Out of the Box Comparison
Gerda Peterich 1906-1979 Lotte Jacobi 1896-1990
“Pearl Primus” 1945 “Untitled” 1950
Gerda Peterich was a German born artist who is regarded for her photography concerning cobblestone architecture and dancers. In 1937, she decided upon photography as a profession after retreating to the island of Hiddensee. She moved to New York just before the start of World War II, and turned a strong focus to photographing ballet and modern dancers. She made a career working for “Dance Magazine.” (Syracuse) Lotte Jacobi, the more widely known of the two photographers, was Polish and, like Peterich, also studied photography in Germany. Jacobi was born into a family of photographers; her great grandfather studied with Daguerre himself. (Jewish Gallery) Another parallel, Jacobi fled Germany for New York during the rise of Hitler just four years before Gerda Peterich in 1935. In the states Jacobi worked for “LIFE Magazine” for a short time before moving on to her work in “photogenics.” She is most famous for her portraits of famous icons like Albert Einstein, Robert Frost and Eleanor Roosevelt. (Lotte)
Though these photographers experienced a number of parallels in life, their collections of works are quite different. Much like how the above photographs both have the subject of a dancer but are world apart in style. “Pearl Primus” is gelatin silver print of a famous african dancer. (The Art Gallery) The viewer can feel the movement of the suspended dancer through the stage-lit muscles one her toned legs, which extend across the frame to the right. We are given a sense of space with a minimal inclusion of floor in soft focus. Peterich’s asymmetrical frame contributes to the movement of the photograph. The tonal range in the print is spectacular and almost enhanced by slight blown out areas near the dancer’s shoulder.
Jacobi’s photograph is of a dancer named Pauline Koner throws the subject far off in the distance falling endlessly into empty space. The dancer is distorted with flowing ambiguous clothing, which forms a shape of its own not resembling that of the human body. The viewers eye moves directly off center to the dark figure only made aware is it a person by the two small feet, head and arm protruding from the black mass. The mysterious organic texture in the background of the image is a result of the photogenic process Jacobi developed. “Photogenics” are camera less abstractions made from drawing with light on photosensitive paper. (Marien 372) There is a stark contrast between dancer and background and a light source from the left helps identify subtle details in fabric, arm and face. The sepia tone brings warmth, which is needed with such a dark figure.
“Primus Pearl” and Jacobi’s photograph of Pauline approach the subject of a dancer from almost polar ends. Peterich intimately explores the human form in movement while Jacobi shys away from it eliminating almost any identification. In Peterich’s image the person is the subject; the personality and profession of Pearl Primus is being displayed in space and reality. This conventional style coincides with Peterich’s work for the commercial dance magazine. Jacobi’s image is an abstraction, the relationship of bold shapes is the main subject and the head and feet just play understudies. Jacobi’s contemporary works were often avant-garde and gender illusive and this image reiterates this theme.
The two photos share similarities but essentially they are very different works. Both photographs were produced within about three years of one another and used the silver gelatin process. Their presentation at the University of New Hampshire’s Dimond Library just a matter of steps from one another placed them on an objective platform. Finally, the photographers were composed asymmetrically and have a female dancer subject. These similarities are dwarfed by the differences of the artists’ styles. (Jewish Quarterly)
In regards to theme and unique aesthetic the “Untitled” photograph by Lotte Jacobi wins in my book. It combines the unique photogenic process with abstract enthralling shapes. Simultaneously, Jacobi brings the audience to an internal discussion about gender identification. Although beautiful, “Pearl Primus” does not hold my attention in the same way.
Works Cited
"The Art Gallery Permanent Collection." The Art Gallery Permanent Collection. University of NH. Web. 24 Mar. 2011. <http://www.easybib.com/cite/form/website>.
Barrett, Terry. Criticizing Photographs: an Introduction to Understanding Images. Boston: McGraw-Hill, 2006. Print.
"The Jewish Quarterly." Jewish Quarterly. Web. 24 Mar. 2011. <http://www.jewishquarterly.org/issuearchive/article4509.html?articleid=26>.
"Lotte Jacobi - -SeacoastNH.com." WHAT'S NEW? - -SeacoastNH.com. Web. 23 Mar. 2011. <http://www.seacoastnh.com/Famous_People/Link_Free_or_Die/Lotte_Jacobi/>.
Marien, Mary Warner. Photography: a Cultural History. Upper Saddle River, NJ: Pearson Prentice Hall, 2011. Print.
"Syracuse University Archives: Collections and Personal Papers - Faculty Papers: Gerda Peterich." Syracuse University - Archives. Web. 23 Mar. 2011. <http://archives.syr.edu/collections/faculty/peterich_bio.html>.
