Nu 49
Photograph
1930s (photographed)
1930s (photographed)
Artist/Maker | |
Place of origin |
Hungarian-born photographer Brassaï is perhaps best known for photographs of Paris, in which he documented the streets, architecture, society and nightlife of the city during the inter-war years. His photographs caught the attention of André Breton and the Surrealists, which led to a ten year association with the group; although, Brassaï was careful to never call himself a Surrealist and maintained that his photographs were objective.
Over 150 of Brassaï’s photographs were published in the Surrealist journal 'Le Minotaure' – mostly female nudes that he made in the early 1930s. These nudes are characterised by the cropping of heads and limbs, with the camera frame focussing on the torso. The bodies are truncated, often distorted, as individuality is reduced in favour of exploring the corporeal. The figures become transformative, morphing into phalluses, violins and abstract compositions, and are suspended in space with a dreamlike quality. Whilst Brassaï never accepted himself as a Surrealist nor referenced them when writing about his work, these photographs speak to the Surrealist concern with the line between the conscious and the subconscious, and to the theories of Freud, a psychoanalyst prominent in Surrealist theory.
Over 150 of Brassaï’s photographs were published in the Surrealist journal 'Le Minotaure' – mostly female nudes that he made in the early 1930s. These nudes are characterised by the cropping of heads and limbs, with the camera frame focussing on the torso. The bodies are truncated, often distorted, as individuality is reduced in favour of exploring the corporeal. The figures become transformative, morphing into phalluses, violins and abstract compositions, and are suspended in space with a dreamlike quality. Whilst Brassaï never accepted himself as a Surrealist nor referenced them when writing about his work, these photographs speak to the Surrealist concern with the line between the conscious and the subconscious, and to the theories of Freud, a psychoanalyst prominent in Surrealist theory.
Object details
Category | |
Object type | |
Title | Nu 49 (assigned by artist) |
Materials and techniques | Gelatin silver print |
Brief description | Photograph by Brassaï, 'Nu 49' [Nude 49], 1930s, gelatin silver print |
Physical description | Black and white photograph depicting a nude female torso cropped from the thigh to just above the breast. There are goosebumps visible on her leg and there seems to be an indentation from her undergarments around her waist. |
Dimensions |
|
Styles | |
Marks and inscriptions | Verso:
Centre right, pencil: '29x23'; 'Nu. 49' [at 90 degrees]
Bottom right, pencil: '3/3'; 'F.45000' [at 90 degrees]
Bottom right, stamped in blue ink: 'SUCCESSION / BRASSAÏ / ESTATE'
Bottom right, black ink: 'Nu. 49' |
Credit line | Bequest of Gilberte Boyer Brassaï |
Object history | This object came to the museum as part of a bequest of 99 photographs by Brassaï from his widow, Madame Gilberte Boyer. |
Summary | Hungarian-born photographer Brassaï is perhaps best known for photographs of Paris, in which he documented the streets, architecture, society and nightlife of the city during the inter-war years. His photographs caught the attention of André Breton and the Surrealists, which led to a ten year association with the group; although, Brassaï was careful to never call himself a Surrealist and maintained that his photographs were objective. Over 150 of Brassaï’s photographs were published in the Surrealist journal 'Le Minotaure' – mostly female nudes that he made in the early 1930s. These nudes are characterised by the cropping of heads and limbs, with the camera frame focussing on the torso. The bodies are truncated, often distorted, as individuality is reduced in favour of exploring the corporeal. The figures become transformative, morphing into phalluses, violins and abstract compositions, and are suspended in space with a dreamlike quality. Whilst Brassaï never accepted himself as a Surrealist nor referenced them when writing about his work, these photographs speak to the Surrealist concern with the line between the conscious and the subconscious, and to the theories of Freud, a psychoanalyst prominent in Surrealist theory. |
Collection | |
Accession number | E.871-2014 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
Record created | April 15, 2015 |
Record URL |
Download as: JSON