Starting in the 1920s, avant-garde photographers from Europe began branching out from conventional styles, using new techniques to create surreal images reflecting the imagined and the inner self, while redefining the world around them. The <a href="index.php?page=&url=http%3A%2F%2Fwww.museum-bellerive.ch%2Fen%2F" target="_blank" target="_blank">Museum Bellerive</a>, Zurich is exhibiting over 200 of these rare photographs in "<a href="index.php?page=&url=http%3A%2F%2Fwww.museum-bellerive.ch%2Fen%2Fexhibitions%2Frealsurreal%2F" target="_blank" target="_blank">Real Surreal</a>." Running until July 24, it brings together the likes of Herbert Bayer and Grete Stern to provide a window into a period of rapid innovation within photography, when suddenly anything could be captured by the camera lens -- even the impossible.<br /><br /><strong>Pictured above:</strong> "Self-Portrait", Herbert Bayer, 1932.
Starting in the 1920s, avant-garde photographers from Europe began branching out from conventional styles, using new techniques to create surreal images reflecting the imagined and the inner self, while redefining the world around them. The Museum Bellerive, Zurich is exhibiting over 200 of these rare photographs in "Real Surreal." Running until July 24, it brings together the likes of Herbert Bayer and Grete Stern to provide a window into a period of rapid innovation within photography, when suddenly anything could be captured by the camera lens -- even the impossible.

Pictured above: "Self-Portrait", Herbert Bayer, 1932.
Christian P. Schmieder/ProLitteris
Bellmer was, among other talents, a creator of dolls. Much of his work was occupied with erotic fantasy, resulting in twisted, mutated female forms -- a response, some critics have argued, to Nazi Germany's obsession with bodily perfection.
"The Doll", Hans Bellmer, 1935 —
Bellmer was, among other talents, a creator of dolls. Much of his work was occupied with erotic fantasy, resulting in twisted, mutated female forms -- a response, some critics have argued, to Nazi Germany's obsession with bodily perfection.
Christian P. Schmieder/ProLitteris
At the heart of Paris' surrealist crowd, Man Ray once had socialite art collector <a href="index.php?page=&url=https%3A%2F%2Fwww.cnn.com%2F2015%2F12%2F21%2Farts%2Fpeggy-guggenheim-art-addict%2Findex.html" target="_blank">Peggy Guggenheim as his muse</a>. An American who spent the majority of his career in Paris, his photography became what he was best known for, creating photograms he called "rayographs."
"Rayographie (spiral)", Man Ray, 1923 —
At the heart of Paris' surrealist crowd, Man Ray once had socialite art collector Peggy Guggenheim as his muse. An American who spent the majority of his career in Paris, his photography became what he was best known for, creating photograms he called "rayographs."
Christian P. Schmieder/Man Ray Trust/ProLitteris
In "Electricity," one of Ray's most famous collections, he used a variety of electrical appliances and lights to cast shadows and illuminate objects, using heating coils to bring to life an invisible force.
"Electricity", Man Ray, 1931 —
In "Electricity," one of Ray's most famous collections, he used a variety of electrical appliances and lights to cast shadows and illuminate objects, using heating coils to bring to life an invisible force.
Christian P. Schmieder/Man Ray Trust/ProLitteris
A leading figure within the Bauhaus movement in Germany, Bayer became interested in photomontage once he left the movement, pursuing abstract forms of photography that would begin to take hold in the 1930s.
"Lonely Metropolitan", Herbert Bayer, 1932/1969 —
A leading figure within the Bauhaus movement in Germany, Bayer became interested in photomontage once he left the movement, pursuing abstract forms of photography that would begin to take hold in the 1930s.
Christian P. Schmieder/ProLitteris
German Renfer-Patzsch began his photography career early, picking up a camera at 12 years old. Originally a press photographer for the Chicago Tribune, he left to become a freelancer, producing art photography at the same time. The focus of his early works were close-ups of objects, forcing the observer into seeing the world from a new perspective.
"Self-Portrait", Albert Renger-Patzsch, 1926/27 —
German Renfer-Patzsch began his photography career early, picking up a camera at 12 years old. Originally a press photographer for the Chicago Tribune, he left to become a freelancer, producing art photography at the same time. The focus of his early works were close-ups of objects, forcing the observer into seeing the world from a new perspective.
Albert Renger Patzsch Archiv/Ann und Jürgen Wilde/ProLitteris
Born in Germany, Stern fell under the tutelage of Walter Peterhans, even before he became the head of photography at the Bauhaus. From there she went to set up a studio with Ellen Auerbach focusing on portraiture and advertising. In later life she would become heavily influential in Argentina, where she emigrated to in the 1950s.
"The Eternal Eya", Grete Stern, circa 1950 —
Born in Germany, Stern fell under the tutelage of Walter Peterhans, even before he became the head of photography at the Bauhaus. From there she went to set up a studio with Ellen Auerbach focusing on portraiture and advertising. In later life she would become heavily influential in Argentina, where she emigrated to in the 1950s.
Estate of Grete Stern/Galeria Jorge Mara - La Ruche
Czech photographer and exponent of the avante-garde, František Drtikol was known for his nudes, usually posed highly unconventionally, disrupting our expectations of how the human form should appear in art.
"Circular Segment (Arc)", František Drtikol, 1928 —
Czech photographer and exponent of the avante-garde, František Drtikol was known for his nudes, usually posed highly unconventionally, disrupting our expectations of how the human form should appear in art.
Christian P. Schmieder/heirs of František Drtikol