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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Ellen Auerbach
© Stefan Moses
Ellen Auerbach
Ellen Auerbach

Ellen Auerbach

Country: Germany
Birth: 1906 | Death: 2004

Ellen Auerbach was a German-born American photographer remarkable both for her avant-garde photography and for her innovative and successful ringl+pit studio, where she and fellow artist Grete Stern signed all their work collaboratively.

Ellen Auerbach was born Ellen Rosenburg in Karlsruhe, Germany. After sculpture courses in Karlsruhe and Stuttgart, she studied photography with Walter Peterhans at the Bauhaus school in Berlin. In 1929, she founded ringl+pit, an advertising and portrait studio, with her friend Grete Stern. The unusual title was derived from the nicknames they used as children. When Hitler rose to power, Auerbach emigrated with her future husband to Tel Aviv. There she opened a children's portrait studio named Ishon. Following the outbreak of the Abyssinian War, Auerbach moved to London, where she was reunited with Grete Stern. Together they worked on a series of portraits of Bertolt Brecht.

By 1937, Ellen and Walter Auerbach had married and moved to the United States, eventually settling in New York City. Ellen began to experiment with new photographic techniques, worked for Time and Columbia Masterworks on a freelance basis, and taught photography at a junior college. In 1955 Auerbach traveled to Mexico with Eliot Porter and the two produced a powerful body of work documenting Mexican churches. The series, printed primarily in color, explores the religious traditions and ceremonial icons of a fading era in Mexican religious history. Auerbach continued to travel and photograph extensively. At the age of sixty, she began a second career as a child therapist.

Ellen Auerbach's travels provided her with a kaleidoscope of people and places through which to develop her personal visual language. She believed that photography allows for the use of a metaphorical "third eye" which allows the artist to capture not only what exists on the surface of an image, but also to capture the essence of the subject that lies beneath that surface.

Source: Robert Mann Gallery


 

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Frederick Sommer
United States
1905 | † 1999
Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri, Italy and raised in Brazil. He earned a M.A. degree in Landscape Architecture (1927) from Cornell University where he met Frances Elizabeth Watson (September 20, 1904 – April 10, 1999) whom he married in 1928; they had no children. The Sommers moved to Tucson, Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a naturalized citizen of the United States on November 18, 1939. Considered a master photographer, Sommer first experimented with photography in 1931 after being diagnosed with tuberculosis the year prior. Early works on paper (starting in 1931) include watercolors, and evolve to pen-and-ink or brush plus drawings of visually composed musical score. Concurrent to the works on paper, Sommer started to seriously explore the artistic possibilities of photography in 1938 when he acquired an 8×10 Century Universal Camera, eventually encompassing the genres of still life (chicken parts and assemblage), horizonless landscapes, jarred subjects, cut-paper, cliché-verre negatives and nudes. According to art critic Robert C. Morgan, Sommer's "most extravagant, subtle, majestic, and impressive photographs—comparable in many ways to the views of Yosemite Valley’s El Capitan and Half Dome by Ansel Adams—were Sommer’s seemingly infinite desert landscapes, some of which he referred to as 'constellations.'" The last artistic body of work Sommer produced (1989–1999) was collage-based largely on anatomical illustrations. Frederick Sommer had significant artistic relationships with Edward Weston, Max Ernst, Aaron Siskind, Richard Nickel, Minor White, and others. His archive (of negatives and correspondence) was part of founding the Center for Creative Photography in 1975 along with Ansel Adams, Harry Callahan, Wynn Bullock, and Aaron Siskind. He taught briefly at Prescott College during the late 60s and substituted for Harry Callahan at IIT Institute of Design in 1957–1958 and later at the Rhode Island School of Design. In 1934, Frederick Sommer visited Los Angeles. Walking through the art museum one day, he noticed a display of musical scores. He saw them not as music, but as graphics, and found in them an elegance and grace that led him to a careful study of scores and notation. He found that the best music was visually more effective and attractive. He assumed that there was a correlation between music as we hear it and its notation; and he wondered if drawings that used notational motifs and elements could be played. He made his first “drawings in the manner of musical scores” that year. (After reviewing this text, Fred asked that the author refer to his scores “only” in this way. When the author suggested that it was perhaps too long to be repeated throughout the text, he laughed and said, “Well, use it at least once.”) Although people knew of his scores, and occasionally brought musicians to his house to play them, no one ever stayed with it for long. In 1967, both Walton Mendelson and Stephen Aldrich attended Prescott College, Prescott, Arizona, where Sommer was on the faculty. They barely knew of his reputation as a photographer, and nothing of the scores. Towards the end of September he invited them to his house for dinner, but they were to come early, and Mendelson was to bring my flute. “Can you play that?” he asked, as they looked at one of the scores, framed, and sitting atop his piano. With no guidance from him, they tried. Nervous and unsure of what they were getting into, they stopped midway through. Mendelson asked Aldrich where he was in the score: he pointed to where Mendelson had stopped. They knew then, mysterious though the scores were, they could be played. On May 9, 1968, the first public performance of the music of Frederick Sommer was given at Prescott College. Sommer had no musical training. He didn't know one note from another on his piano, nor could he read music. His record collection was surprisingly broad for that time, and his familiarity with it was thorough. What surprised Mendelson and Aldrich when they first met him were his visual skills: he could identify many specific pieces and almost any major composer by looking at the shapes of the notation on a page of printed music. Of Sommer's known works, his drawings, glue-color on paper, photographs, and writings, it is only these scores that have been a part of his creative life throughout the entirety of his artistic career. He was still drawing elegant scores in 1997. And like his skip reading, they are the closest insight to his creative process, thinking and aesthetic. Bruce Silverstein Gallery is the New York representative of the Frederick & Frances Sommer Foundation.Source: Wikipedia Frederick Sommer was an artistic polymath, with deep interests in painting, drawing, photography, sculpture and collage. With his work he intended to engage the world formally, to harvest its chance gifts, decontextualizing and rearranging found images and objects according to often shocking visual affinities. The artist played with a wide variety of forms, textures and scale to create startling compositions amid objects and sites others found too insignificant to notice. Sommer was intent on expanding the limits of where beauty could be found, and after viewing a display of original musical scores, he began to formulate his own theories correlating the graphic design to the sound of musical scores. Alongside many great artists of the period including Edward Weston, Max Ernst, Man Ray and Aaron Siskind, Sommer created a unique and avant-garde body of work formulated from his interest in Surrealism. His works have been exhibited by the world’s most important institutions, including the George Eastman House, Rochester; The J. Paul Getty Museum, Los Angeles; Delaware Art Museum; Serpentine Gallery, London; Charles Egan Gallery, New York; Philadelphia College of Art; Washington Gallery of Modern Art, Washington D.C.; Pasadena Art Museum, California; Museum of Modern Art, New York; Institute of Design, Chicago; Zimmergalerie Franck, Germany; and the Los Angeles County Museum of Art. Work by the artist is represented in major museum collections internationally such as the Metropolitan Museum of Art, New York; Smithsonian Institution, Washington D.C.; Art Institute of Chicago; Museum of Modern Art, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art, Washington D.C.; Maison Européenne de la Photographie; George Eastman House, Rochester; and the Victoria and Albert Museum, London. Sommer’s work has been published widely. Noteworthy publications include Frederick Sommer: Photography, Drawing, Collage (2005), The Mistress of the World Has No Name: Where Images Come From (1987), Frederick Sommer at Seventy Five, a Retrospective (1980), and Venus, Jupiter and Mars: The Photographs of Frederick Sommer (1980).Source: Bruce Silverstein Gallery
John Engstead
United States
1909 | † 1983
John Engstead (22 September 1909 in California - 15 April 1983 in West Hollywood, California) was an American photographer. Engstead began his career in 1926, when he was hired as an office boy by Paramount Pictures' head of studio publicity, Harold Harley. In 1927, Engstead pleased his boss by arranging a photo session for actress Clara Bow with photographer Otto Dyer using an outdoor setting which was unusual at that time. Engstead's creative direction of photographs of actress Louise Brooks led to a promotion to art supervisor, where he oversaw the production of Paramount's publicity stills. In 1932, due to a strike by photographers, Engstead assumed the position of studio portrait photographer, despite having never previously photographed anyone. Actor Cary Grant posed for his practice shots. He returned to his job as art supervisor after the strike was resolved. In 1941, Paramount Pictures fired Engstead, and Harper's Bazaar hired him for freelance advertising and portrait photography assignments. From 1941 to 1949, he took fashion photography assignments from numerous other magazines, including Collier's, Esquire, House Beautiful, Ladies Home Journal, Life, Look, Mademoiselle, McCall's, Vogue, and Women's Home Companion. In the 1940s, Engstead photographed many celebrities, including Joan Crawford, Bette Davis, Maureen O'Hara and Shirley Temple. Unlike other photographers, he often shot his subjects at home or outdoors, and his portraits of a young Judy Garland in Carmel, California were particularly successful. During this decade, he built a studio in Los Angeles that became a gathering place for celebrities. Engstead continued to photograph movie stars and other celebrities through the 1950s (Marilyn Monroe) and 1960s. He produced promotional material for many television personalities, including Pat Boone, Carmel Quinn, Donna Reed, Ozzie and Harriet, Eve Arden, and Lucille Ball. He also shot cover photos for albums recorded by singers such as Peggy Lee and Connie Francis, as well as society portraits. His work extended into governmental figures in the 1950s, including then-Second Lady Pat Nixon. Engstead closed his studio in 1970 but continued to accept special portrait and television assignments until his death in 1984 at age 72. Engstead's images are represented by the Motion Picture and Television Photo Archive and can be viewed by the public at MPTV.net. Source: Wikipedia Engstead began his career in 1926, when he was hired as an office boy by Paramount Pictures’ head of studio publicity. Engstead impressed bosses and was promoted to art supervisor, where he oversaw the production of Paramount’s publicity stills. In 1932, Engstead assumed the position of studio portrait photographer, despite having never previously photographed anyone. By 1941, Engstead was working for various magazines, including Harper’s Bazaar, Esquire, Life, Look and Vogue. Engstead built a studio in Los Angeles that became a gathering place for celebrities. Engstead continued to photograph movie stars and other celebrities through the 1950s and 1960s. Engstead closed his studio in 1970 but continued to accept special portrait and television assignments until his death.Source: Motion Picture and Television Photo Archive
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