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431:. Koppitz's work came of age during the inter-war period when most of Austria's photographers were supporters of art photography. Photographs from that time are full of symbolic meanings often capturing nude and clothed dancers as well as liberal use of the both male, many of which were of Koppitz himself, and female nudes placed in elements of nature and posed to give the impression of a Greek or Roman statue.
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elements of flying machines that carried him into war. When
Koppitz was not photographing for the Army he spent his time documenting the lives of soldiers and the communities of people he came into contact with. Photographs from this period are laden with dramatic sentiments due to Koppitz's use of light, the sun, clouds and mist to express the emotions of the people and the time.
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324:(New Vision) led them to a more factual and documentary oriented photography of themes from rustic life; ethnographic records of the peasant archetype, eulogised as the archaic essence of Germanic peoples, at first mystical and quasi-theosophical, but progressively more chauvinist and nationalistic under the Austrian chancellor dictatorship initiated by
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studio in the fifth district of Vienna where from 1921 Rudolf
Koppitz was a partner. They married in the summer of 1923 and the studio thenceforth traded under his name. They worked together on their artistic commissions, publications and projects. She was also Rudolf's assistant on his artistic work, his
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years to where he started, working with a renewed focus on nature and documenting the lives and condition of rural peasants. Koppitz is perceived by some as a progressive modern artist while on the other hand he was one of the more conservative photographers in his time, belatedly adopting the prevailing
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in which
Koppitz his talents were put to use as a field and aerial reconnaissance photographer. The bulk of the body of work he produced during this time consisted of landscapes captured during his aerial reconnaissance work, his favorite of which was the study of water from the air and the geometric
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and has made it notable It has become
Koppitz's signature image and also his best-seller. Prints were purchased by, among others, the Toledo Museum of Art; the New York Camera Club notably Joseph Bing, head of that club's print committee; and the Englishman Stephen Tyng, who published it in a small
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Koppitz's photographs were shown in no less than fourteen juried or invitational exhibitions in the United States from 1926 through 1930, most importantly the
Pittsburgh Salons of 1926, 1927, and 1928. This highly regarded annual exhibition at the Carnegie Museum of Art featured not only prominent
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Photographische
Korrespondenz: Organ der Photographischen Gesellschaft in Wien, des Vereines zur Plege der Photographie und verwandter KĂĽnste in Frankfurt a/M., des Schweizerischen Photographen-Vereines und des Photo-Klubs in Wien. Zeitschrift fĂĽr Photographie und photomechanische Verfahren. ....
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Koppitz's later photographs took a documentary turn and became more simple and direct in their subject matter and composition more in accord with New
Objectivity, but remained emotionally affected. Over the course of 30 years of work, Koppitz's photography came full circle returning in his later
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who studied photography there. She had become an assistant in 1917, like
Koppitz, in the year she was admitted to the Vienna Photographic Society. She went on to become assistant lecturer, and Rudolf a professor in 1919, a role in which he remained for twenty years. In 1920, Arbeitlang founded a
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Koppitz began training for his career as a photographer in 1897 under Robert Rotter from Bruntál. Koppitz later continued his work in small commercial studios as a contract photographer but in 1912, he left professional life to go back to school to continue his studies at the
371:'Bewegungsstudie' (Motion Study) is surely the most widely published and best known image in Austrian photography from the early decades of the last century. This is for good reason, as no photograph better captures the cultural strands that characterized the Austrian
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Although he did not possess a consistent style, Koppitz was a virtuoso of the dark room, seemingly determined to make the photograph as much of an art object as possible. His beautifully grainy, subtly tinted images align him with
American Pictorialists like
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Koppitz's work emphasises form, line, and the surface play of light and shadow. Early in his career, Koppitz was known for staging groups of subjects in the stylised, bas-relief style of the Vienna
Secession, the most well known example of this being his
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or at the seashore--with the assistance of his wife, Anna. Often symbolic, his images reflected the enthusiasm for nature that Koppitz nurtured throughout his life. This love of nature also influenced his late work, his portrayal of
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American photographers, but also the Europeans including; Koppitz, Josef Sudek, Jaromir Funke, Frantisek Drtikol, and Madame D'Ora. Both Koppitz and Thorek were elected associate members of this prestigious salon, where
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Also in 1925 the couple had their only child, daughter Liselotte, portrayed with her mother in Rudolf's Madonna and Child image of that year. Julia Secklehner identifies it, and Koppitz's 'self-portrait' nude
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In 1936, the most comprehensive exhibition of Rudolf's work, a survey of 500 works of rustic subjects took place, entitled "Country and People", at the Museum of Art and Industry. Rudolf died that same year.
316:, anti-expressionist objectivity then predominant in photography of Central Europe. The FiFo ("Internationale Ausstellung des Deutschen Werkbundes – Film und Foto") came to Vienna after being shown in
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Koppitz's nude self-portraits fascinated his contemporaries as much as they do viewers today. The photographs were taken out of doors--high in the mountains of the
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languid nude, elaborately robed women and sensuality, in the context of its rigorous and artistic composition, evokes the sexual morbidity of Viennese artists like
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ambitions initiated in the fine as in the applied arts by the Secession and by the Wiener Werkstätte. But what gives the image its power is the aura of mystery, of
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process, reflected his links with modern artists such as Gustav Klimt and Egon Schiele, and their involvement with the 'life reform' movement including;
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Heimat Photography in Austria A Politicized Vision of Peasants and Skiers (Series: Contributions to a History of Photography in Austria, vol. 10)
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and collaborated with him in making his first nude studies, some of his 'self-portraits,' and was often his model. Both Rudolf and Anna produced
744:"(Retrieved 29 November 2008) In this instance the dancers are from the Vienna State Opera; the nude figure is known to be Claudia Issatschenko"
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sensuality that resonates through this enigmatic grouping of the three uniformly coiffed and draped figures and the one single naked figure.
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life in Tyrol that culminated in the vast 1936 exhibition of 500 photographs called "Land und Leute" (Country and People).
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Oxford University Press. Retrieved November 29, 2008 During the First World War he served in aerial reconnaissance.
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189:. While working in Vienna early in his career, Koppitz photographed many of the picturesque aspects of the city -
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582:"(Retrieved 29 November 2008) Bewegungs studie directly translates from German to English as "Motion Study.""
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of transfer printing—gained the respect of his colleagues throughout the world and garnered mention in the
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Anna continued operation of their studio and produced Nazi propaganda imagery for Minister of Agriculture
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in Vienna between the world wars. Koppitz is best known for his works of the human figure including his
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In the year they married, Rudolf made, probably in collaboration with Anna, the nude self-portrait,
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at that time. Here one can see a graphic strength and compositional clarity that reflects the
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but holding true to a number of traditions and always telling a story with his photographs.
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Claudia Issatschenko but is more likely, her daughter, ballet dancer and choreographer,
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ideologies, those embedded in the couple's imagery, were instrumental to Nazism.
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Koetzle, M. (1994). 1000 Nudes: Uwe Scheid Collection. Cologne: Taschen (p. 706)
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His earliest works show evidence of influence by Gustav Klimt, Japanese art,
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Koppitz's early works were marked by the influence of his teacher, the Czech
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761:"RUDOLPH KOPPITZ (1884-1936), Bewegungsstudie (Movement Study No. 1), 1925"
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Heimat Photography in Austria: A Politicized Vision of Peasants and Skiers
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and decisively influenced the Koppitz couple's artistic development. The
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95:(4 January 1884 – 8 July 1936) was an Austrian photographer. He moved to
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478:. Koppitz's mastery of pictorial processes—pigment, carbon, gum, and
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846:"Artwork of the Month: The Mother by Rudolf Koppitz (1925) • CRAACE"
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to the highly decorative and symbolist tradition of the Viennese
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sentiment in its alpine setting and heroic low-angle viewpoint.
162:, Austria. Rudolf had been appointed assistant there by 1913.
122:, "Motion Study" and his use of the nude in natural settings.
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Cronin, Elizabeth; Photoinstitut Bonartes, Albertina (2015).
271:, "Motion Study" in which he photographed dancers from the
158:, "Institute for Teaching and Research in Graphic Arts" in
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and Clarence Smith. Koppitz's work, much of it using the
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Nude Photography: Masterpieces from the Past 150 Years.
915:"One Hundred Years of Nakedness in German Performance"
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images. He was one of the leading representatives of
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Rudolf Koppitz, self portrait, In the Bosom of Nature
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Oxford University Press. Retrieved November 29, 2008
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215:His time at the Institute was interrupted by the
999:Photography: An Illustrated Historical Overview.
679:(in German). Frankfurt am Main: T. Starl. 2016.
240:was called in Austria) in the aesthetics of the
1071:Rudolf Koppitz: Viennese `Master of the Camera'
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467:, sun culture, and expressive dance popular in
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267:. In c.1925 Koppitz created his masterpiece,
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1016:Seizing the Light: A History of Photography.
312:In the 1930s their style shifted toward the
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699:"musée Nicéphore Niépce - Rudolf Koppitz"
404:, as well as the Swiss symbolist painter
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409:portfolio of works from his collection.
223:Returning to the institute, Koppitz met
1066:Photography Encyclopedia Rudolf Koppitz
881:(in German). Salzburg: Fotohofedition.
727:The Oxford Companion to the Photograph.
651:The Oxford Companion to the Photograph.
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303:('cult of the body') and the naturist
275:; the nude dancer, credited to be the
1061:Rudolf Koppitz critique and biography
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138:(in what is today Skrbovice, part of
130:Rudolf Koppitz was born into a rural
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156:Graphische Lehr- und Versuchsanstalt
1099:20th-century Austrian photographers
777:Smith, Roberta (11 October 1996).
725:Lenman, R. (2005) Rudolf Koppitz.
649:Lenman, R. (2005) Rudolf Koppitz.
134:family in Schreiberseifen, in the
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16:Austrian photographer (1884–1936)
1104:Austrian people of Czech descent
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796:Secklehner, Julia (2021-04-05).
471:from the early 1900s as well as
210:The Brown University News Bureau
136:Duchy of Upper and Lower Silesia
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1114:People from Bruntál District
1109:People from Austrian Silesia
974:"Rudolf Koppitz (1884–1936)"
281:Tatyana Issatschenko Gsovsky
1026:The History of Photography.
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931:10.1162/105420403322764089
185:, and by the style of the
815:10.1017/s0067237821000072
802:Austrian History Yearbook
555:"96-072 (Rudolf Koppitz)"
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1030:The Museum of Modern Art
485:Encyclopædia Britannica
191:St. Stephen's Cathedral
913:Toepfer, Karl (2003).
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297:In the Bosom of Nature
257:In the Bosom of Nature
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205:and alpine landscapes.
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1056:at Wikimedia Commons
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1034:Richter, P. (1998).
1024:Newhall, B. (1982).
629:"Paul Cava Fine Art"
499:American Photography
105:straight photography
103:whose work includes
1134:Dance photographers
1119:Artists from Vienna
1094:Czech photographers
1014:Hirsch, R. (2000).
1011:. Salzburg: Fotohof
703:www.museeniepce.com
664:Austria, n.p, 1917.
299:as adhering to the
1007:Croni, E. (2015).
997:Baatz, W. (1997).
783:The New York Times
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367:, "Motion Study".
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326:Engelbert Dollfuss
273:Vienna State Opera
187:Viennese Secession
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101:Photo-Secessionist
1052:Media related to
1038:New York: Prestel
888:978-3-902993-11-3
394:Bewegungsstudie's
314:Neue Sachlichkeit
250:Wiener Werkstätte
234:Kunstphotographie
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285:Bewegungsstudie
269:Bewegungsstudie
230:photo retoucher
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217:First World War
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507:Camera Craft
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449:Idao Gallery
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74:(1936-07-08)
35:
1129:1936 deaths
1124:1884 births
1020:McGraw Hill
979:29 November
808:: 201–226.
634:29 November
608:29 November
532:Iconography
516:Neues Sehen
476:romanticism
425:Art Nouveau
373:avant-garde
322:Neues Sehen
265:graphic art
246:Jugendstijl
201:, views of
183:Karel Novák
170:Composition
140:Široká Niva
72:8 July 1936
1088:Categories
1028:New York:
1018:New York:
856:2022-01-16
708:2022-01-16
538:References
301:Körperkult
289:Jugendstil
248:, and the
132:Protestant
99:and was a
50:1884-01-03
1004:: Baron's
939:1054-2043
897:904808056
832:233560730
824:0067-2378
685:297331673
503:Photo-Era
488:of 1929.
388:Christies
381:symbolist
377:modernist
328:of 1933.
318:Stuttgart
261:symbolist
179:Symbolist
126:Biography
109:modernist
58:Skrbovice
1002:Hauppage
955:57567622
526:See also
473:agrarian
447:—
386:—
341:völkisch
208:—
38:c. 1923.
947:4488514
442:peasant
419:c. 1930
358:c. 1927
277:Russian
203:Dresden
172:c. 1927
146:in the
144:Bruntál
84:Austria
953:
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937:
895:
885:
850:CRAACE
830:
822:
683:
505:, and
465:nudism
306:heimat
160:Vienna
117:iconic
97:Vienna
951:S2CID
943:JSTOR
828:S2CID
199:Delft
142:near
981:2008
935:ISSN
893:OCLC
883:ISBN
820:ISSN
681:OCLC
636:2008
610:2008
437:Alps
427:and
400:and
347:Work
236:(as
107:and
69:Died
44:Born
927:doi
919:TDR
810:doi
150:).
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963:^
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