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The beautiful and seductive images of an overlooked movement, reproduced in their full tonal range. Much has been written about Alfred Stieglitz and his role in establishing photography as an art. Little attention, however, has been paid to the pictorial photographers who followed Stieglitz, among them Imo Jean Cunningham, Edward Weston, Clarence H. White, and a host of others -- those who, in a widespread movement, approached photography in a painterly fashion, creating beautiful images through the use of careful lighting, manipulated tones, soft focus effects, and artistic compositions. In this important volume, Christian A. Peterson finally gives the pictorialists of the first half of the twentieth century their due. He describes the backgrounds of the movement, their methods, the photo clubs they belonged to, and their work, illustrated here with ninety-three stunning reproductions. The movement seemed to die out, Peterson suggests, with the rising popularity of 35mm photography in mid-century, when the care and slow working procedures required by large-format cameras became unpopular. 93 full-color photographs
An examination of the great photographer's role in and impact on the American avant-garde from 1900 to 1917 details the achievements of and the interrelationships among Stieglitz's photographer and painter associates
"This volume is published in conjunction with the exhibition "Stieglitz, Steichen, Strand," held at The Metropolitan Museum of Art, New York, from November 10, 2010, to April 10, 2011."
"This book aims to establish the importance of the Linked Ring in the development of the aesthetic of photography and recognition of the medium as an art in its own right during the early years of the twentieth century. The concept of photographer as both artist and craftsman was an important aspect of Linked Ring philosophy and was demonstrated by Links (members of the Linked Ring) by the unification of photographic images with their presentation for display."--Introduction
Collects the private correspondence between Georgia O'Keeffe and Alfred Stieglitz, revealing the ups and downs of their marriage, their thoughts on their work, and their friendships with other artists.
Many of the early twentieth century's finest examples of photography and modernist art reached their widest audience in the fifty issues of Camera Work, edited and published by the legendary photographer Alfred Stieglitz from 1903 to 1917. The lavishly illustrated periodical established photography as a fine art, and brought a new sensibility to the American art world. This volume reproduces chronologically all the photographs and other illustrations (except for advertisements) that ever appeared in the publication. Included here are some of the finest and best-known works by American and European artists and photographers, including numerous photos by Stieglitz himself as well as Edward (as Eduard) Steichen, Paul Strand, Alvin Langdon Coburn, Clarence White, Robert Demachy, Frank Eugene, Julia Margaret Cameron, Gertrude Käsebier, Heinrich Kühn, and many others. Paintings, drawings, and sculpture by Van Gogh, Cézanne, Mary Cassatt, Picasso, Matisse, John Marin, Rodin, Brancusi, and Nadelman—to name just a famous few—appear here as well. Marianne Fulton Margolis provided an extensive historical Introduction about Stieglitz and the magazine and prepared three complete Indexes of the pictures, by title, artist, and sitter. Painstakingly accurate and complete, Camera Work is an indispensable reference for an outstanding period in the history of photography and art.
This book presents the first comprehensive examination of the photographic work and teaching of Clarence H. White and his students, who were New York's vanguard art photographers in the first half of this century. The incisive texts, written by two White scholars, examine the social context of White's ideologies, and arts and crafts principles. These beautifully reproduced images reveal the photographic work of White and his students, which is based on the aesthetic principles that formed the foundations of modernism.
A look at one of the first feminist artists, Pictorialist photographer Anne Brigman, best known for her iconic landscape photographs made in the early 1900s depicting female nudes outdoors in rugged northern California. This main volume of a previously published slipcased edition is the catalogue of the major retrospective exhibition that took place in 2018 at the Nevada Museum of Art, and remains the first comprehensive book to chronicle the photography of Anne W. Brigman (1869-1950), one of the most important of all American women photographers. This monumental publication rediscovers and celebrates the work of Brigman, whose photography was considered radical for its time. For Brigman to objectify her own nude body as the subject of her photographs in the turn of the 20th century was groundbreaking; to do so outdoors in a near-desolate wilderness setting was revolutionary. Brigman's significance spanned both coasts: in northern California, where she lived, she was known as a poet, a critic, and a member of the Pictorialist photography movement, whose practitioners employed various methods of manipulation to achieve images that were considered beautiful and romantic. On the east coast, her work was promoted by Alfred Stieglitz, who published her photographs in Camera Work and elected her as a Fellow of the prestigious Photo-Secession. The beautifully produced large-format book is devoted to Brigman's entire career, covering such topics as Brigman's work within the contexts of the California Arts & Crafts movement and New York Modernism; her relationship to High Sierra mountaineering and early 20th-century poetry; and the relevance of her work to contemporary conversations regarding gendered landscapes of the American frontier.