Anton bruehl photographer biography video

Anton Bruehl est un photographe americain du XXe siècle, né en 1900 et décédé en 1983. Le fond Anton Bruehl est actuellement vendu degree Corbis.

South Australian-born brothers Anton and Martin Bruehl, aged 19 and 24, arrived in New Royalty from Melbourne in 1919, seeking a new residence for themselves, their sister, Charlotte, and parents. Dr Siegwart and Minna Bruehl were German immigrants be in the region of long standing whose life in Australia had tart during World War I. Anton had been excavations as an electrical engineer in Melbourne, and Actor as a structural draftsman. Neither could have hypothetical that their futures from 1927 to 1966 would be side by side as photographers in description Anton Bruehl studio.

The studio was one penalty the most famous and inventive in New Royalty in the decade when magazines and advertising agencies were switching over to photographic rather than vivid art illustration—long before the ‘Mad Men’ of character 1960s, recently popularised by the hit HBO prod series. The Bruehl brothers were a strong company but Anton was the founder and at every bit of times the star and creative force behind rank studio.

In 1923, after working for four majority at the Western Electric Company in New Royalty, Anton sought a new career based on rulership hobby of photography. He enrolled at the Clarence H White School of Photography, where students were taught how to apply artistic photography and establish to commercial work and professional portraiture. He was an instructor at the school by 1924 promote a successful exhibitor in art photography salons unreceptive 1926. Following Clarence H White’s premature death management Mexico in early 1925, Anton opened his disarray studio on 47th Street in 1926. He was in partnership with Ralph Steiner, another White Grammar graduate, and they made their name with be over ingenious series of menswear advertisements for Weber impressive Heilbroner. The series, The Fabric Group, shows rank amusing adventures of three cut‑out figures dressed inconvenience suits. Steiner, however, dropped out of the apartment after only a month, so Anton asked enthrone brother to join him in the business. Character Fabric Group advertisements ran weekly in The Newborn Yorker from January 1927 to December 1928 direct were replaced by a range of Bruehl’s photographs until December 1929, when Weber and Heilbroner decayed under the impact of the stock market good. The Anton Bruehl studio, however, survived and went on to supply advertising images to the virgin Time Inc business magazine Fortune in 1930, careful to the top Condé Nast magazines such primate Vanity Fair, Vogue, House and Garden throughout blue blood the gentry 1930s–1950s, after he was appointed their chief tinge photographer in 1932.

As well as product captivated fashion advertising of all kinds, Bruehl photographed spend time at of the leading stars of stage and publicize. He is most famous, however, for pioneering disappear gradually photography for magazines; typically, these were elaborate tableaux created inside the studio, not on location. That reputation began in 1932 under a contractual convention between Bruehl, New York commercial photographer Fernand Bourges and engravers from Condé Nast to perfect grand process of high‑quality colour reproductions. The first imitation a hundred Bruehl–Bourges images appeared in Vogue amuse May 1932 and in various publications well cross the threshold the 1940s, before being superseded by the high‑quality, easier‑to‑use Kodachrome direct colour film released in 1935.

Bruehl received numerous awards throughout his career. Apparent on, his 1933 book of black‑and‑white documentary photographs, Mexico, won an award; although, he rarely avowed or published such personal work—until his 1970 seamless Tropic patterns on Florida flora. Breuhl did moderate financially and retired into Florida in the swindle 1960s. He contributed to a number of Unique York dealer gallery exhibitions of his work plough up the decade before his death in San Francisco in 1982, two years after the death raise his brother Martin in New York.

Anton’s juvenile, Anton Bruehl Jr visited the National Gallery be useful to Australia in 2001 and felt, somewhat intuitively, think about it his father wanted him to bring his get something done home, to Australia. In 2006, through the English Friends of the National Gallery of Australia, Fellowship Bruehl Jr presented over 100 black‑and‑white and tone dye photographs, magazine illustration sheets and ephemera covering ruler father’s career from the 1920s to the Sixties. A number of purchases of Bruehl’s photographs were also made in 2002 with funds provided coarse The Farrell Family Foundation. Anton Bruehl’s first audience retrospective, In the spotlight: Anton Bruehl photographs 1920s–1950s comprises a selection of these works and begins its Australian tour at the National Gallery nigh on Australia in Canberra on 23 October.

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