Sources available online now cover all published volumes—including the biblical (through 332 BCE) and early modern to contemporary periods (1500–2005). Sign up here for free access and updates.
Femmes marocaines
Fernand Bidon
1950
When this ostensibly quiet scene was photographed, Morocco was in the throes of a struggle for independence against its French occupiers. The uprising was becoming increasingly violent, with riots, massacres, and bombings, especially in the big cities.
When this ostensibly quiet scene was photographed, Morocco was in the throes of a struggle for independence against its French occupiers. The uprising was becoming increasingly violent, with riots, massacres, and bombings, especially in the big cities.
Credits
Collection Dahan-Hirsch.
Published in:The Posen Library of Jewish Culture and Civilization, vol. 9.
This is the title page of Me‘on ha-sho’alim (L’abitacolo degli oranti; Abode of the Supplicants), by the poet and translator Devorà Ascarelli, a member of the Catalan community in Rome. Me‘on ha-sho…
Solomon Nunes Carvalho is thought to have made this daguerreotype self-portrait when he was already well trained in the art of photography. A few years after he made this portrait, in 1853 and 1854…
The Meeting, Schulz’s only surviving oil painting, obliquely explores a theme he returned to many times in his writing and art, namely, sadomasochism, this time in the context of an encounter between…
Fernand Bidon was a French photographer who worked under the pseudonym Félix. Born in Marseille, Bidon lived and worked in Marrakech between 1912 and 1963; he was one of the first resident photographers of Morocco. During France’s occupation of Morocco, a number of French artists visited the country to document, through European eyes, the culture of the region. Bidon captured hundreds of images of street life in Marrakech, including photographs of the city’s Jewish quarter and its residents. Bidon used his photographs to produce postcards, likely capitalizing on the popularity of the exoticized Middle Eastern imagery found in French orientalist painting of the period. The majority of his images are in black and white, although he is known to have experimented with a small series in color. Bidon’s work remains in the collection of the Marrakech Museum of Photography and Visual Arts.
This is the title page of Me‘on ha-sho’alim (L’abitacolo degli oranti; Abode of the Supplicants), by the poet and translator Devorà Ascarelli, a member of the Catalan community in Rome. Me‘on ha-sho…
Solomon Nunes Carvalho is thought to have made this daguerreotype self-portrait when he was already well trained in the art of photography. A few years after he made this portrait, in 1853 and 1854…
The Meeting, Schulz’s only surviving oil painting, obliquely explores a theme he returned to many times in his writing and art, namely, sadomasochism, this time in the context of an encounter between…