Paris, Cheval de Marly
Photograph
1934 (photographed), 1985 (printed)
1934 (photographed), 1985 (printed)
| Artist/Maker | |
| Place of origin |
The statue in this photograph is a copy of one of the Marly horses commissioned by the ‘Sun King’ Louis XIV, sculpted by Guillaume Coustou 1er (1677-1746) in the 1740s, and moved to the Louvre in 1785.
Ilse Bing (1899-1998) was one of several leading women photographers in the inter-war period. Born into a Jewish family in Frankfurt, she initially pursued an academic career before moving to Paris in 1930 to concentrate on photography. Ilse Bing (1899-1998) uses the horse to explore the effects of solarisation. Solarisation happens when negatives are exposed to light in the darkroom during developing and printing, producing partly reversed images. Bing’s experiments developed from an interest in light; as she explained, at the time, ‘light was considered the medium that permits photography. But for me it became the main subject: the protagonist of my photography’. Bing liked to remove objects from their context, concentrating on the abstract, expressive qualities that materialised in her photographs. The Surrealists called this effect ‘dépaysement’ (removal from the natural sphere).
Ilse Bing (1899-1998) was one of several leading women photographers in the inter-war period. Born into a Jewish family in Frankfurt, she initially pursued an academic career before moving to Paris in 1930 to concentrate on photography. Ilse Bing (1899-1998) uses the horse to explore the effects of solarisation. Solarisation happens when negatives are exposed to light in the darkroom during developing and printing, producing partly reversed images. Bing’s experiments developed from an interest in light; as she explained, at the time, ‘light was considered the medium that permits photography. But for me it became the main subject: the protagonist of my photography’. Bing liked to remove objects from their context, concentrating on the abstract, expressive qualities that materialised in her photographs. The Surrealists called this effect ‘dépaysement’ (removal from the natural sphere).
Object details
| Category | |
| Object type | |
| Title | Paris, Cheval de Marly (assigned by artist) |
| Materials and techniques | Gelatin-silver print |
| Brief description | Paris, Cheval de Marly, photograph by Ilse Bing (1899-1998), 1934, gelatin-silver print, printed 1985 |
| Physical description | A photograph from a partly solarised negative of a statue of a horse taken from below. |
| Dimensions |
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| Style | |
| Marks and inscriptions |
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| Credit line | Bequeathed by Ilse Bing Wolff |
| Production | printed later |
| Subjects depicted | |
| Summary | The statue in this photograph is a copy of one of the Marly horses commissioned by the ‘Sun King’ Louis XIV, sculpted by Guillaume Coustou 1er (1677-1746) in the 1740s, and moved to the Louvre in 1785. Ilse Bing (1899-1998) was one of several leading women photographers in the inter-war period. Born into a Jewish family in Frankfurt, she initially pursued an academic career before moving to Paris in 1930 to concentrate on photography. Ilse Bing (1899-1998) uses the horse to explore the effects of solarisation. Solarisation happens when negatives are exposed to light in the darkroom during developing and printing, producing partly reversed images. Bing’s experiments developed from an interest in light; as she explained, at the time, ‘light was considered the medium that permits photography. But for me it became the main subject: the protagonist of my photography’. Bing liked to remove objects from their context, concentrating on the abstract, expressive qualities that materialised in her photographs. The Surrealists called this effect ‘dépaysement’ (removal from the natural sphere). |
| Bibliographic reference | Ilse Bing: Three decades of photographyNancy C. Barrett (New Orleans Museum of Art, 1985) |
| Collection | |
| Accession number | E.3063-2004 |
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| Record created | October 24, 2005 |
| Record URL |
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