Jeanne Mandello

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Jeanne Mandello, self-portrait, Uruguay, around 1948

Jeanne Mandello , also Jeanne Mandello de Bauer , (born October 18, 1907 in Frankfurt am Main as Johanna Mandello ; died December 17, 2001 in Barcelona ) was a German-Jewish photographer . Under the influence of the consolidation of National Socialism , she emigrated to Paris in 1934 and found refuge in Montevideo in 1941 . She settled in Barcelona in 1959.

Her work includes portraits, nudes and architectural photographs , street scenes and abstract detailed studies as well as advertising and fashion photography . Most of her early work was looted or destroyed. She was long forgotten in Germany and has been rediscovered since 2014 as one of the photo artists of the 20th century who worked creatively with experimental techniques from analog black and white photography .

Life

Frankfurt, Berlin

Jeanne Mandello grew up as Johanna Mandello with her sister Helene, who was nine years her senior, in an art-loving, secular Jewish family in Frankfurt am Main. Her mother, Amalia Margarethe Mandello, nee Seligsohn, was a kindergarten teacher and died when Johanna was 14 years old. Her father, Hermann Mandello, was director of the Wronker department store (later Hansa) until 1934 . Her grandfather Heinrich Mandello studied art in Paris and worked as a painter and photographer. She attended the Elisabethen girls' school and, after graduating from high school in 1925, began training at a home economics school, which she dropped out a year later.

In 1926 she began studying photography at the Lette School in Berlin . At a time when it was difficult for a woman to get attention as an artist, photography opened a way into the art world. Inspired by the spirit of freedom in Berlin in the twenties, which women had conquered in the course of the women's movement , she attended theater performances, concerts, exhibitions and decided on the model of the " new woman " like the photographers Grete Stern and Ellen Auerbach pants and shorts To wear hair. In 1927 she interrupted her studies to do an internship in the studio of Paul Wolff and Alfred Tritschler in Frankfurt. With Wolff she learned to take pictures with a Leica . Back in Berlin, she took courses in the Lette-Haus again from 1928 and finished her studies with a journeyman's examination at the Chamber of Crafts with "very good". She already owned a Leica 35mm camera with which she photographed portraits, landscapes and everyday scenes. In 1929 she set up her own photo studio in her parents' house in Frankfurt, where she worked with the photographer Nathalie von Reuter, a former classmate and friend.

In December 1933 she married Arno Grünebaum (1905–1990), who was born in Fulda and who, like her, was of Jewish origin. He had learned photographic techniques in Paris. When they met, he was working as a sales representative for a watch company. Under her guidance, he made photography his main occupation. They left Germany in January 1934, aware of the imminent danger that threatened the Jews after the Nazis' seizure of power . Jeanne Mandello was interested in fashion photography and so they decided to emigrate to Paris.

Exile in Paris

In Paris, Jeanne Mandello changed her first name Johanna to the French form Jeanne. Professionally, the couple specialized in advertising and portrait photography and established themselves in fashion photography. In 1937 they registered their joint studio at 10 rue d'Armaillé in the 17th arrondissement of Paris under the name Studio Mandello with the commercial register. Mandello received orders from magazines such as Vogue and Harper's Bazaar , and photographed for fashion houses including Chanel , Balenciaga and Lanvin . In 1938 they worked occasionally with the photographer Hermann Landshoff , who had also fled Nazi Germany.

When the Second World War broke out in 1939, the refugees from Germany were considered “étranger indésirable” (undesirable foreigners) in the French Republic , and Arno Grünebaum was interned in a camp in Montargis . To escape this, he enlisted in the Foreign Legion and was stationed in Saida in Algeria at the beginning of 1940 and released to Vichy France after the armistice in 1940 . After May 13, 1940, Jeanne Mandello, like all German women in Paris, had to go to the Vélodrome d'Hiver assembly camp and was probably taken from there to the Camp de Gurs internment camp . She was only allowed to take 14 kilos of luggage with her and left her camera equipment, archived works and negatives behind. After the armistice of June 22, 1940 , she found accommodation with an elderly woman in Dognen in the Pyrénées-Atlantiques department . The German Reich revoked her German citizenship on October 28, 1940. Jeanne Mandello and Arno Grünebaum found their way back together through the Red Cross , and they never returned to Paris.

Escape to Uruguay

Under the Vichy regime , Jews were no longer safe in France either. Jeanne Mandellos uncle Richard Seligsohn, who fled to Argentina, advised his niece to try to emigrate to Argentina or Uruguay . On March 15, 1941, the couple received a permit from the Basses-Pyrénées department that allowed them to leave the country. Through their uncle they got an entry visa for Uruguay, a ship passage from Bilbao to Montevideo and money. They left France and boarded the Cabo de Buena Esperanza in May . After a four-week voyage by ship, they reached the port of Montevideo with hundreds of other refugees. On July 15, 1941, the couple received a residence permit for Uruguay. During the Second World War, around 10,000 German-speaking emigrants lived in Uruguay, most of them Jews. Jeanne Mandello later recalled that she had never seen such friendly and helpful people as the Uruguayan people.

In Montevideo she started taking photos again. Her first camera was a Rolleiflex that a photographer had lent her. The couple, who introduced themselves as Jeanne and Arnaud Mandello from France, made a living as social photographers of the high society of Montevideo and Punta del Este , which were oriented towards French culture, as well as color photo reports for tourism magazines. They soon became known as "Los Mandello". In the upper class of the city Jeanne Mandello was successful with portraits of children, the 1943 in her first solo exhibition Exposición del Niño. Fotografías artísticas de la Señora Jeanne Mandello were shown in Montevideo. The couple exhibited together for the first time in 1944. From the 1950s they were regularly represented in exhibitions. Jeanne Mandello received Uruguayan citizenship in 1949, which, according to Sandra Nagel, she retained until the end of her life.

Barcelona

During her exhibition in Rio de Janeiro in 1952 , Jeanne Mandello met the journalist Lothar Bauer (1905–1968), whom she had known from Frankfurt before. In 1953 she separated from Arno Grünebaum. She gave him the common photographic equipment and the right to use the brand name Mandello . He returned to Paris, where he worked as a photographer and painter. She moved to Bauer in Brazil. They were married on March 23, 1955 in New York. From 1957 the couple lived in Hamburg and Frankfurt, where Bauer was employed as an editor for the Frankfurter Zeitung . In 1959 they moved to Barcelona because Bauer was working there as a foreign correspondent for the FAZ . Two years after Bauer's death, she adopted a girl named Isabel from Uruguay. Jeanne Mandello worked as a freelance photographer until the 1990s.

plant

Most of Jeanne Mandello's early works in Germany and France have been lost. When she fled Paris, she had to leave prints and negatives behind in her studio in Frankfurt, which was hit in a bomb attack. The few preserved photographs show Almond's nuanced play with light and shadow as early as the 1920s, such as the female nude from 1928. In exile in Paris she found new inspiration in the trends of New Objectivity and Surrealism , with Man Ray , Brassaï and Doisneau , who redefined photography. She experimented with techniques of analog black and white photography, with unusual camera perspectives , image details and photo montages. As early as the 1930s she made creative use of the photographic "accident" of overexposure. The original photo material, negatives and the archive material, which was kept in the Atelier Mandello in Paris, was plundered and probably destroyed by the M-Aktion ("M" for furniture) carried out by the NS-West office in January 1942 . Jeanne Mandello did not apply for reparation after the war.

In Montevideo she met artists and intellectuals who had lived and worked in Europe in the 1920s and 1930s and who had come back to Uruguay with innovative ideas and techniques, such as the constructivist painter Joaquín Torres García . In exchange with the exiles from Europe, urban artistic movements arose in Latin America, in which Grete Stern in Argentina and Jeanne Mandello in Uruguay took part. Among those portrayed by Mandello were García and others. the poets Rafael Alberti and Jules Supervielle , the photographer and painter Florence Henri , the Uruguayan dancer Violeta López Lomba and the Russian choreographer Vaclav Veltcheck. During this time she also created self-portraits. In search of new artistic forms of expression, she explored the possibilities of photograms and solarization . Some abstract studies were created in collaboration with Arno Mandello.

Another focus of Jeanne Mandello's work is architectural photography, which she had already started with in Paris. In Uruguay she documented the formation and geometry of modern urban development. She created a series of photos of cinemas and squares in Montevideo designed by Rafael Lorente Escudero , of buildings by the architect Julio Vilamajó in Punta del Este and of Villa Serrana, which he designed in 1945 as a vacation spot . She translated color into various shades between black and white. In one of her best-known photos of the construction of the new architecture faculty of the Universidad de la República in Montevideo, workers walk carrying rubbish bins on their shoulders. The building was designed by Román Fresnedo Siri , who named the Bauhaus movement and Frank Lloyd Wright as his main influences .

The Museu de Arte Moderna do Rio de Janeiro dedicated a large retrospective to Jeanne and Arnaud Mandello in 1952, with which they gained recognition as photo artists. The exhibition was a hit with the public and received positive reviews, so it was extended until 1953. J. Hellmut Freund , an exile from Berlin, discussed them in the culture magazine La Licorne , published by Susana Soca , under the title Arte foto-grafica : “Both almond loos are graphic designers of light [...] In a surprisingly subtle way, they convey the infinite variety of Colors and brightness in a black and white technique, the range of nuances is incredibly versatile and at the same time very finely tuned. "

In Barcelona she no longer had a commercial studio. She took pictures with her Rolleiflex for pleasure, still in black and white and occasionally in color, but no longer exhibited. She mainly looked at modern architecture, street scenes and details like the clothesline from 1965. Occasionally, she took orders from magazines. In 1963 the Deutsche Bauzeitung published an article, illustrated with photographs by Jeanne Mandello, about the building of the Barcelona Architecture Association, which the Catalan architect Xavier Busquets Sindreu had designed with sgraffiti by Pablo Picasso on the outer walls of the first floor. In front of the building she portrayed Joan Miró , dominated by the modern facade. On her 90th birthday, a retrospective of her work was held in Barcelona under the title Mandello. Fotografías 1928–1997 . Ute Eskildsen wrote in the foreword of the catalog that this exhibition should not only be seen as a homage to Jeanne Mandello, but "also as a demonstration of the interest that women should show towards works".

Jeanne Mandello's photographic estate is kept by her daughter Isabel Mandello de Bauer (Barcelona) and her nephew James Bauer (New York). Together with the German curator Sandra Nagel, they reconstructed the photographer's life and work and made it accessible to the public. According to Ute Eskildsen, Jeanne Mandello is less known in Germany than other avant-garde photographers from the Weimar Republic such as Ellen Auerbach or Ilse Bing because, unlike them, she was unable to save her photographic material. According to Sandra Nagel, Mandello experienced her happiest time in Uruguay because there she had greater freedom than anywhere else to implement her ideas about her profession and her aesthetics as a photographer. As an artist, however, she remained “stateless”. In her work, the styles of Germany of the 1920s mixed with the influences of pre-war Paris and South America, from which she developed her own style.

For the first time in Germany, Das Verborgene Museum in Berlin presented the life and work stories of Jeanne Mandello and Gerti Deutsch, overshadowed by flight and emigration, in a joint exhibition in 2016. Most of Mandello's exhibits came from her work after 1945, some from earlier years. Christina Steenken summarized Mandellos photographic art in the Taz : “She takes time for every single photo and refrains from posed poses ... To form. Your pictures impress with a high degree of artistic structure, which gives the pictures stability and calm. "

Exhibitions

Montevideo 1950
  • 1943: Exposición del Niño. Fotografías artísticas de la Señora Jeanne Mandello. Montevideo.
  • 1952/1953: Mandello (Jeanne Mandello and Arnaud Mandello). Museu de Arte Moderna, Rio de Janeiro.
  • 1995: Les dones fotògrafes a la República de Weimar. 1919-1933. (Participation), Fundación “La Caixa”, Barcelona.
  • 1997: Mandello. Fotografías 1928–1997. Retrospective for the 90th birthday of Jeanne Mandello, curated by Mercedes Valdivieso-Rodrigo. Sala de Exposiciones del Casal de Sarrià y Sala de Exposiciones del FAD (Foment de les Arts Decoratives), Barcelona.
  • 2012/2013: Imágenes de una fotógrafa exiliada: Jeanne Mandello. Traveling exhibition in Uruguay and Argentina.
  • 2014: the end of an age. Artistic practices and techniques of analog photography. (Participation) Museum Folkwang , Essen.
  • 2016: Jeanne Mandello. Una mirada hacia la arquitectura nacional (A look at national architecture) , Facultad de Arquitectura, Diseño y Urbanismo ( Universidad de Buenos Aires ) in collaboration with the Goethe-Institut , Buenos Aires
  • 2016/2017: Gerti Deutsch & Jeanne Mandello. Destiny emigration. The Hidden Museum Berlin in collaboration with the Mandello estate, Barcelona / New York.
  • 2018: De l'autre côté. Photographies de Jeanne Mandello, Hildegard Rosenthal et Grete Stern . Maison de l'Amérique latine, Paris.

literature

Books

  • Mercedes Valdivieso Rodrigo (Ed.): Mandello. Fotografías 1928–1997. With a foreword by Ute Eskildsen. Casal de Sarria, Barcelona 1997.
  • Lola Diaz (Ed.): Imágenes de una fotógrafa exiliada: Jeanne Mandello. Montevideo 2012 ( pdf ).
  • Muriel de Bastier: Jeanne Mandello de Bauer, ou la mémoire disparue d'une photographe / Jeanne Mandello de Bauer - or the lost legacy of a photographer. In: Anne Grynberg, Johanna Linsler (Ed.): Irreparabel. The lives of Jewish artists and art connoisseurs fleeing the “Third Reich” in France. Publication by the Magdeburg Coordination Office , Volume 9/2013, ISBN 978-3-9811367-6-0 , pp. 332–341.
  • James Bauer, Sandra Nagel (Ed.): Jeanne Mandello. The world in view. Perspectives of a German-Jewish photographer in exile 1928–1996. Foreword by Ute Eskildsen; Texts: Sandra Nagel, Marion Beckers (German, English). Fotohof Edition, Salzburg 2016, ISBN 978-3-902993-33-5 .
  • Alejandra Niedermaier: La femme photographe en Amérique latine ( Tina Modotti , Lola Álvarez Bravo , Annemarie Heinrich , Jeanne Mandello, Grete Stern ). L'Harmattan, Paris 2016, ISBN 978-2-343-10453-9 (exhibition catalog)

article

  • Yvonne Jean: Dois pesquisadores da fotografia de arte. In: Diario Carioca , vol. 25, no.7502 of December 14, 1952, p. 2. ( digitized version )
  • J. Hellmut Freund : Arte foto-graphic. Alrededor de la producción de Arno y Jeanne Mandello. In: Entregas de la Licorne, No. 2, Montevideo, November 1953, pp. 165-174.
  • Guillermo Baltar Prendez: Fotografías de Jeanne Mandello: Los bríos de la Memoria. In: Dossier: publicación bimestral de cultura, ( ISSN  1688-3683 ), 6 (35): 48, 2012 ( online 2013 )

Web links

Individual evidence

  1. ↑ a b Muriel de Bastier : Jeanne Mandello de Bauer, ou la mémoire disparue d'une photographe / Jeanne Mandello de Bauer - or the lost legacy of a photographer. In: Anne Grynberg, Johanna Linsler (Ed.): Irreparabel. The lives of Jewish artists and art connoisseurs fleeing the “Third Reich” in France . Publication by the Magdeburg Coordination Office, Volume 9/2013, ISBN 978-3-9811367-6-0 , p. 332.
  2. ^ Mercedes Valdivieso (ed.): Mandello. Fotografías 1928–1997. Exhibition catalog. With a foreword by Ute Eskildsen . Casal de Sarria, Barcelona 1997, p. 9.
  3. ↑ Muriel de Bastier: Jeanne Mandello de Bauer - or the lost legacy of a photographer . In: Anne Grynberg, Johanna Linsler (Ed.): Irreparabel. The lives of Jewish artists and art connoisseurs fleeing the “Third Reich” in France. Publication by the Magdeburg Coordination Office, Volume 9/2013, ISBN 978-3-9811367-6-0 , p. 342, Fn18
  4. ↑ a b c d e f Exiled German photographer Jeanne Mandello arrives in Uruguay. Jewish Women's Archive . Retrieved October 14, 2018.
  5. ^ Jeanne Mandello, About, Part 2: Early Life. Editorial content: Sandra Nagel.
  6. ↑ a b Muriel de Bastier: Jeanne Mandello de Bauer, ou la mémoire disparue d'une photographe / Jeanne Mandello de Bauer - or the lost legacy of a photographer . In: Anne Grynberg, Johanna Linsler (Ed.): Irreparabel. The lives of Jewish artists and art connoisseurs fleeing the “Third Reich” in France. Publication by the Magdeburg Coordination Office, Volume 9/2013, ISBN 978-3-9811367-6-0 , p. 334
  7. ^ Jeanne Mandello, About, Part 3: The 1930s - First Exile in France. Editorial content: Sandra Nagel.
  8. ↑ Muriel de Bastier: Jeanne Mandello de Bauer, ou la mémoire disparue d'une photographe / Jeanne Mandello de Bauer - or the lost legacy of a photographer. In: Anne Grynberg, Johanna Linsler (Ed.): Irreparabel. The lives of Jewish artists and art connoisseurs fleeing the “Third Reich” in France. Publication by the Magdeburg Coordination Office, Volume 9/2013, ISBN 978-3-9811367-6-0 , p. 335.
  9. ↑ Sandra Nagel: Jeanne Mandello. Photographer between the worlds , in: James Bauer, Sandra Nagel (Ed.): Jeanne Mandello. The world in view. Perspectives of a German-Jewish photographer in exile 1928–1996. 2016, p. 15, p. 17
  10. ↑ Muriel de Bastier: Jeanne Mandello de Bauer, ou la mémoire disparue d'une photographe / Jeanne Mandello de Bauer - or the lost legacy of a photographer. In: Anne Grynberg, Johanna Linsler (Ed.): Irreparabel. The lives of Jewish artists and art connoisseurs fleeing the “Third Reich” in France. Publication by the Magdeburg Coordination Office, Volume 9/2013, ISBN 978-3-9811367-6-0 , p. 336.
  11. ↑ Muriel de Bastier: Jeanne Mandello de Bauer, ou la mémoire disparue d'une photographe / Jeanne Mandello de Bauer - or the lost legacy of a photographer. In: Anne Grynberg, Johanna Linsler (Ed.): Irreparabel. The lives of Jewish artists and art connoisseurs fleeing the “Third Reich” in France. Publication by the Magdeburg Coordination Office, Volume 9/2013, ISBN 978-3-9811367-6-0 , p. 335, p. 337.
  12. ^ Exhibition catalog: Mercedes Valdivieso (Ed.): Mandello. Fotografías 1928–1997. Casal de Sarria, Barcelona 1997. With a foreword by Ute Eskildsen, p. 15.
  13. ^ A b Sandra Nagel: Imágenes de una fotógrafa exiliada. Mandello. Exhibition catalog. Ed. Lola Diaz. Centro Cultural Alliance Française, Montevideo 2012, p. 11.
  14. ↑ Sandra Nagel: Jeanne Mandello - photographer between the worlds , in: James Bauer, Sandra Nagel (ed.): Jeanne Mandello. The world in view. Perspectives of a German-Jewish photographer in exile 1928–1996 . Fotohof Edition, Salzburg 2016, ISBN 978-3-902993-33-5 , p. 19
  15. ↑ Jeanne Mandello Exhibitions , jeannemandello.com, Editors: Sandra Nagel
  16. ↑ Sandra Nagel: Jeanne Mandello - photographer between the worlds , in: James Bauer, Sandra Nagel (ed.): Jeanne Mandello. The world in view. Perspectives of a German-Jewish photographer in exile 1928–1996 . Fotohof Edition, Salzburg 2016, ISBN 978-3-902993-33-5 , p. 23
  17. ↑ Sandra Nagel: Jeanne Mandello. Photographer between the worlds , in: James Bauer, Sandra Nagel (Ed.): Jeanne Mandello. The world in view. Perspectives of a German-Jewish photographer in exile 1928–1996. 2016, p. 23
  18. ^ Exhibition catalog: Imágenes de una fotógrafa exiliada: Jeanne Mandello. Centro Cultural Alliance Française, Montevideo 2012. Introduction: Sandra Nagel (pdf), p. 7.
  19. ↑ Muriel de Bastier: Jeanne Mandello de Bauer, ou la mémoire disparue d'une photographe / Jeanne Mandello de Bauer - or the lost legacy of a photographer. In: Anne Grynberg, Johanna Linsler (Ed.): Irreparabel. The lives of Jewish artists and art connoisseurs fleeing the “Third Reich” in France . Publication by the Magdeburg Coordination Office, Volume 9/2013, ISBN 978-3-9811367-6-0 , p. 341.
  20. ↑ Jorge Gambini: Conciencia de forma. In: Revista de la Facultad de Arquitectura, No. 13 (2015), ed .: Facultad de Arquitectura en Montevideo-Uruguay, ISSN  0797-9703 , pp. 67/68.
  21. ↑ Photo: Workers building the new Architecture Faculty , Montevideo, 1945. jeannemandello.com, editor: Sandra Nagel
  22. ^ J. Hellmut Freund: Arte foto-gráfica. Alrededor de la producción de Arno y Jeanne Mandello. Pp. 171-172 in: Entregas de la Licorne. Montevideo 1953, pp. 165-174. periodicas.edu.uy (PDF; 12 MB).
  23. ↑ Sandra Nagel: Jeanne Mandello - photographer between the worlds , in: James Bauer, Sandra Nagel (ed.): Jeanne Mandello. The world in view. Perspectives of a German-Jewish photographer in exile 1928–1996 . Fotohof Edition, Salzburg 2016, ISBN 978-3-902993-33-5 , pp. 74–75
  24. ↑ Ute Eskildsen: Remembering Jeanne Mandello , in: James Bauer, Sandra Nagel (ed.): Jeanne Mandello. The world in view. Perspectives of a German-Jewish photographer in exile 1928–1996 . Fotohof Edition, Salzburg 2016, ISBN 978-3-902993-33-5 , p. 7
  25. ↑ Muriel de Bastier: Jeanne Mandello de Bauer, ou la mémoire disparue d'une photographe / Jeanne Mandello de Bauer - or the lost legacy of a photographer. In: Anne Grynberg, Johanna Linsler (Ed.): Irreparabel. The lives of Jewish artists and art connoisseurs fleeing the “Third Reich” in France . Publication by the Magdeburg Coordination Office, Volume 9/2013, ISBN 978-3-9811367-6-0 , p. 340.
  26. ↑ Sandra Nagel: Jeanne Mandello - photographer between the worlds , in: James Bauer, Sandra Nagel (ed.): Jeanne Mandello. The world in view. Perspectives of a German-Jewish photographer in exile 1928–1996 . Fotohof Edition, Salzburg 2016, ISBN 978-3-902993-33-5 , p. 29
  27. ↑ Christina Steenken: Interrupted Careers. TAZ, October 4, 2016, accessed October 4, 2017.
  28. ^ "From Warhol to Richter": Graphics based on photographs in the Folkwang Museum. On: wa.de , Westfälischer Anzeiger Verlagsgesellschaft, July 1, 2014.
    End of an era: Artistic practices and techniques of analog photography June 28 - September 28, 2014. Museum Folkwang , Archive-Link, accessed on October 3, 2018.

annotation

  1. ↑ According to Muriel de Bastier, there was no evidence that Mandellos had been interned in the Gurs camp. But it cannot be ruled out that she was interned there. In: Jeanne Mandello de Bauer, ou la mémoire disparue d'une photographe / Jeanne Mandello de Bauer - or the lost legacy of a photographer. P. 336.
personal data
SURNAME Mandello, Jeanne
ALTERNATIVE NAMES Mandello, Johanna; Mandello de Bauer, Jeanne
BRIEF DESCRIPTION German photographer
BIRTH DATE October 18, 1907
PLACE OF BIRTH Frankfurt am Main
DATE OF DEATH December 17, 2001
PLACE OF DEATH Barcelona