Adolf Meyer was one of the earliest psychiatrists to support occupational therapy as a profession, connecting a person's activities to their mental health.

Baron Adolf De Meyer was born in Paris, he was the first official fashion photographer for the American magazine Vogue and Vanity Fair in 1913, a post he abruptly abandoned in 1923 to work for rival Harper's Bazaar, he was meticulous, eccentric, a dandy, an arbiter of taste and trends who immortalized the first three decades of twentieth-century society and shaped the genre of fashion photography. De Meyer married Olga Caracciolo, an Italian noblewoman, and Olga would be the subject of many of her husband's photographs. The de Meyers' marriage was one of marriage of convenience rather than romantic love, since the groom was homosexual and the bride was bisexual or lesbian. Meyer wrote "Marriage based too much on love and unrestrained passion has rarely a chance to be lasting, whilst perfect understanding and companionship, on the contrary, generally make the most durable union." On the outbreak of World War I, the de Meyers moved to New York City, where he became a photographer for Vogue from 1913–21, and for Vanity Fair. In 1922 de Meyer accepted an offer to become the Harper's Bazaar chief photographer in Paris, spending the next 16 years there. De Mayer began doing flattering photographs of Belle Époque aristocrats, actors, financiers, and industrialists. His portraits of the sparkling beauties of the fin de siècle Smart Set were his calling card to a position and profession in Edwardian society. He introduced the use of dramatic lighting, of a male model, and of two or more models in the same picture. His influences included the Impressionists, and the Symbolist artists Klimt and Watts, as well as Whistler. A great manipulator of light and shadow, he also veiled his lens in gauze, extensively used backlighting, inserted light sources in unexpected places, and retouched directly on the negative. In the 1920s, the de Meyers returned to Europe. As they aged, it is reported, they became increasingly dependent on cocaine and opium. The baron’s career deteriorated as younger photographers, armed with the new 35mm camera, began stepping out of the confines of the studio and scoffing at the soft-focus lens. After Olga died, de Meyer destroyed much of his work and adopted his young lover as his son. He dies in Beverly Hills penniless and forgotten in Hollywood. Jeanne Eagels Elizabeth Arden-Advertisement-1926 1921 Baron de Meyer, Ballerina Desiree Lubovska Desiree Lubovska standing by a window, wearing a dark dress in Georgette crepe, with fringed waist, by Jean Patou Elizabeth Arden-Advertisement-1926 Gertrude Vanderbilt Whitney -AmericanVogue1917 Nijinsky in L'après-midi d'un faune - 1912 Vogue 1921

BARON ADOLF DE MEYER Elizabeth Arden Advert, 1927 Print 5 1/2" x 7 1/2"

Gertrude Käsebier Baron Adolf de Meyer 1903

Completed in 1925 in Alfeld, Germany. This article was originally published on March 28, 2015. To read the stories behind other celebrated architecture projects, visit our AD...

Arden Advertisement Adolf de Meyer, 1930’s

arsvitaest: Adolf Baron de Meyer, Teddie, 1912 photogravure

Baron Adolf De Meyer was born in Paris, he was the first official fashion photographer for the American magazine Vogue and Vanity Fair in 1913, a post he abruptly abandoned in 1923 to work for rival Harper's Bazaar, he was meticulous, eccentric, a dandy, an arbiter of taste and trends who immortalized the first three decades of twentieth-century society and shaped the genre of fashion photography. De Meyer married Olga Caracciolo, an Italian noblewoman, and Olga would be the subject of many of her husband's photographs. The de Meyers' marriage was one of marriage of convenience rather than romantic love, since the groom was homosexual and the bride was bisexual or lesbian. Meyer wrote "Marriage based too much on love and unrestrained passion has rarely a chance to be lasting, whilst perfect understanding and companionship, on the contrary, generally make the most durable union." On the outbreak of World War I, the de Meyers moved to New York City, where he became a photographer for Vogue from 1913–21, and for Vanity Fair. In 1922 de Meyer accepted an offer to become the Harper's Bazaar chief photographer in Paris, spending the next 16 years there. De Mayer began doing flattering photographs of Belle Époque aristocrats, actors, financiers, and industrialists. His portraits of the sparkling beauties of the fin de siècle Smart Set were his calling card to a position and profession in Edwardian society. He introduced the use of dramatic lighting, of a male model, and of two or more models in the same picture. His influences included the Impressionists, and the Symbolist artists Klimt and Watts, as well as Whistler. A great manipulator of light and shadow, he also veiled his lens in gauze, extensively used backlighting, inserted light sources in unexpected places, and retouched directly on the negative. In the 1920s, the de Meyers returned to Europe. As they aged, it is reported, they became increasingly dependent on cocaine and opium. The baron’s career deteriorated as younger photographers, armed with the new 35mm camera, began stepping out of the confines of the studio and scoffing at the soft-focus lens. After Olga died, de Meyer destroyed much of his work and adopted his young lover as his son. He dies in Beverly Hills penniless and forgotten in Hollywood. Jeanne Eagels Elizabeth Arden-Advertisement-1926 1921 Baron de Meyer, Ballerina Desiree Lubovska Desiree Lubovska standing by a window, wearing a dark dress in Georgette crepe, with fringed waist, by Jean Patou Elizabeth Arden-Advertisement-1926 Gertrude Vanderbilt Whitney -AmericanVogue1917 Nijinsky in L'après-midi d'un faune - 1912 Vogue 1921

Vogue’s first-ever staff photographer is featured at the Met.

Pendant Lights By Adolf Meyer For Zeiss Ikon Circa 1930s 10 available - Moulded glass with mercury inner reflectors - Takes E27 fitting bulbs - Comes with 150cm of black twist cable and silver chain - Designed by Adolf Meyer - Produced by Carl Zeiss, Jena - German ~ 1930s - 53cm tall x 32cm wide Zeiss Ikon/Adolf Meyer Adolf Meyer was a German architect. A student and employee of Peter Behrens, Meyer became the office boss of the firm of Walter Gropius around 1915 and a full partner afterwards. In 1919 Gropius appointed Meyer as a master at the Bauhaus, where he taught work drawing and construction technique. Zeiss Ikon was founded in 1925 in Jena producing lighting for offices, homes and public buildings, they were especially known for their glass mirror lighting for use in hospitals. Adolf Meyer was the lighting designer from 1925 until his death in 1929. Condition Report Fully rewired with modern electrical components, Some patina to the silver paint in places but no damage to the glass. Up to 250V (Europe/UK Standard).The wiring of this item may be original and might need replacement, if not specified otherwise. less

Baron Adolf de Meyer - Self Portrait (with candle), 1920s

Baron Adolf De Meyer was born in Paris, he was the first official fashion photographer for the American magazine Vogue and Vanity Fair in 1913, a post he abruptly abandoned in 1923 to work for rival Harper's Bazaar, he was meticulous, eccentric, a dandy, an arbiter of taste and trends who immortalized the first three decades of twentieth-century society and shaped the genre of fashion photography. De Meyer married Olga Caracciolo, an Italian noblewoman, and Olga would be the subject of many of her husband's photographs. The de Meyers' marriage was one of marriage of convenience rather than romantic love, since the groom was homosexual and the bride was bisexual or lesbian. Meyer wrote "Marriage based too much on love and unrestrained passion has rarely a chance to be lasting, whilst perfect understanding and companionship, on the contrary, generally make the most durable union." On the outbreak of World War I, the de Meyers moved to New York City, where he became a photographer for Vogue from 1913–21, and for Vanity Fair. In 1922 de Meyer accepted an offer to become the Harper's Bazaar chief photographer in Paris, spending the next 16 years there. De Mayer began doing flattering photographs of Belle Époque aristocrats, actors, financiers, and industrialists. His portraits of the sparkling beauties of the fin de siècle Smart Set were his calling card to a position and profession in Edwardian society. He introduced the use of dramatic lighting, of a male model, and of two or more models in the same picture. His influences included the Impressionists, and the Symbolist artists Klimt and Watts, as well as Whistler. A great manipulator of light and shadow, he also veiled his lens in gauze, extensively used backlighting, inserted light sources in unexpected places, and retouched directly on the negative. In the 1920s, the de Meyers returned to Europe. As they aged, it is reported, they became increasingly dependent on cocaine and opium. The baron’s career deteriorated as younger photographers, armed with the new 35mm camera, began stepping out of the confines of the studio and scoffing at the soft-focus lens. After Olga died, de Meyer destroyed much of his work and adopted his young lover as his son. He dies in Beverly Hills penniless and forgotten in Hollywood. Jeanne Eagels Elizabeth Arden-Advertisement-1926 1921 Baron de Meyer, Ballerina Desiree Lubovska Desiree Lubovska standing by a window, wearing a dark dress in Georgette crepe, with fringed waist, by Jean Patou Elizabeth Arden-Advertisement-1926 Gertrude Vanderbilt Whitney -AmericanVogue1917 Nijinsky in L'après-midi d'un faune - 1912 Vogue 1921

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

turnofthecentury: Illustration for Vogue,1910s by Adolph de Meyer

Maker: Baron Adolf de Meyer Born: France Active: UK/USA/France Medium: photogravure Size: 6 1/4 in. x 9 1/2 in. Location: Object No. 2013.548 Shelf: C-5 Publication: Camera Work XL, 1912 Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997 pg 675 Camera Work, A Pictorial Guide, Dover, 1978, pg Other Collections: Musee d'Orsay Notes: TBAL To view our archive organized by themes and subjects, visit: OUR COLLECTIONS For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

Гортензия. 1907. Фотогравюра барона Адольфа де Мейера. "Сamera Work". Адольф де Мейер (фр. Adolphe Edward Sigismund de Meyer, 1868, Париж — 1946, Лос-Анджелес). Отец — парижский банкир немецко-еврейского происхождения, мать — родом из Шотландии. Учился в Дрездене. В 1893 Адольф часто бывает в…

Designed by Walter Gropius and Adolf Meyer, office building at the exhibition of the German Werkbund in Cologne 1914.

Пикториали́зм (англ. pictorialism, от англ. pictorial — живописный) — течение в европейском и американском фотографическом искусстве конца XIX — начала ХХ вв., подчеркивавшее в фотографии те черты, которые сближали ее с живописью и графикой эпохи (импрессионизм, живопись прерафаэлитов, символизм,…

Baron Adolf De Meyer - The Fountain of Saturn, 1912

by Marina Rybak The Morgan Library is an inspirational oasis, located only a step away from the lingerie companies, clustered nearby on Madison Avenue. An afternoon escape into the mansion’s otherworldly beauty is well worth it. The Museum exhibits always guarantee a quick “pick-me-up” and infuse a bit of creative oxygen into a tedious daily…