well as several animated shorts she designed during that period. After the completion of Peter Pan, Mary resigned from Disney and worked as a freelance graphic designer and illustrator, creating advertising campaigns for companies such as Nabisco, Pepsodent, Maxwell House, Beatrice Foods and others. She also illustrated several Golden Books for publisher Simon & Schuster, some of which have never gone out of print, and designed Christmas and Easter sets for Radio City Music Hall. While the fine art she created outside of her association with Disney and her work as an illustrator is not widely known or appreciated, her bold and groundbreaking color design still serves as an inspiration to contemporary designers and animators.
a arabia pottery, finland
the arabia pottery studio was founded in 1874 and is still operating today. Perhaps best known around the world now for its ‘moomin’ characted pottery, during the 1960’s several visionary young designers joined the studio and began producing iconic pattern deisgns.
anja juurikkala at work
pattern design by raija uosikkinen
pattern design by raija uosikkinen
pattern design by raija uosikkinen
pattern design by raija uosikkinen
pattern design by raija uosikkinen
pattern design by raija uosikkinen
pattern designer unknown, possibly anja juurikkala
animal parade pattern design by anja juurikkala
pattern design by hikka-liisa ahola
daisy pattern by esteri tomula
pattern design by raija uosikkinen
pastoraali pattern design by esteri tomula
pattern design by Raija Uosikkinen
pastoraali pattern design by esteri tomula
pattern design by esteri tomula
pattern design by Raija Uosikkinen
pattern design by Raija Uosikkinen
pattern design by kaj franck
l lhoták kamil (1912-1990) Kamil Lhoták was born on 25 July 1912 in Prague-Holešovice. Thanks to his mother, Lhoták became familiar with painting and literature at a young age. He was particularly fond of the works of Jules Verne, Edouard Riou, and Henri de Toulouse-Lautrec. His early artworks were influenced also by modern technical inventions; he often created drawings of cars, motorcycles, and bicycles. In 1932 he began his studies at Jirásek Gymnasium in Prague. Together with his classmate he published "Auto-moto zpravodaj" (Auto-Moto News) and later he participated in publishing school magazine "Hledání umění". He also often visited the expositions of modern art in Aventinum. Following his graduation at the gymnasium he continued studying at the Faculty of Law of Charles University. Even during these studies, he devoted himself to painting rather than law. In 1938 he married Hertha Guthová, and a year later he organized his first exhibition in Beaufort Gallery in Jungmannova Street. In 1940 he became a member of the art association Umělecká beseda. During the World War II Lhoták created hundreds of artworks, and he also helped to establish the significant Czech art association Group 42. The first exhibition of the group was organized in 1943. According to Czech painter Libor Fára, one of Lhoták's presented paintings, "Dcera velkoměsta" (Daughter of a City), later caught the attention of Pablo Picasso at the exhibition in Paris.
In 1954, Lhoták began his collaboration with writer Adolf Branald. Together they created a book Dědeček automobil (Grandfather Automobile). Lhoták later considered his illustrations for this book as his best works. A year later, in 1955, they cooperated on the production of the film Dědeček automobil. In the 1960s he met Anna Endrštová, who became his model and life partner. During the 1960s and 1970s he increased his work activities, annually creating a large number of paintings and book illustrations and also helping with exhibitions. His paintings from that time are influenced by modern art and opart. Lhoták was an entirely self-taught painter, and he developed his style in an individual and original way. His paintings are based on a specific poetic view, and it is almost impossible to classify them into art genres. Technology and its inventions from the beginning of the 20th century, and particularly the pioneering inventions of motoring, aviation, and the railroads became his main source of inspiration. In his works, Lhoták also included the motives of the Prague periphery. Despite the dreamy atmosphere and poetic character, Lhoták's paintings retain strong reference to the real world and remain solely figurative. Lhoták's style was significantly influenced by poetry, and especially by the works of Czech poets Jan Hanč and Ivan Blatný, fellow members of Group 42. During the years he adapted his style to various modern trends, but he managed to maintain his originality and specific artistic expression. He intentionally used some elements of naïve art and his works are well received for their directness and understandability.
j jan svoboda (1934-1990) With his conception of the art photograph as a unique work, where an important role is played by composition and proportion, the photographer Jan Svoboda (1934–1990) did not fit in at all with contemporaneous ideas about photography. His source of inspiration, and often also his rival, was Josef Sudek.
p pat albeck (b.1930) Pat Albeck is a Britsih designer born in a family of Polish imigrants. She went to The Royal College of Art in 1950. She has designed textiles for many commercial companies such as Liberty of London, cavendish Textiles and Horrockses.
a full biography is available on Pat’s website & well worth a visit: http://www.pat-albeck.co.uk/aboutme/aboutme.html
ď Ź by an unknown photographer
ceiling fixture photographed by an employee of the manufacturer e.f. caldwell 1932
ď ş
an archive # 3 icelandic and faroese photographic collodion prints by fredrick w.w. howell from the cornell university library
ice pinnacles in surtshellir ca.1900
blรกhver, at hveravellir ca.1900
geyser overflowing, haukadalur ca.1900
dettifoss ca.1900
cooking in blesi ca.1900
in the ice-fields, รถrรฆfajรถkull ca.1900
geyser mound and blesi deposit ca.1900
basalt pavement, kirkjubĂŚr ca.1900
ice cornice. eyjabakkajรถkull, vatnajรถkull ca.1900
woods near brúará ca.1900
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