RUDOLF KOPPITZ (1884–1936) Lot n° 7

RUDOLF KOPPITZ (1884-1936) | Motion study, Vienna 1925 Image Size: 23 x 17 cm English: Photogravure, printed in 1928 on matte paper 23,4 x 17,4 cm, in very good condition. Reproduced signature in the image at lower left, typographical stamp "Kodak Magazine Supplement, 'Bewegungs Studie' by Rudolf Koppitz from The Royal Photographic Society Collection" and "GE c 1920s gravure" annotated by an unknown hand in pencil on the reverse. LITERATURE Monika Faber (ed.), Rudolf Koppitz 1884-1936, Vienna 1995, cover illustration; Monika Faber (ed.), Rudolf Koppitz. Photogenie, Vienna 2013, p. 133. The "Movement Study" is probably Koppitz's most famous work, which he printed in various techniques and was sold as far away as America. Members of the dance troupe of Claudia Issachenko, the mother of choreographer Tatyana Gsovsky and linguist Alexander Issachenko, served as models. One dancer poses as a nude in a strong backbend in front of three dark-robed colleagues. Their heads, positioned close to each other, form a flat arch that bounds the figure arrangement at the top; below, their pairs of feet, aligned in the same direction, form a horizontal row. Koppitz perfected this carefully structured composition with a closed outline through negative retouching. German: Photogravure, printed 1928 on matte paper 23,4 x 17,4 cm, in good condition. Reproduced signature in image lower left, typographic stamp on reverse "Kodak Magazine Supplement, 'Bewegungs Studie' by Rudolf Koppitz from The Royal Photographic Society Collection" and handwritten "GE c 1920s gravure" in pencil. LITERATURE Monika Faber (ed.), Rudolf Koppitz 1884-1936, Vienna 1995, cover illustration; Monika Faber (ed.), Rudolf Koppitz. Photogenie, Vienna 2013, p. 133. The "Movement Study" is probably Koppitz's most famous work, which he printed in various print techniques and was able to sell as far away as America. Members of the dance troupe of Claudia Issachenko, the mother of choreographer Tatyana Gsovsky and linguist Alexander Issachenko, served as models. One dancer poses as a nude in a strong backbend in front of three dark-robed colleagues. Their heads, positioned close to each other, form a flat arch that delimits the figure arrangement at the top; below, their pairs of feet, aligned in the same direction, form a horizontal row. Koppitz perfected this carefully structured composition with closed outline by negative retouching.