Exhibition: July 14 – September 13, 2022
11am – 6pm | mon – fri
Maximilianstraße 26, 80539 München
All images are available for purchase. Prices upon request.
Art Basel 2022
The 1980s, important years in painting, have always been a point of focus at DANIEL BLAU. On the occasion of our 30th anniversary exhibition at Art Basel, we will show highlights of our program, featuring works by renowned artists including Georg Baselitz (*1938), Alfred Jensen (1903-1981), Francis Gruber (1912-1948), Carl Fredrik Hill (1849-1911), Anselm Kiefer (*1945), Eugène Leroy (1910-2000), Roy Lichtenstein (1923-1997), Emilio Vedova (1919-2006) and Andy Warhol (1928-1987)
Our exhibition will focus on the 1980s, with a large untitled gestural painting by Vedova from 1983 and a colorful brush stroke painting “The Old Tree” by Lichtenstein from the following year, complemented by the “Adlerkopf” painted by Baselitz (1986). Alongside these grandmasters, some artists working outside the main-stream are also of interest, such as Hill, Gruber and Jensen, who have been so influential to modern and contemporary artists alike. Hill, who had an academic education in Paris, almost exclusively used pencil and paper after his nervous breakdown in 1878, producing a large body of works on paper, which have been inspirational to artists ever since, will be exhibited for the first time at Art Basel. The French Francis Gruber and Swedish Evert Lundquist are two further artists lesser known to the general public but heroes within the art community. Gruber, who unfortunately died at the age of 36, will also be shown at Art Basel for the first time. Further on view are drawings by Kiefer, Baselitz, Polke and Warhol.
We look forward to seeing you in Basel.
June 14 – 15, 2022
11 am – 8 pm
Wednesday, June 15, 2022
5 pm – 8 pm
June 16 – 19, 2022
11 am – 7 pm
Today they are disappearing, for they have no place in digital photography
Caligari, Golem & Co. – Glass Negatives
The photographic record exposed in the camera, so called because it renders light values as dark and vice versa. Negatives have ranged widely in the materials of their support, from paper to glass to flexible film. Today they are disappearing, for they have no place in digital photography.
Richard Benson, The Printed Picture, The Museum of Modern Art, New York, 2008, p. 324
The first fully practical process for negatives on glass was introduced by F. Scott Archer in 1851. A sheet of glass was handcoated with a thin film of collodion (guncotton dissolved in ether) containing potassium iodide, and was sensitised on the spot with silver nitrate. The plate had to be exposed while still wet, and developed immediately.
Brian Coe, Mark Haworth-Booth, A Guide to Early Photographic Processes, Victoria & Albert Museum, 1983, p. 18
The use of a film of sensitised albumen on glass was first proposed by Abel Niépce de Saint-Victor; the albumen plate gave very high resolution of detail but was very slow, requiring long exposures. In the 1850s it was employed in combination with collodion or gelatin in the preparation of dry plates. Albumen negatives are not commonly met with, and in any case, are almost impossible to distinguish from collodion negatives, at least not without complex chemical tests.
Brian Coe, Mark Haworth-Booth, A Guide to Early Photographic Processes, Victoria & Albert Museum, 1983, p. 17
Baghdad, 9th century: Sumurun, the sheikh’s favorite wife, is fed up with life in the harem. When her love for a cloth dealer is exposed, the sheikh finds a replacement in the beautiful dancer of a traveling juggling troupe. But he is not her only admirer. His son and a hunchbacked juggler both have their eyes on the dancer as well, all competing for her attention. Intrigue and murder ensue. Sumurun is based on one an ‘oriental fairy tale’ by Friedrich Freksa, who produced it as a pantomime filmed by Max Reinhardt in 1910. The director and star of Sumurun, Ernst Lubitsch, had begun his acting career with Reinhardt, and so Lubitsch’s 1920 remake of the pantomime original serves simultaneously as an homage to the artistry and imagination of his old teacher.
Ernst Lubitsch was born in Berlin in 1892. After attending high school he began an apprenticeship in a fabric store and worked as an accountant for his father, a tailor. In 1910 he began acting lessons at Max Reinhardt’s Deutsches Theater. After a number of smaller roles, he made his true film debut in 1913, in The Ideal Wife. From 1917 he worked with a small staff as a director at the recently-founded Universum Film AG (Ufa). In 1923, after a run of successful period films like Madame Du Barry he moved to the United States, where he worked as a director for various Hollywood studios. A host of sophisticated social comedies resulted, including The Marriage Circle and So This Is Paris, with subjects drawn mainly from European literature. Keeping an eye on the strict censorship regime of the time, Lubitsch developed an ironic technique full of allusions and hidden meanings, indirect commentary and elegant whispers. All this became known, and has gone down in film history, as the “Lubitsch touch,” an approach to filmmaking which deeply influenced the development of American film comedy from that point on. His first sound film, The Love Parade, represented an even further leap forward in genre and technical capability than in its use of sound alone; it is one of the first true film musicals, not merely a filmed version of the earlier stage operetta it was based on but a true adaptation for the cinematic medium, using the possibilities of film (montage, moving camera, and so on) to unprecedented effect, and achieving a true union of image and sound on screen. Ernst Lubitsch died in 1947, in Hollywood.
All photographs are available for purchase. Prices upon request. For further information please send an email to: firstname.lastname@example.org
All offers are noncommital. We cannot guarantee the items are still available on request.
Exhibition: March 24 – May 3, 2022 | extended til May 10, 2022
11am – 6pm | mon – fri
Maximilianstraße 26, 80539 München
Originally settled in 1925, the fertile Belle Glade region is a major agricultural center and played an often-overlooked role in the development of South Florida. The geography, folklore and cultural expression of the American frontier are most often associated with the West. With Foreverglades, Valiente draws our attention to a watery, verdant Southern frontier and the pioneer spirit that made an uninhabitable land home. ‘We were never meant to live in Florida’ says Valiente. ‘It was said they were buying land by the gallon!’
Valiente’s artistic work is driven and distinguished by lengthy periods of rigorous field research in which she lives within the communities she photographs. She has a remarkable ability to forge relationships across differences, building trust and producing intimate, moving portraits of people and the places they live in. She has resided in the Belle Glade area for five years and Foreverglades has emerged from this period of personal experience and research.
Valiente’s vibrant photographs are sensitively interwoven with the pages of a local history book, ‘Swamp to Sugar Bowl: Pioneer Days in Belle Glade’.
This 1968 book by Lawrence E. Will considers the history of the region from the late 19th century to the 1960s. By embedding her pictures within this existing text the artist posits history as an unfolding story and highlights enduring cultural traditions – such as the Harvest Queen beauty pageant that started in the 1940s and continues to this day.
The talents and interests that informed Foreverglades were already notable in 2014, when Valiente became one of the winners of our 5 Under 30 competition for young photographers with her project Miracle Village. Miracle Village saw the artist living among registered sex offenders in a rural Florida community, getting to know them and producing a body of photographs and a publication that incorporates handwritten testimonies from the residents.
We were honored to exhibit Miracle Village in 2014, and 2015 and she went on to receive the World Press Photo award for this project in 2015, among other prizes and fellowships. Foreverglades was awarded a prestigious Knight Arts Challenge Grant of $75,000 to support its production.
The conceptually and aesthetically rich Foreverglades book will inspire reflection beyond their specific South Florida context. This is an important artwork by an artist whose open mindedness and anthropological approach to artmarking are deeply impressive.
Carrie Foulkes, 2020
Louis Alphonse Poitevin
Poitevin – The Rediscovery of an Alchemist
Daniel Blau is pleased to present Louis Alphonse Poitevin: outstanding inventor, chemist,
engineer, researcher, artist and photographer.
For more than 35 years Poitevin (1819-1882) experimented with chemical and mechanical processes to make photographic images printable and durable. Poitevin recognized early on
how important photography would be to illustrate printed books. He developed the first applicable methods, the implementation of which made the printing of photographically
illustrated books possible in the first place. Presenting 47 rare photographs, this exhibition of Alphonse Poitevin’s work offers the opportunity for an in-depth view into some of his most prescient inventions in photography.
Poitevin is remembered today most for establishing the fundamental principles of four nonsilver process families: photolithography, collotype, dichromate relief systems, and the carbon pigment process. His inventions refined existing techniques and made the mechanical reproduction of images and thus, the illustration of printed books, possible.
The publication offers the unique opportunity to take a comprehensive look at the life and work of the famous pioneer of photography using a large number of different photographs
and the latest cutting-edge-technology research results. The volume brings together photographs and the results of experiments that provide a comprehensive insight into Poitevin’s work and place his achievements in both a technical and an art-historical context.
Alphonse Poitevin here at last receives some of the attention he deserves.
Available to order!
Printed and bound by Pelo-Druck Lohner oHG
Paper content: Tauro 120 g/m2
Paper cover: Flexcover, Gardamatt 350g/m2
84 pages, 97 illustrations
Copyright: all illustrations © Daniel Blau, Munich
Text: Martin Jürgens, Katharina Rohmeder
Layout: Christiane Wunsch
Editor: Robert Isaf