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Claim that Nelly's assisted Riefenstahl on 'Triumph of the Will' is unreferenced and dubious...should be removed Comment
I can find no reference that confirms the claim made in this article that Nelly's assisted Riefenstahl on Triumph of the Will It seems sensationalist and unless the editor who included it can come up with evidence (please?) it should be removed.
Constantina Katsari mentions connections with Riefenstahl in 'Inter-War Ideology in Nelly’s’s Nudes: Nationalism,Fascism and the Classical Tradition' (in Journal of Modern Greek Studies, Volume 31, Number 1, May 2013, pp. 1-27);
"There are many stylistic and aesthetic similarities between Nelly’s and Leni Riefenstahl’s work. The lives of the two artists seem to have been linked, while their paths crossed several times. When Nelly’s was studying in Dresden, Riefenstahl was a student at the Mary Wigman School (Riefenstahl 2000:58–59;Peucker 2004:286–287). While Nelly’s was still in Dresden under the guidance of her teacher Franz Fiedler, she took pictures of the dancers who resided in the famous dancing school of Mary Wigman. The background used was either her studio or the landscapes of Saxony (Nelly’s 1989:53). Nelly’s also claimed that she and Riefenstahl actually met during the Olympic Games when she visited Berlin. In addition, Riefenstahl was photographed naked in Olympia in the same style as in Nelly’s’ nude photos (Damascos 2008:332)."
However there is no mention in any of Constantina Katsari's references (Nelly’s 1989 Αυτοπροσωπογραφία, edited by E. Ch. Kasdaglis. Athens: Benaki Museum; Peucker, B. 2004 “The fascist choreography: Riefenstahl’s tableaux.” Modernism/Modernity 11(2):279–297; or Riefenstahl, L. 2000 Memoiren. Cologne: Taschen; or Damascos, D. 2008 “Uses of antiquity in Nelly’s’s photographs: Imported modernism and indigenous ancestral love in Inter-war Greece.” In A Singular Antiquity: Archaeology and Hellenic Identity in Twentieth Century Greece, edited by D. Damascos and D. Plantzos, 321–336.Athens: Mouseio Benaki) in this article that confirm this claim that Nelly's was involved in producing Triumph of the Will. I'll await the insertion of reliable references to this for a bit then remove the relevant sentence. Jamesmcardle(talk)01:44, 21 August 2017 (UTC) Done[reply]
I think the article should be named Nelly, which was her actual nickname. Nelly′s is just its genitive case and was only used by her to sign her works (= reason for the mistake) - she never called herself that way. Citing from the Book "Camera Graeca: Photographs, Narratives, Materialities" (Ashgate Publishing Ltd, 2015), Page 238: The enigmatic apostrophe in her signature has not been addressed successfully in recent scholarship. I argue that Nelly intentionally adopted the signature ′Nelly's′ to replicate the standard of Byzantine icon-painters who signed with their name in the genitive case to indicate that the ′writing′ of the icon was by their own hand. In Nelly′s case, it is my contention that it reveals her intention to stress the affinity of her photography to painting, staking out a place for herself in the fine arts national annals. (you can find it here). There is also a publication on the University of Athens educational site (eclass.uoa.gr), mentioning that her name was Nelly (here. Should I rename and move the article? --MedMan (talk) 16:29, 6 July 2018 (UTC)[reply]
Yes, MedMan I'm for moving the article to 'Nelly' with a redirect from 'Nelly's' based on your documentary evidence. Also, reading the Damaskos article you link to, convinces me that the link with Riefenstahl is circumstantial only. I have gone ahead and removed the unsupported claims about it accordingly.---Jamesmcardle(talk)00:53, 7 July 2018 (UTC)[reply]
Done