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views, entering the main metropolitan streets and squares, documenting their dynamics, buildings, transportation and the face of people. But her work is not confined to that. It also portrays the personalities in the world of culture and the arts. Thus, as a whole it constitutes a sensitive and encompassing picture of the scenarios and characters of the city of Săo Paulo."
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Kossoy introduces the photographer, Hildegard
Rosenthal, a Swiss immigrant, who worked until 1948 in a small and obscure news agency, Press Information. According to Kossoy, over a ten-year period, Rosenthal inaugurated a particular style of photojournalism in Brazil by systematically covering "urban
187:. Her images sought to capture the artist at his moment of creation, in obvious connection with his spirit of reporter. She interrupted her professional activity in 1948, after the birth of her first daughter. And in 1959, after her husband died, she took over the management of her family's company.
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in 1937. That same year she began working as a laboratory supervisor at the Kosmos photographic materials and services company. A few months later, the agency Press
Information hired her as a photojournalist and she did news reports for national and international newspapers. During this period, she
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In this same period, she had entered a relationship with Walter
Rosenthal. Rosenthal was Jewish, and Jews were increasingly persecuted in Germany in the 1930s under the National Socialist (Nazi) regime that took power in 1933. Walter Rosenthal emigrated to Brazil in 1936. Hildegard joined him in
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acquired more than 3,000 of her negatives, in which urban scenes of São Paulo from the 1930s and 1940s stood out, during which time the city underwent a vertiginous growth, both material and cultural. Other negatives were donated by her during her life to the
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took photographs of the city of São Paulo and the state countryside of Rio de
Janeiro and other cities in southern Brazil, as well as portraying several personalities from the São Paulo cultural scene, such as the painter
139:(Germany), where she studied pedagogy from 1929 until 1933. She lived in Paris between 1934 and 1935. Upon her return to Frankfurt, she studied photography for about 18 months in a program led by
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720:] (in Portuguese). Antonio Fernando DeFranceschi, Boris Kossoy (biographical essays). São Paulo, SP, Brazil: Instituto Moreira Salles.
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630:"The self-portrait and alter ego of Hildegard Rosenthal, in São Paulo/Brazil, a dual approach in the dialogue with modern photography"
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307:. The exhibition is curated by Andrea Nelson, associate curator in the department of photographs at the National Gallery of Art.
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Hildegard
Rosenthal: fotografias no Museu de Arte Contemporânea da Universidade de São Paulo, MAC/USP (1974: São Paulo)
738:(in Portuguese). Maria Luiza Ferreira de Oliveira, Beatriz Bracher. São Paulo, SP, Brazil: Instituto Moreira Salles.
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230:"Photography without people does not interest me," she said at the Museum of Image and Sound of São Paulo in 1981.
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and, acting in the local press, contributed to the photographic aesthetic renovation of
Brazilian newspapers.
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326:"Hildegard Baum and Alice Brill: development and awakening of sensitivity: between the forefront and shadows"
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The first photograph in the slide show associated with this website is a photograph by
Hildegard Rosenthal.
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Brasil 1920-1950: da
Antropofagia a Brasília, Institut Valencia d’Art Modern, (2000: Valencia, Espanha)
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National
Gallery of Art (October 31, 2021 — January 30, 2022). This exhibition was organized by the
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na galeria DOC Foto (2013: São Paulo). Exhibition honoring the centennial of
Rosenthal's birth.
115:(March 25, 1913 – September 16, 1990) was a Swiss-born Brazilian photographer, the first woman
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in Brazil. She was part of the generation of European photographers who emigrated during
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Trienal de Fotografia no Museu de Arte Moderna de São Paulo, MAM/SP (1980: São Paulo)
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Javnost - the Public Journal of the European Institute for Communication and Culture
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544:[São Paulo seen through the eyes of the photographer Hildegard Rosenthal].
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273:, de Hildegard Rosenthal e Horacio Coppola, no Museu Lasar Segall (2010: São Paulo)
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154:. These were a recent innovation at the time, and could be used unobtrusively for
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158:. She also studied photographic laboratory techniques at the Gaedel Institute.
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432:"Filha reúne em livro material inédito sobre a fotógrafa Hildegard Rosenthal"
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Discusses the development of Rosenthal's photography after her immigration.
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571:"Three Overlooked Female Photographers Forced to Flee Europe in the 1930s"
677:"Photojournalism in Nineteenth Century Brazil: A Methodological Approach"
461:(in Portuguese). Colección Pirelli/MASP de Fotografía. Archived from
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Her photographs remained little known until 1974, when art historian
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About a dozen of Rosenthal's photographs of São Paulo in the 1940s.
542:"São Paulo vista pelos olhos da fotógrafa Hildegard Rosenthal"
644:"Downtown in São Paulo with Hildegard Rosenthal's Camera"
415:(in Portuguese). Instituto Moreira Salles. Archived from
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Museum of Contemporary Art of the University of São Paulo
484:"Exposición en el Museo Lasar Segall (galería de fotos)"
356:(in Portuguese). São Paulo: Itaú Cultural. May 2, 2017.
150:. Wolff emphasized small, portable cameras that used
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Forty-six reproductions of Rosenthal's photographs.
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Bilingual description of the centennial exhibition.
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616:"Boom town: São Paulo in the 1940s – in pictures"
513:[The São Paulo of Hildegard Rosenthal].
634:Labrys, Études Féministes/ Estudos Feministas
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330:Labrys, études Féministes/Estudos Feministas
324:Dines, Yara Schreiber (January–July 2016).
293:Maison de l’Amérique latine (2018: Paris).
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206:held a retrospective of her work at the
540:Broggiato, Heloísa (February 2, 2013).
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258:O Olhar e o Ficar. A Procura do Paraíso
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254:na galeria Fotóptica (1993: São Paulo)
212:Museum of Image and Sound of São Paulo
135:. Until her adolescence, she lived in
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214:(MIS) was opened with the exhibition
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801:20th-century Brazilian women artists
511:"A São Paulo de Hildegard Rosenthal"
35:Hildegard Rosenthal (self portrait,
559:Review of the DOC Foto exhibition.
492:(in Portuguese). February 22, 2010
283:De l’autre côté. Photographies de
277:A São Paulo de Hildegard Rosenthal
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591:"The New Woman Behind the Camera"
569:Moroz, Sarah (November 7, 2018).
430:Zarattini, Monica (May 6, 2015).
262:Pinacoteca do Estado de São Paulo
245:XIV e XV (1977 e 1979: São Paulo)
243:Bienal Internacional de São Paulo
179:, the humorist Aparicio Torelly (
297:The New Woman Behind the Camera.
693:10.1080/13183222.2007.11008948
642:Foster, David William (2005).
628:Dines, Yara Schreiber (2018).
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791:Brazilian women photographers
734:Rosenthal, Hildegard (2010).
712:Rosenthal, Hildegard (1998).
252:Um olhar feminino dos anos 40
36:
218:, by Rosenthal. In 1996 the
786:Brazilian women journalists
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781:Brazilian photojournalists
305:Metropolitan Museum of Art
287:, Hildegard Rosenthal, et
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675:Marocco, Beatriz (2007).
593:. National Gallery of Art
210:. The following year the
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303:in association with the
220:Instituto Moreira Salles
113:Hildegard Baum Rosenthal
796:Brazilian photographers
301:National Gallery of Art
816:Women photojournalists
131:Rosenthal was born in
16:Brazilian photographer
660:10.1353/lbr.2005.0027
648:Luso-Brazilian Review
459:"Hildegard Rosenthal"
413:"Hildegard Rosenthal"
183:) and the cartoonist
622:. November 18, 2017.
489:O Estado de S. Paulo
173:Guilherme de Almeida
806:Artists from Zürich
353:Hildegard Rosenthal
271:Profissão Fotógrafo
225:Lasar Segall Museum
191:Artistic trajectory
133:Zurich, Switzerland
65:Zürich, Switzerland
23:Hildegard Rosenthal
216:Memória Paulistana
156:street photography
74:September 16, 1990
363:978-85-7979-060-7
264:(1994: São Paulo)
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654:: 118–135.
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332:(9): 1–32.
289:Grete Stern
234:Exhibitions
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177:Jorge Amado
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765:Categories
597:2021-07-30
554:2019-07-04
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496:2019-07-10
469:2019-06-30
444:2019-07-08
312:References
152:35 mm film
141:Paul Wolff
95:Occupation
90:Paul Wolff
58:1913-03-25
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736:Metrópole
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547:Swissinfo
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