Anna Koppitz

She studied photography at the Graphische Lehr und Versuchsanstalt in Vienna, founded by specialist in photographic chemistry Josef Maria Eder (1855–1944), where she became an assistant in 1917, alongside Rudolf Koppitz.

Julia Secklehner[4] identifies it, and Koppitz's 'self-portrait' nude In the Arms of Nature, most likely a collaborative effort by the couple, as adhering to the Körperkult ('cult of the body') and the naturist heimat sentiment in its alpine setting and heroic low-angle viewpoint.

The FiFo ("Internationale Ausstellung des Deutschen Werkbundes – Film und Foto") came to Vienna after being shown in Stuttgart and decisively influenced the Koppitz couple's artistic development.

The Neues Sehen (New Vision) led them to a more factual and documentary oriented photography of themes from rustic life; ethnographic records of the peasant archetype, eulogised as the archaic essence of Germanic peoples, at first mystical and quasi-theosophical, but progressively more chauvinist and nationalistic under the Austrian chancellor dictatorship initiated by Engelbert Dollfuss of 1933.

Also in 1936 Adolf Hitler remilitarised western German lands near the Rhine River and the eastern border of France, a provocation that defied the terms of the Versailles Treaty, which had prohibited Germany from keeping troops in that territory.

[7] Often using only the sky photographed through a yellow or orange filter as a background, she followed the successful Koppitz formula to show them performing peasant dances, playing ball games, competing in archery, spear throwing, and in coordinated exercises developed for Neuhaus by Nazi gymnastics ideologist Rudolf Bode.

Koppitz would have accepted the brief, had Darré not fallen out of favour with Heinrich Himmler and been forced to resign "for health reasons", and in 1940, she wrote: "I was happy to promise your minister to work on the blood issue.

[9] Tavs-Koppitz's works, included with her parents' in a show Photographs 1910–1960 at Galerie Johannes Faber, Vienna, in September 2013,[10] were those from the 1950s and 1960s; modernist, some applied to commercial purpose, distant from politics and oblique in representing the figure, but with the same idealising impulse.