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#FlorenceHenri

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An exhibition produced by Jeu de Paume

Partners

The Jeu de Paume receives public funding from the ministère de la Culture et de la Communication.It is supported by Neuflize Vie and the Manufacture Jaeger-LeCoultre, its principal partners.

Media Partners

À Nous Paris, de l'air, Stylist, Time Out Paris, TSF Jazz.

Acknowledgements

The Jeu de Paume would like to thank the curator, Cristina Zelich, for her work in the selection of the exhibited artworks and her writing of the text for the catalogue, as well as Giovanni Battista Martini, of the Florence Henri Archives, for his support and his invaluable expertise.Many thanks also to Susan Kismaric for her participation in the catalogue, as well as to the museums and private collectors who so generously loaned their works and made this exhibition possible.

Acknowledgements to Hôtel Castille de Paris.

Cover :Florence Henri, Autoportrait [Self-portrait], 1938gelatin silver print dated 1970's

24,8 x 23,1 cmPrivate collection, courtesy Florence Henri Archive, Genoa

Florence Henri ©Galleria Martini & Ronchetti

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THE HIGHLIGHTS OF THE EXHIBITION

THE EXHIBITION

THE VISIT

ArTIST BIOGrApHy

rELATEd EVENTS

BOOKSHOp

jEu dE pAumE ONLINE

ALSO AT jEu dE pAumE

jEu dE pAumE IN 10 dATES

prESS ImAGES

Curator

Cristina Zelich

Summary

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the highlights of the exhibition

"Florence Henri. Mirror of the avant-garde" illustrates the desire of the Jeu de Paume to highlight the important role played by women photographers from the 1920s to the 1950s, and follows on from previous exhibitions devoted to Claude Cahun, Kati Horna, Eva Besnyö, Berenice Abbott, Lisette Model, Laure Albin Guillot and indeed,Lee Miller.

The exhibition brings together, for the first time in France, over 130 vintage prints by Florence Henri, as well as rare documents and publications, revealing the artist’s photographic production.

Influenced by Constructivism, Cubism and Surrealism, Florence Henri’s work is part of the exciting creative tenor of the period, during which, photography, like cinema or architecture, embodied a spirit of innovation and progress, as well as a certain unconventionality in terms of the dominant visual order.

Familiar with Bauhaus, Florence Henri was one of the figures of the European artistic intelligentsia of the time. Her friendship with Fernand Léger, the Delaunays, Hans Arp, László Moholy-Nagy and Theo van Doesburg would have a profound influence on her work.

In 1929, Florence Henri opened a photography studio in Paris. It soon rivalled that of Man Ray’s. Her classes were very well-attended and her talents as a portrait photographer were quickly recognized.

It is not so much the image alone as the constant research that brings Florence Henri’s work to life. Lines and geometric compositions are recurring elements in her photographs. Over the years, she made her compositions increasingly complex through the use of mirrors, industrial and natural objects, or through collage and superposition.

The exhibition attempts to both decipher and highlight the work of Florence Henri in terms of reflections, perspective, the depth of field and photomontage—key technical experimentations in the history of modern photography.

Florence Henri, Double portrait, 1927-1928 gelatin silver print dated 1977. 24 x 18 cm

Private collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

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florence henri (new York 1893 – Compiègne (france) 1982) was a multi-faceted artist, who

was first known for her paintings before making a name for herself as a major figure in avant-

garde photography between the end of the 1920s and the beginning of the 1940s. she lived in

silesia, Munich, Vienna, Rome and above all berlin, before finally settling in Paris in 1924 and

devoting herself to photography. this medium enabled her to experiment new relationships

with space, in particular by the use of mirrors and other objects in her compositions.

the Jeu de Paume is presenting a vast panorama of florence henri’s photographic production

from 1927 to 1940, including her self-portraits, abstract compositions, portraits of artists, nudes,

photomontages, photocollages, as well as documentary photos taken in Rome, Paris and

brittany. the exhibition comprises vintage prints, various documents and published material.

Florence Henri, Composition, 1928 gelatin silver print, vintage. 27,2 x 37,5 cm

Bauhaus Archiv, Berlin Florence Henri ©Galleria Martini & Ronchetti, Photo © Bauhaus Archiv

the exhibitionbY CRistina ZeliCh, CuRatoR

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When she was young, Florence Henri studied music and painting in England and Germany. In 1919, when she was a student at the Berlin Academy of Arts, she made the acquaintance of writer and art historian Carl Einstein and became friends with several figures of the avant-garde, including Hans Arp, Adrian Ludwig Richter, John Heartfield and Lázló Moholy-Nagy. She took classes with Paul Klee and Vassily Kandinsky at the Bauhaus in Weimar. In 1924 she moved to Paris, where she followed classes at the Académie Montparnasse, whose director was André Lhote, then at the Académie moderne (founded by Fernand Léger and Amédée Ozenfant). In 1927, after a visit to Bauhaus in Dessau, she abandoned painting in favour of photography. It was at this time that she produced her famous self-portraits in mirrors and her still lifes; the result of her first steps in the spatial research that she would carry out through the medium of photography.

Between the end of the 1920s and the beginning of the 1930s, three mythical exhibitions in terms of the history of European photography took place in Germany: ‘Fotografie der Gegenwart’, at the Folkwang Museum in Essen (1929); ‘Film und Foto’ (Fifo) organised the same year by the Deutscher Werkbund in Stuttgart and ‘Das Lichtbild’ held in Munich (1931). These exhibitions bore witness to the rapid expansion of new photographic concepts and a rupture with tradition.

Fifo marked the zenith of the Neues Sehen (New Vision) movement of which László Moholy-Nagy was an exponent and ‘Das Lichtbild’ marked the triumph of Neue Sachlichkeit (New Objectivity), whose leading representative was Albert Renger-Patzsch. Florence Henri was invited to show an important number of prints at these three exhibitions in recognition of her photographic production during this fundamental period that saw the photography used to free our vision and open out onto new experiences.

 ... /

"With photography, what I really want to do is compose the image, as I do in painting. The volumes, lines, shadows and light should submit to my will and say what I would like them to say. All of this under the strict control of the composition, because I do not claim to be able to explain the world or to explain my own thoughts."

Florence Henri In an interview with Attilio Colombo, “Specchio, essenzialità, geometría,” in Florence Henri (Milan: Gruppo Editoriale Fabbri, 1983),

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Florence Henri’s studio rivalled that of Man Ray, even if she had also opened a school of photography where Lisette Model and Gisèle Freund, amongst others, would enrol. In fact, despite the central position that her oeuvre occupied in avant-garde photography at the end of the 1920s, her reputation as a portraitist in Paris, and the fact that her photos had been published in many of the period’s illustrated magazines such as Arts et Métiers and Lilliput etc, Florence Henri’s body of work remains largely unknown.

László Moholy-Nagy’s* comments are a perfect illustration of Florence Henri’s position: “With Florence Henri’s photos, photographic practice enters a new phase, the scope of which would have been unimaginable before today. Above and beyond the precise and exact documentary composition of these highly defined photos, research into the effects of light is tackled not only through abstract photograms, but also in photos of real-life subjects. The entire problem of manual painting is taken onboard by the photographic process and is manifestly given a whole new depth thanks to this new optical instrument. Reflections and spatial relationships, superposition and intersections are just some of the areas explored from a totally new perspective and viewpoint.” •

*László Moholy-Nagy, ‘Zu den Fotografien von Florence Henri’, i10 No 17-18, Amsterdam, December 20, 1928.

Floren

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ir des avant-gardes 1927-1940

éditions photosynthèses & jeu de paume

Catalog texts: Marta gili, Cristina Zelich, Susan Kismaric and giovanni Martini. 224 pages 180 illustrations available in French and English Price: €45

"All that I know, and how I know this, is primarily made up of abstract elements: spheres, planes, and grids whose parallel lines provide numerous opportunities, without taking into account the mirrors I use, to present the same object from several different angles within a single photograph, in order to yield, in the same way, different visions that complement and complete each other, and which when taken as a whole, are better able to explain it. Essentially, all of this is much more difficult to explain than to do."

Florence Henri In an interview with Attilio Colombo, “Specchio, essenzialità, geometría,” in Florence Henri (Milan: Gruppo Editoriale Fabbri, 1983),

Florence Henri, Fenêtre [Window], 1929 gelatin silver print, vintage. 37,3 x 27,5 cm

Staatliche Museen zu Berlin, Kunstbibliothek Florence Henri ©Galleria Martini & Ronchetti

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Multiple exposure Florence Henri uses methods such as multiple exposures when shooting, or a combination of several negatives, some inverted, to obtain abstract images, in which she manages to bestow static objects with a sense of dynamism. Florence Henri’s output during this early phase can be described as a perfect synthesis between abstract geometrical painting and the innovations of New Vision photography

Advertising photography In the field of professional photography, Florence Henri stands out for her very personal approach to advertising photography. Indeed, her images are the natural extension of her photographic experimentation and investigations using objects and mirrors.

Jeanne Lanvin, 1929 Florence Henri ©Galleria Martini & Ronchetti

the Visit

Earliest compositions Her earliest compositions introduce an element that would be fundamental for her artistic investigations, namely the mirror. Using a very limited number of elements, Henri created extremely complex images characterised by the fragmentation of space and the use of multiple viewpoints. They include one of her best-known works, the self-portrait looking in the mirror with two metal spheres, which may be said to embody the spirit of freedom typical of that period, conveying the image of a modern and emancipated female artist, one who failed to conform to the societal status traditionally assigned to women.

Florence Henri Autoportrait [Self-portrait], 1928 Florence Henri ©Galleria Martini & Ronchetti

“Florence Henri’s work lured me to come to Paris in 1929. I wanted to live in a place where images were made that coincided with my own concepts.” Ilse Bing, quoted in Gisèle Freund’s preface to Ilse Bing 1929/1955 : Femmes de l’enfance à la vieillesse

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Shadows Her quest for experimentation leads Florence Henri to work on the shadows passing vertically through the frame, creating a dark gap that interrupts and fragments the continuity of the image.

Composition Nature morte [Still-life composition], ca 1931

Florence Henri ©Galleria Martini & Ronchetti

Nu Composition Their aesthetic characteristics clearly place the works grouped under the title Nu composition as part of the formal research Florence Henri carried out from the early 1930s, where the mastery of the composition obviously remains the central concern of her work. Here, the camera is positioned at a slight distance in order to capture the sensuality of the female form, while natural objects—hyacinths and shells—or other more enigmatic elements, such as a comb or cards, also appear in the frame.

Femmes aux cartes [Woman with cards], 1930 Florence Henri ©Galleria Martini & Ronchetti

Collages She quickly substitutes industrial objects with natural elements in her compositions. In addition, she introduces a new tool in her work: collage. She makes them with fragments of prints, and then reproduces them to create the final print. She also introduces a new technique into her work—collage—thereby underlining her interest in autonomous images that move away from a simple reproduction of reality, all the while emphasizing the conceptual work of the artist.

Composition Nature morte [Still-life composition], 1929 Florence Henri ©Galleria Martini & Ronchetti

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Portrait Composition The series Portrait Composition, is characterized by the tight framing of the central figurer—though some are models, most are her friends, including Grete Willers, Sonia Delaunay, Woty Werner, Kurt Wilhelm-Kästner, Fernand Léger, and Tulia Kaiser. The artist often makes use of harsh lighting, which marks the traits or make-up of her subjects with a diagonal composition or even distorts the image.

Fernand Léger, 1934 Florence Henri ©Galleria Martini & Ronchetti

Rome In late 1931 and early 1932, Florence Henri visits Rome where she takes a series of photographs, notably at the Roman Forum, but also at Saint Peter’s Square, which she uses, upon her return to Paris, as material for numerous collages, developing the technique she had already used in certain of her still lifes.

Store windows When Florence Henri strolls through Paris with her camera, her images reveal a very different preoccupation to that of other photographers. Faithful to her attention to structure, in the reflections of store windows she finds the same spirit that brings life to her studio compositions using mirrors. In 1936, Florence Henri moves to the Rue Saint-Romain in Montparnasse, where she makes use of the terrace to work in natural light, and to pursue her study of the fragmentation of the image through the use of shadows and reflections. She also returns to her self-portrait work.

Brittany The photographs taken in Brittany, which at first glance could be seen as purely documentary, reveal a very carefully considered attention to structure. In some of the more general shots, Florence Henri inserts a blurred, graphic element between the lens and the landscape, thereby going against the idea of photography as merely capturing reality, and once again, reinforcing the notion of composition.

Bretagne [Brittany], 1937-1940 Florence Henri

©Galleria Martini & Ronchetti

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Florence Henri, Composition, 1928 gelatin silver print, vintage. 27 x 37,1 cm Museum Folkwang, Essen Florence Henri ©Galleria Martini & Ronchetti

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1893 1893Born in New York on June 28 to a French father and a German mother.

1895Her mother dies. Raised by her mother’s family in Silesia.

1905-1907Studies at the Conservatory of Music on Earl’s Court Road, London.

1907-1911Following the death of her father, she moves to Rome to live with her father’s sister. Here, she encounters many of the key figures of the artistic and literary avant-garde movements (Filippo Tommaso Marinetti, Luigi Russolo, Gabriele D’Annunzio). She studies piano in Rome at the Accademia Santa Cecilia, then in London where she performs at the Bechstein Hall.

1912-1918Moves to Berlin. Studies under Egon Petri and

Ferruccio Busoni. Meets a number of avant-garde musicians such as Edgar Varèse and the celebrated pianist, Michael von Zadora. Eventually grows tired of music and becomes interested in painting.

1919-1923Meets the writer and art historian Carl Einstein, and becomes acquainted with several avant-garde artists and intellectuals (including Hans Richter, Jean Arp, Jean Pougny, László Moholy-Nagy, Theo van Doesburg, Vladimir Mayakovsky). Studies under Paul Klee and Wassily Kandinsky at the Bauhaus in Weimar, and under Josef Hoffmann in Munich. Collaborates with Alexander Archipenko.

1924-1926Moves to Paris and enrolls in the Académie Montparnasse directed by André Lhote, and then the Académie Moderne established by Fernand Léger and Amédée Ozenfant. In Paris she participates in the exhibition L’Art d’aujourd’hui, devoted to the trends of the time (Cubism, Futurism, Purism, Surrealism, Constructivism). She also participates in an exhibition at the Galerie d’Art Contemporain.

1927Takes summer classes at the Bauhaus in Dessau and experiments with photography.

1928Devotes herself to photography, and creates a number of portraits and self-portraits with a mirror. Moholy-Nagy writes an article on her abstract compositions for the review i10, published in Amsterdam.

1929Participates in the exhibitions Photographie der Gegenwart in Essen, and Film und Foto in Stuttgart. Becomes a member of the artists’ group, Cercle et Carré. Socializes with a group that includes Piet Mondrian, César Domela, Robert and Sonia Delaunay, Antoine Pevsner, and Georges Vantongerloo. Opens a photographic studio (portraits, fashion, and advertising photography) and also teaches photography classes. Amongst her students are Gisèle Freund and Lisette Model.

floRenCe henRiNew York, 1893-Compiègne (France), 1982

Florence Henri, Autoportrait [Self-portrait], 1928 Florence Henri ©Galleria Martini & Ronchetti

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1930-1931First monographic exhibition at Studio 28 in Paris. Participates in the exhibitions Das Lichtbild in Munich, Foreign Advertising Photography in New York, and Die neue Photographie in Basel. Her work is regularly published in international art reviews (Cercle et Carré; Die Form; Advertising Display; Photographie, a supplement of Arts et métiers graphiques; L’Art contemporain; etc.).

1932-1935Stays in Rome where she shoots a number of pictures that she will use for a series of photomontages. Numerous portraits of artists and female nudes. Participates in the exhibitions Modern European Photography at the Julien Levy Gallery in New York, and The Modern Movement in Photography at the Royal Photographic Society of London. Solo exhibitions at the Kunstverein Folkwang in Essen and at the Galerie de la Pléiade in Paris. Takes part in the exhibitions, L’image photographique en France de Daguerre à nos jours and Salon du nu in Paris. The illustrated magazine Stile Futurista publishes four of her photographs.

1936-1950Makes the acquaintance of writer, Pierre Minet. Produces portraits, self-portraits, and compositions on the terrace of her home. She takes outdoor shots in Paris and in Brittany. Due to the war, her activity as a creative photographer is considerably reduced. She once again turns to painting.

1951-1962Her photographs from the 1930s are published in a number of different publications. Lengthy stays in Spain, Greece, and Italy. She alternates between painting and photography.

1963-1970Leaves Paris in 1963 and moves to Bellival, a small village in the Oise, where she devotes herself fully to her visual research.

1971-1982Numerous art historians highlight the importance of her role in the avant-garde movements of the 1920s and 1930s. Retrospectives devoted to her are held in various locations: the Westfälischer Kunstverein in Münster, the Staatliche Kunsthalle in Baden-Baden (1976); the Musée d’Art Moderne de la Ville de Paris, the CSAC-Palazzo della Pilotta in Parma (1978); the Banco di Chiavari e della Riviera Ligure in Genova (1979); the MNAM – Centre Georges-Pompidou in Paris, the Musée d’Art et d’Histoire in Geneva, and the Musée de Chambéry (1981).Dies in Compiègne on July 24, 1982.

“Our aesthetic instincts are roused by Miss Henri’s composition, because something within us agrees with all that she says in her pictorial language; whereas there is nothing to agree with in the dead formulas of shock tactics. In fine, the ordinary commercial photographer has no message (if I may be permitted that pompous word, while the artist gives you ‘something more’.”

Oswell Blakeston “The Angle of the Camera Artist,” Advertising Display 8, no. 6 (June 1930)

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Related eVents

Cycle of classes12 February > 9 aprIl 2015 Arts And mediA This course covers the practical changes undergone by the image within the context of industrial society, from the standardization of reproduction and distribution methods, to the establishment of a visual mass culture.

The 8 classes are held on Thursdays from 7 p.m. to 9 p.m. in the Jeu de Paume auditorium. They are open to everyone and participants may register within the framework of vocational training.

Information: +33 (0)1 47 03 12 41 coursdeformation@jeudepaume.org

Wenesday / saturday — 12:30 PM

‘Rendez-vous du Jeu de Paume’ The ‘Rendez-Vous’ are guided tours of current exhibitions included in the price of admission.

MardI 24 FeVrIer — 18 h

‘Rendez-vous Young visitoR’s tuesdaYs ' Guided tour of the exhibition with Cristina Zelich, curator and Giovanni Martini, manager of the Florence Henri Archives.

Tuesday, February 24 Tuesday, March 31 Tuesday, aprIl 28

Young visitoR’s tuesdaYs : free admission for under 26s and students between 11 am and 9 pm.

Visits & cultural activities

Histoires de la pHotograpHie

The first book explaining photography to children.

Invented almost 200 years ago, the story of photography is a long one, and indeed, a multiple one, if we are to think of photography’s contribution to the exploration of the world, to science and to art. This book includes over 100 photos and explains in 6 chapters, the principle uses of photography: to record, create, reinvent, inform, observe and unite.

Co-edition: Jeu de Paume / Le Point du Jour, with the support of Neuflize Vie. 120 pages €18

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FaMIly reNdeZ-VOus!

> Saturday — 3 h 30pm (except the last saturday of the month)

Every Saturday, except the last Saturday of the month, the Jeu de Paume’s expert guides welcome children (aged 7-11, accompanied by their parents or a responsible adult) for an encounter with images. During one of several visits on offer around the current exhibitions and the learning zone, with both images from the exhibition and projected images, we help the participants to apprehend the approaches and practices of each of the chosen artists. duration: 1 hour registration: 01 47 03 12 41 rendezvousenfamille@jeudepaume.org free for children and members

February 28, March 28, aprIl 25 — 3:30 PM

CHILDREN FIRST! PhotograPhic exPeriments and self-Portraits

These visits/workshops invite children, aged between 7 and 11 years, to compose and produce their own photographic images, to design the layout and to print their own portfolio. This workshop takes the form of a laboratory where the participants use their own image as the medium for experiments and photographic inventions.

duration: 2 hours I free registration necessary: +33 (0)1 47 03 04 95

For children

Cindy Sherman (Exhibition catalogue) Texts by Jean-Pierre Criqui, Régis Durand and Laura Mulvey. Co-editions: Flammarion / Jeu de Paume Publication date: January 2007 320 pages / €52

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Exhibition Catalog Florence Henri Texts by Marta Gili, Cristina Zelich, Susan Kismaric, Giovanni Martini. 224 pages 180 illustrations, color and black and white Hardback, 23 x 28 cm

Available in French and English Co-edition Jeu de Paume / Photosynthèses English-language version co-edited with Aperture. Distribution: Actes Sud / distribution: UD

ISBN 978-2-36398-010-6

Price: €45

Claude Cahun (Exhibition catalogue) Texts by Juan Vicente Aliaga, Patrice Allain, Tirza T. Latimer and François Leperlier. Co-editions: Hazan / Jeu de Paume Publication date: May 2011 239 pages / €35,50

bookshoP

Ouvrages en résonance

lemagazine.jeudepaume.org

espacevirtuel.jeudepaume.org

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online art projects

Jeu de Paume supports the online creation presenting online arts projects created by artists specially for the web.

All the projects presented since october 2007 are available for consultation in the archives section.

Jeu de PauMeonline

constant dUllaart High retention, slow delivery !! Until April 2015

This work is a commission by the Jeu de Paume, within the context of the exhibition “Böse Clowns” (“Evil Clowns”) at the Hartware MedienKunstVerein (HMKV) in Dortmund. For the exhibition “Böse Clowns", Constant Dullaart created a piece exploring social media from a critical perspective. High Retention, Slow Delivery!! (2014) targets the phenomena of popularity and attention-seeking typical of digital social networks like Facebook, Instagram, LinkedIn and Twitter. Their sharing mechanisms (the "Likes," "Retweets", "Followers" and "Friends") encourage the establishment of an "evaluation system which is based on popularity to the detriment of quality, and on social networking know-how to the detriment of talent”. The more “Followers”, “Likes”, “Retweets” and “Friends” there are, the better. Value, with regard to social media, is proportional to the attention brought to someone or something.

online magazine

With more than 100,000 hits per year, the online magazine has become a key forum for debate between artists, historians, philosophers, exhibition curators, film directors and art critics, not forgetting the general art-loving public. It continues on from the Jeu de Paume’s exhibitions and cultural activities, proposing multiple points of view on the image and promoting an exchange of knowledge in this field. Thanks to more than 300 multimedia articles, it facilitates new connections between the creative world and intellectual reflection.

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alsoat Jeu de PauMe

châTeau de TOurs

jeu de pauMe

parIs

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Jeu de PauMein 10 dates

1862: Inauguration, under the auspices of Napoleon III, of a palm game hall, the last Parisian venue created for this racket sport, a precursor of tennis. Due to concerns for symmetry and urban composition or planning, its construction features the same decorative principles as the neighboring Orangerie building, constructed nine years previously.

1909-1922: As tennis gains in popularity, the hall is abandoned and is eventually turned into an art gallery. For the first time in the history of Western art, a building with a different original function is used to house and display works of art.

1914-1918: During the First World War, the building houses a service for the distribution of ration books.

1922-1939: The hall becomes an annex of the Musée du Luxembourg, where foreign contemporary art is presented, hence marking the advent of contemporary art in this space. Between 1929 and 1932, restoration work is carried out in order to adapt the building to its new function as a museum.

1939-1944: Requisitioned by the Nazis, the museum is used for the storage and transfer of looted artworks.

1944-1946: The National Commission for the Recovery of Artworks moves into the premises of the Jeu de Paume museum, working to ensure that the artworks looted during the war are returned to their rightful owners, thanks to the inventory carried out by Rose Valland, a member of the French Resistance.

1947-1986: Jeu de Paume becomes the Musée des Impressionnistes, an annex of the Louvre until the opening of the Musée d’Orsay.

1991-2004: Following the renovation of the interior of the building based on Antoine Stinco’s design, the Galerie Nationale du Jeu de Paume becomes a modern and contemporary art space on the initiative of Jack Lang. It is directed by Alfred Pacquement, and then Daniel Abadie.

In 2004, Jean-Jacques Aillagon, French Minister for Culture and Communication, decides to merge the Centre National de la Photographie, the Patrimoine Photographique and the Galerie Nationale du Jeu de Paume as one institution, directed by Alain Dominique Perrin, followed by Régis Durand from 2004 to 2007, and then by Marta Gili. Since then, Jeu de Paume has become an art center and a place of reference for the dissemination of images from the twentieth and twenty-first centuries, from photography to cinema, video to installation art and online creation. A varied program of exhibitions, film cycles, conferences, seminars, educational activities and publications have allowed both well-known and emerging artists to be discovered.

since 2010: Jeu de Paume has been presenting historically-themed exhibitions at the Château de Tours, which were formerly shown at the Hôtel de Sully in Paris. These exhibitions serve to highlight donations of artwork to the State, as well as archival collections conserved by public and private institutions, both in France and overseas. Around these exhibitions, and in an attempt to promote the visual arts in Tours, a whole host of educational events and activities are organized by the City of Tours, the CCC – Centre de Création Contemporaine de Tours, the Jeu de Paume and the Université François Rabelais.

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PRess iMages

The reproduction and representation of images from the selection below is authorized and exempt from rights for the sole purpose of promoting the exhibition at the Jeu de Paume, and for the duration thereof.

1 • Florence Henri Autoportrait [Self-portrait], 1928gelatin silver print, vintage39,3 x 25,5 cmStaatliche Museen zu Berlin, KunstbibliothekFlorence Henri ©Galleria Martini & Ronchetti

2 • Florence Henri Double portrait, 1927-1928 gelatin silver print dated 1977 24 x 18 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

3 • Florence Henri Composition, 1928 gelatin silver print, vintage 27,2 x 37,5 cmBauhaus Archiv, BerlinFlorence Henri ©Galleria Martini & RonchettiPhoto ©Bauhaus Archiv

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4 • Florence Henri Composition, 1928 gelatin silver print, vintage 27 x 37,1 cmMuseum Folkwang, EssenFlorence Henri ©Galleria Martini & Ronchetti

5 • Florence Henri Mannequin de tailleur [Tailor’s mannequin], 1930-1931 gelatin silver print, vintage 17,1 x 22,8 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

6 • Florence Henri Fenêtre [Window], 1929gelatin silver print, vintage 37,3 x 27,5 cmStaatliche Museen zu Berlin, KunstbibliothekFlorence Henri ©Galleria Martini & Ronchetti

7 • Florence Henri Jeanne Lanvin, 1929 gelatin silver print, vintage 36,7 x 28,7 cmCollection particulière, courtesy Archives Florence Henri, GênesFlorence Henri ©Galleria Martini & Ronchetti

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8 • Florence Henri Composition abstraite [Still-life composition], 1929 collage, gelatin silver print cut and pasted on paper 12 x 14 cmPrivate collection, courtesy Florence Henri Archive, GenoaFlorence Henri ©Galleria Martini & Ronchetti

9 • Florence Henri Composition Nature morte [Still-life composition], 1931gelatin silver print, vintage 45,9 x 37,7 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

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10 • Florence Henri Composition Nature morte [Still-life composition], 1931gelatin silver print dated 1977 23 x 30 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

11 • Florence Henri Femme aux cartes [Woman with cards], 1930 gelatin silver print, vintage 39 x 28,5 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

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12 • Florence Henri Portrait Composition, Tulia Kaiser, ca 1930 gelatin silver print, vintage 23 x 29,2 cmAchat grâce au mécénat de Yves Rocher, 2011. Ancienne collection Christian BouqueretCentre Pompidou, Paris. Musée national d'art moderne / Centre de création industrielleFlorence Henri ©Galleria Martini & RonchettiPhoto ©Centre Pompidou, Mnam-Cci, Dist. Rmn-Grand Palais /Georges Meguerditchian

14 • Florence Henri Portrait Composition, Cora, 1931 gelatin silver print, vintage 13,6 x 11,4 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

13 • Florence Henri Fernand Léger, 1934 gelatin silver print, vintage 30,4 x 24 cmPrivate collection, courtesy Archives Florence Henri, GenoaFlorence Henri ©Galleria Martini & Ronchetti

15 • Florence Henri Robert Delaunay, ca 1935 gelatin silver print, vintage 49,5 x 39,7 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

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16 • Florence Henri Composition, The Glory that was Greece, ca 1933 photomontage, gelatin silver print dated 1975 23,5 x 29,5 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

17 • Florence Henri Composition Nature morte [Still-life composition], ca 1933 photomontage, épreuve gélatino-argentique d'époque29,4 x 24 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

18 • Florence Henri Autoportrait [Self-portrait], 1938 gelatin silver print dated 1970's 24,8 x 23,1 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

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19 • Florence Henri Bretagne [Brittany], 1937-1940 gelatin silver print, vintage 28,2 x 24,2 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

20 • Florence Henri Structure (intérieur du Palais de l'Air, Paris, Exposition Universelle) [Structure (Interior of the Palais de l’Air, Paris, World’s Fair)], 1937 gelatin silver print dated 1976 17,5 x 17,5 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

21 • Florence Henri Pont [Bridge], 1930-1935 gelatin silver print dated 1977 23,5 x 23,8 cmPrivate collection, courtesy Florence Henri Archive, Genoa Florence Henri ©Galleria Martini & Ronchetti

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