Hugo Erfurth; Paul Horst-Schulze; paper; oil print; picture size: height: 19;8 cm; width: 26 cm; stamp: verso and right: HUGO ERFURTH; K諰N; DOMKLOSTER; GOLDSCHMIDTHAUS2; top right in lead: Horst-Schulze; Leipz. Academy; lower left in lead: c. 1917; (according to Oehmen); upper left in black crayon: 110; label: verso lower right: picture with text framing: 19 WIEN; PHOTOGRAPHISCHE; label damaged in half]; upper right in lead: 1924; (according to B. Lohse); upper middle in lead: No. 1 Herbert Eulenberg; in the middle in blue colored pencil: 109-1; lower left: picture with text framing: 19 WIEN; PHOTOGRAPHISCHE A[ left with red colored pencil: 125/1; portrait photography; portrait; self-portrait of an artist; portrait; artist; painting; portrait; self-portrait of a painter; specific poses; gestures; facial expressions; Paul Horst-Schulze; At the beginning of the 20th century; Hugo Erfurth; along with Rudolph D黨rkoop and Nicola Perscheid; was one of the most famous professional photographers in Germany. After completing an apprenticeship as a photographer; he opened his own studio in Dresden at the age of only 22. Soon Erfurth orientated himself towards the up-and-coming pictorialist photography; participated in numerous amateur photographic exhibitions from 1894 onwards and managed to make a name for himself both as an artistically ennobled amateur and successful professional photographer. Portraits are central to his work; which he began taking in 1906 in his new studio; a classicist palace; in a stylishly elegant ambience; appealing to the wealthy bourgeoisie. He also produced numerous portraits of famous personalities; including K鋞he Kollwitz; Otto Dix and Joachim Ringelnatz. While his studies around 1905 still show full-length figures depicted in an atmospheric way; from the 1920s onward the focus is on the face; which is photographed against a simple monochrome background. Here; his pictorial approach corresponds to the portrait of classical modernism; where