NEW YORK, NY.-
A member of the international set in fin-de-siècle Europe, Baron Adolf de Meyer (18681946) was also a pioneering art, portrait, and fashion photographer, known for creating images that transformed reality into a beautiful fantasy. The quicksilver brilliance that characterized de Meyers art led fellow photographer Cecil Beaton to dub him the Debussy of the Camera. On view at The Metropolitan Museum of Art
, Quicksilver Brilliance: Adolf de Meyer Photographs is the first museum exhibition devoted to the artist in more than 20 years and the first ever at The Met. Some 40 works, drawn entirely from The Met collection, reveal the impressive breadth of his career.
The exhibition includes dazzling portraits of well-known figures of his time: the American socialite Rita de Acosta Lydig; art patron and designer Count Étienne de Beaumont; aristocrat and society hostess Lady Ottoline Morrell; and celebrated entertainer Josephine Baker, among others. A highlight of the presentation is an exceptional bookone of only seven known copiesdocumenting Nijinskys scandalous 1912 ballet LAprès-Midi dun Faune. This rare album represents de Meyers great success in capturing the choreography of dance, a breakthrough in the history of photography. Also on view are the artists early snapshots made in Japan, experiments with color processes, and inventive fashion photographs.
Born in Paris and educated in Germany, de Meyer was of obscure aristocratic German-Jewish and Scottish ancestry. He and his wife, Olga Caracciolo, goddaughter of Edward VII, were at the center of Londons café society.
After starting in photography as an amateur, de Meyer gained recognition as a leading figure of Pictorialism and a member of the photographic society known as the Linked Ring Brotherhood in London. Alfred Stieglitz exhibited de Meyers work in his Little Galleries of the Photo-Secession and published his images as photogravures in his influential journal Camera Work. At the outbreak of World War I, de Meyer settled in the United States and applied his distinctive pictorial style to fashion imagery, helping to define the genre during the interwar period.
The exhibition was organized by Beth Saunders, Assistant Curator in The Mets Department of Photographs.