René Groebli, one of Switzerland’s most famous photographers, is looking back at his youthful creations that caused uproar when published. In 1952, Groebli and his wife, Rita Dürmüller, went on a belated honeymoon in Paris, where he captured a series of intimate photographs of her at a Montparnasse hotel. Titled “The Eye of Love,” these images highlighted the couple’s affection but were met with scandal due to their sensual nature and the ambiguity surrounding Dürmüller’s identity.
Originally released in book form in 1954, Groebli’s photographs were controversial and scandalous for the era. Unfortunately, viewers misunderstood the intention behind those powerful images. They thought they were depicting an extramarital affair because Groebli neglects to explain that Dürmüller was in fact his wife. The series was all about intimacy and artistry while stirring emotional responses from the public.
The photos followed Dürmüller’s process, showing her teetering between strength and fragility with ethereal elegance. One arresting shot has her hanging up laundry, reminiscent of the grace of a ballerina positioned at a barre. The second, called “Undressing, 1952” features her from behind mid-motion of removing a white blouse, revealing a black strappy gown underneath. In the last photo, Dürmüller’s hand dangles off the side of the bed. Her diamond engagement ring glimmers as her cigarette dangles between her fingers.
He understood that photography wasn’t considered a legitimate art form in the 1950s. This was particularly the case for images that portrayed nudity.
“I wasn’t really surprised by the reaction of the media,” – René Groebli
Groebli purposefully selected the title The Eye of Love in order to summarize the nature of his work.
“In those days only artists and people acquainted with the arts were used to nudity. Photography was not commonly perceived as an art yet and photographs of nudes were associated with pornography rather than with artful, tender erotic poesy. It was therefore not surprising that, prejudiced by common perception, the poetic photographic essay could hardly be judged by its artistic value,” – René Groebli
Their cooperation and mutual understanding were pivotal to the production of these images. He illustrated the ways Rita participated in her own posing and composition to suggest a feel and a look that would be organic, not forced.
“I reacted with the title The Eye of Love. It puts into words what the photographic essay is all about: love. It is not about voyeuristic sex; it doesn’t exhibit my wife as an ‘object of desire’,” – René Groebli
Soon, Groebli’s work caught the attention of industry heavyweights, including noted artists and curators. American photographer Edward Steichen welcomed him on board for a groundbreaking exhibition entitled “The Family of Man.” This program happened at The Museum of Modern Art in New York City in 1955. This moment would prove to be a career-defining opportunity for Groebli. It helped catapult this work into his rising prestige in the realm of photography.
“Rita loved to create the images when we took those pictures. She took an active creative part in posing and composing. One may sense, while looking at these photographs, that she felt absolutely comfortable and, hence, acted perfectly natural. She was not an actor, but an artist helping to create scenes. The pictures are the result of a collaboration in perfect harmony,” – René Groebli
Today, at the age of 98, Groebli calls Zurich home. He frequently ponders how much photography has in all ways changed from when he first started.
Groebli’s lifelong passion for kinetic energy became a longstanding motif within his artistic practice.
“Smartphones have made photography a general public asset. Hence the world is flooded with myriads of pictures daily. A few decades ago, photographers were either professionals or educated enthusiasts,” – René Groebli
In revisiting “The Eye of Love,” Groebli expresses his enduring love for both Rita and his artistic endeavors.
“Mere naturalistic colour-photography did not satisfy my desires as an artist for long,” – René Groebli
Groebli’s lifelong affinity for movement has been a constant theme throughout his work.
“My life as a photographer is all about movement,” – René Groebli
In revisiting “The Eye of Love,” Groebli expresses his enduring love for both Rita and his artistic endeavors.
“I still see, as I did in the early days of our relationship, her love for me and my artistic work, and my love for her.” – René Groebli