The Martels and Mignon Tumblers, 1942.
A bizarre creation of the multiflash, this picture taken in 1942 follows the Martels and Mignon dance team hurling one of their members high into the air, where she performs a complete somersault. Edgerton’s three pictures of this acrobatic troupe were among the earliest of his many images to appear in “LIFE” magazine, whose readers responded enthusiastically to his photography.
1) Hands and Movement, c1935.
2) Nude and Wire, c1935.
3) Dancer Dancing, 1940s.
4) Untitled (Dancers with light traces), from the Portfolio Portfolio No.4 The female form, 1940s.
5) Untitled (Dancer), from the Portfolio Portfolio No.4 The female form, 1937.
6) Impassioned clay, 1936.
7) Untitled (Female nude with cloth overlay), 1930s.
8) Nude in grass, 1939.
9) Untitled (Nude behind screen), from the Portfolio Portfolio No.4 The female form, 1930s.
Hans Bellmer - Portrait of Nora Mitrani, late 1940s.
Reversibility, numbers, permutations, algebra, unconfessed emotional constants. But the body undressed in the sights of love, but the woman without her image ignore them. Should Bellmer encounter them in his games and anatomical constructions, he simultaneously contradicts:
— Nature: not the supple and hot child of desire, but the blind, utilitarian brute; he reinvents it back to front, according to the laws of a constructed and calculated marvellous
— Geometry: not its rigour, but the rational and commercial uses of this rigour; he condemns it to renounce the uncertainties of love
— And love itself: not the pathetic aspect of hopeless love, but its defense mechanisms, the continual temptations of escape; he compels it … to recompose itself, from the provocative sham of ‘being the target’ to the real, tangible anatomical image of tenderness, burning with impossibility.
Nora Mitrani, Rose with the Violet Heart (Rose au cœur violet), 1947.
… from SURREALISM: desire unbound, edited by Jennifer Mundy, Princeton University Press, 2011.