“I felt that the camera grew an extension of my eyes and moved with me,” the photographer Ilse Bing once said. One of her best-known photographs—a self-portrait taken in a mirror—seems to illustrate this thought. It shows both a frontal view of Bing peering from behind her camera, and a profile view that allows us to see more of her face and camera. This image, which highlights the small camera on a tripod, has become an icon of modernist photography. This small camera that Bing championed was a Leica, which revolutionized the way photographers could shoot, and she soon came to be known as the “Queen of the Leica.”

Bing began her career as a photojournalist in Frankfurt. In 1930, inspired by the work of Paris-based photographer Florence Henri, she packed up and moved to the French capital. Bing’s career flourished there: She freelanced for publications such as Le monde illustre, Regards, Paris Vogue, Vu, and even the American Harper’s Bazaar. Bing also established herself as a prominent avant-garde artist, experimenting with angles, motion, and printing techniques in many of her photographs of Paris landmarks, including at the Eiffel Tower, the Moulin Rouge, and the fountain on Place de la Concorde. Bing said, “It was a time of exploration and discovery…. We wanted to show what the camera could do that no brush could do, and we broke every rule. We photographed into the light—even photographed the light, used distorted perspective, and showed movement as a blur. What we photographed was new, too—torn paper, dead leaves, puddles in the street—people thought it was garbage! But going against the rules opened the doors to new possibilities.” 1 Along with other rule-breaking contemporaries such as Man Ray and Andre Kertesz, Bing exhibited her work in cutting-edge galleries in Paris and New York City, as well as MoMA’s first survey exhibition of photography, Photography 1839–1937 (1937).

In 1940, when the Nazis invaded France, Bing and her husband, who were both Jewish, were placed in separate internment camps in France. Luckily, with the support of an editor at Harper’s Bazaar, they were able to obtain visas and immigrate to New York the next year. There Bing continued to take pictures, but in 1959 she decided to quit photography: “I wanted to make mobility felt and I needed another medium, so I turned to poetry…. My poems are called 'snapshots without a camera.’” So, she reasoned, “I am always a photographer, whatever I do.” 2

Jane Pierce, Carl Jacobs Foundation Research Assistant, Department of Photography


  1. Roberta Hershenson, “Camera Pioneer Saluted at ICP,” The New York Times, February 13, 1986.

  2. Nadine Brozan, “Chronicle” The New York Times, March 8, 1993.


The research for this text was supported by a generous grant from The Modern Women's Fund.

Wikipedia entry
Introduction
Ilse Bing (23 March 1899 – 10 March 1998) was a German avant-garde and commercial photographer who produced pioneering monochrome images during the inter-war era.
Wikidata
Q85719
Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License
Getty record
Introduction
Bing was one of the main figures of New Photography in Paris in the 1930s. Born 23 March 1899. In 1929-1930 Bing photographed avant-garde architecture in Frankfurt am Main. In 1930 Bing moved to Paris, France. In 1934 Bing experimented with the solarization technique. Bing emigrated to New York City, New York, United States in 1941. In 1957 Bing abandoned black and white film and began to work exclusively in colour. In 1959 Bing gave up photography and devoted herself to painting and poetry.
Nationalities
American, German
Gender
Female
Roles
Artist, Poet, Painter, Photographer
Names
Ilse Bing, Ilse Bing Wolff
Ulan
500007274
Information from Getty’s Union List of Artist Names ® (ULAN), made available under the ODC Attribution License
Licensing

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at [email protected]. Motion picture film stills or motion picture footage from films in MoMA’s Film Collection cannot be licensed by MoMA/Scala. For licensing motion picture film footage it is advised to apply directly to the copyright holders. For access to motion picture film stills please contact the Film Study Center. More information is also available about the film collection and the Circulating Film and Video Library.

If you would like to reproduce text from a MoMA publication or moma.org, please email [email protected]. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected].

Feedback

This record is a work in progress. If you have additional information or spotted an error, please send feedback to [email protected].