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<\/p>\nThis is a partial repost of one of the Feral Rabbit “Objectification of Women” posts.<\/i><\/p>\n
Europe in the 1930s was in a headlong rush — the Nazis were closing down fetish and porn networks while the French churned out erotica intended for an international audience.<\/p>\n
Erotica until the war in Europe took many forms — ethnic beauties on postcards or stereoviews, tasteful nudes by Mandel, more edgy photos by Wyndham, and fetish\/bondage classics by Eva Richards, Beiderer Studio and Diana Slip.<\/p>\n
Photographers in Europe between the wars were strongly influenced by, and sometimes were participants in, artistic movements such as surrealism or political cabaret. The output of Studio Manasse shows these influences — the work of other photographers, surrealism and performance. To me the quality of Studio Manasse is variable and while some photographs are in my opinion amongst the best of the 1930s, other photographs are downright hokey.<\/p>\n
Photographers like the Wlassics, who operated Studio Manasse in Vienna, made their living by selling images to publications and collectors. Studio Manasse photos are reproduced in 1930s French and US magazines such as Beautes Volupt\u00e9<\/i> and the Spicy pulps.<\/p>\n
These photographs are from Divas and Lovers: The Erotic Art of Studio Manasse; Story by D. H. Lawrence; Essay by Monika Faber<\/i> (New York: Universe Publishing, 1998). The first photograph\u2019s model has one of the many faces of Kelsey.<\/p>\n
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This is a partial repost of one of the Feral Rabbit “Objectification of Women” posts. Europe in the 1930s was in a headlong rush — the Nazis were closing down […]<\/p>\n