Jaromír Funke, Fotografie. Text by Ludvik Soucek (text in Czech). Odeon, Praha, 1970. 30 pp. text. First edition. Small Quarto. White cloth stamped in black in photo-illustrated dustjacket. 132 gravure reproductions.
Fine-/Fine-; slight pucker to lower joint; light edge wear to jacket.
Jaromir Funke. Edice Mezinarodni Fotografie. Svazek 2: [International Photography Edition, Vol. 2] Text by Antonin Dufek. Pressfoto, Prague, 1976. Quarto. Illustrated paper portfolio housing 12 silver gelatin copy prints negatives + 8 pp. text booklet in Czech, English, Russian, German, and French.
A few prints with very minor wear to edges, else Fine in Near Fine folio that is abraded slightly at crown of spine; light soiling and some creasing to flaps.
A central figure of the Czech photographic avant-garde of the 1920s and 1930s, at time during which Czechoslovakia was at the cutting edge in many areas of the arts, Funke was the subject of the 2009 exhibition, "Jaromir Funke and the Amateur Avent-Garde" at the National Gallery in Washington
"Although many of his early images were influenced by the soft-focus pictorial style, from 1918-21 he produced a group of documentary views of the suburbs of Kolín. Following studies in medicine and law, in 1922 Funke decided to become a freelance photographer. Two years later he joined Josef Sudek and Adolf Schneeberger to found the Czech Photographic Society. "By the early 1920s Funke's work reflected a growing interest in modernist ideas, and he began to make clearly focused studies of simple objects. As the decade progressed, he turned to the production of carefully arranged still life's emphasizing abstract form and the play of light and shadow. During this time he also produced several important series of photographs, including two inspired by the images of Eugène Atget: Reflexy (Reflections, 1929) and As Trvá (Time Persists, 1930-34).
"Funke was also influential as a teacher, first at the School of Arts and Crafts, Bratislava (1931-34/35), which followed a Bauhaus-inspired curriculum, and then at the State School of Graphic Arts, Prague (1935-44). While in Bratislava, he became interested in social documentary photography and joined the leftist group Sociofoto, which was concerned with recording the living conditions of the poor. Throughout his career Funke published articles and critical reviews dealing with photography. From 1939-41 he worked with Josef Ehm to edit the magazine Fotografický obzor (Photographic Horizon)"--Maureen McKenna, Clevland Museum of Art