Ilse Bing

Ilse Bing (born March 23, 1899, Frankfurt am Main, Germany—died March 10, 1998, New York, New York, U.S.) was a German-born photographer known for her early mastery of the lightweight 35-mm Leica camera and for her intricately composed street photographs and self-portraits.

Bing attended the University of Frankfurt beginning in 1920, where she studied math and physics. She changed her course of study to art history, however, and began writing a doctorate in 1924 on German Neoclassicist architect Friedrich Gilly. She discovered her interest in photography when she bought a Voigtländer large-format camera in 1928 in order to take the photographs necessary to illustrate her thesis. She bought the handheld Leica camera the next year, gave up working on her thesis, and chose to focus on her budding career as a freelance photojournalist, contributing to Das Illustrierte Blatt, a weekly illustrated supplement to the Frankfurt newspaper.

Bing met Bauhaus architect Mart Stam about 1929–30. Stam commissioned her to document all of his projects, interiors and exteriors, throughout Frankfurt. He was also an important link to the avant-garde circles in Frankfurt, and he introduced Bing to artists such as El Lissitzky, Kurt Schwitters, Hannah Höch, and others. At the end of 1930, Bing moved to Paris so she could be at the heart of the art world. In her first years there she continued to contribute photography to German newspapers, but by 1932 she had begun to make headway with French publications, contributing to newspapers such as Le Monde Illustré and L’Illustration and eventually doing fashion photography for publications such as Paris Vogue and Marchal. In 1933–34 she also had some of her photographs run in the American Harpers’ Bazaar. Her fashion photographs were unconventional—close-up, cropped images of shoes and hats taken from unusual angles. It is commonly held that Bing was the only professional photographer working exclusively with a Leica in all of Paris at that time.

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The first exhibition of Bing’s work—a series of photographs of the dancers at the Moulin Rouge cabaret in Paris—was held in 1931 at La Pléiade Gallery. She exhibited there several times in the Groupe Annuel des Photographes exhibitions throughout the 1930s along with the city’s other avant-garde photographers, including Lee Miller and André Kertész. In 1931 she also participated in the 26th Salon Internationale d’Art Photographique. It was during that exhibition that she was named “Queen of the Leica” by photographer and art critic Emmanuel Sougez. Bing had become proficient at photographing Paris at night and at using mirrors and reflections to create dynamic compositions. In the darkroom she experimented with cropping, making multiple exposures, and enlarging her photographs, sometimes so much that they became grainy. One of her best-known photographs is a self-portrait in which the viewer sees her from the front holding a Leica to her eye and in profile in a strategically placed mirror. Bing continued to enjoy success as an artist and exhibited regularly alongside photographers such as Kertész, Brassaï, Henri Cartier-Bresson, and Florence Henri.

In 1931 Bing met Hendrik Willem van Loon, a Dutch American writer based in New York who became her patron and her entrée into the American art world. He introduced her work to art dealer Julien Levy, who exhibited her photographs at his gallery in the exhibit “Modern European Photography: Twenty Photographers” (1932). In 1936 van Loon arranged for Bing to visit the United States when she had her first solo exhibition opened at the June Rhodes Gallery in New York City. Bing spent three months in and around that city and met with photographer Alfred Stieglitz during her stay. Her reputation in the United States was soon solidified among photographers and critics, and she was included in the landmark exhibition “Photography 1839–1937” curated by Beaumont Newhall at the Museum of Modern Art.

In 1937 Bing married musicologist and pianist Konrad Wolff, whom she had met in 1933, when they lived in the same apartment complex. Bing and Wolff (both Jews) left Paris in 1940 because of the World War II and were interned in separate camps in the south of France. She reunited with him in Marseille, and eventually they were able to leave for the United States in 1941. When they left for the United States, Bing was able to take her negatives but was forced to leave her prints behind with a friend. They remained in a shipping company warehouse in France until the end of the war, at which point they were sent to her in New York City. Unable to pay the customs fees, Bing had to pick and choose which to keep, and many original photographs were lost in the process. In New York Bing struggled to get photojournalism work but found it difficult to do so, perhaps because of growing competition for that type of work. She started using a large-format Rolleiflex camera in 1950 and in 1957 took up colour photography. After 1959 she gave up photography for other forms of expression—poetry, drawing, and collage.

Bing’s reputation is largely due to a revived interest in her work during the 1970s. In 1976 a solo exhibition of her work was held at the Lee Witkin Gallery in New York City. The exhibition attracted attention to her work, and she became one of the many forgotten, or overshadowed, women artists reinvestigated and reintroduced by feminist scholars. Following her rediscovery, she was the subject of publications and solo exhibitions, the first of which took place in 1985 at the New Orleans Museum of Art. That exhibition redefined Bing’s place in the history of 20th-century photography.

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