Gräfin Greffulhe. Artist: Otto Wegener (Französisch (Schweden) geboren, Helsingborg 1849-1922 Paris). Abmessungen: Bild: 26 15/16 x 15 3/8 in. (68,4 x 39 cm): 27 3/16 15×11/16 in. (69 × 39,8 cm). Datum: 1899. Otto Wegener, bekannt als Otto, ging in Paris in seiner Ende der 20er Jahre zu leben. Er öffnete eine Fotostudio auf der Place de la Madeleine im Jahre 1883 und wurde für seine eleganten Portraits von Frauen und Kindern bekannt. Als die höchste Schönheit ihrer Tag gefeiert, Gräfin Elisabeth Greffulhe (1860-1952) war der Triumph der Pariser Gesellschaft, wenn Marcel Proust ihre Bekanntschaft im Jahre 1892 gemacht. Prous
Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel
Countess Greffulhe. Artist: Otto Wegener (French (born Sweden), Helsingborg 1849-1922 Paris). Dimensions: Image: 26 15/16 × 15 3/8 in. (68.4 × 39 cm) Mount: 27 3/16 × 15 11/16 in. (69 × 39.8 cm). Date: 1899. Otto Wegener, known as Otto, went to live in Paris in his late twenties. He opened a photographic studio on the Place de la Madeleine in 1883 and became well known for his elegant portraits of women and children. Celebrated as the supreme beauty of her day, Countess Elisabeth Greffulhe (1860-1952) was the triumph of Parisian society when Marcel Proust made her acquaintance in 1892. Proust pursued her with requests for a photograph, which she staunchly refused. Nonetheless, the countess would inspire Proust's fiction, becoming a prototype for the glamorous Duchesse de Guermantes in "A la recherche du temps perdu" (1913-27). In this puzzling image, the countess is seen embracing her own double. As was Otto's custom, the image is heavily reworked in the negative, emphasizing the contrast between the two figures, the white expanse of lace bodice and billowing skirt shown against the dark taffeta of the dress. Heightening the effect of a ghostly apparition, the countess's eyes, to which Proust ascribed the whole mystery of her beauty, are, unexpectedly, closed or averted; indeed, the image is less a portrait than a dreamlike evocation of a woman's private self. Portraits in which the sitters appear to be conversing with their doubles were not unusual in the 1890s. They were achieved by making several exposures on the same photographic plate. The idea for this composite portrait, which combines two negatives, probably originated with the countess, who had studied photography with Paul Nadar and who shared with many eminent figures of the day an abiding interest in spiritualism and the paranormal. The photograph brings to mind images of spectral phenomena obtained at séances. A keen observer of the effect she produced on others, and not herself unmoved by her own
