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22 Biografie Elenco degli artisti presenti in mostra Annan, James Craig - Cameron, Julia Margaret - Coburn, Alvin Langdon -Davison, George - Demachy, Robert - De Meyer, Baron Adolf Gayne - Eugene, Frank - Evans, Frederick Henri - Haviland, Burty Paul - Hill, David Octavius e Adamson, Robert - Käsebier, Gertrude - Kühn, Heinrich - Puyo Constant - Rubincam, Harry C. - Seeley, George Henry - Steichen, Jean Edward -Stieglitz, Alfred - Strand, Paul - Struss, Karl F. - White, Clarence Hudson Biografie Annan, James Craig (Hamilton, Scozia, 1864 - Glasgow, 1946) Figlio di Thomas Annan, che fu per qualche tempo associato al celebre calotipista David Octavius Hill, egli apprende molto facilmente l’arte di fotografare dal padre. Dopo gli studi di Chimica e Filosofia all’università di Glasgow, nel 1883 si reca a Vienna per studiare l’héliogravure dal suo inventore Karl Klic. Di ritorno in Scozia, cerca di mettere a profitto le sue nuove conoscenze: nel 1890, cosciente dell’importanza dei suoi compatrioti Hill e Adamson, realizza una serie di fotografie a partire dai loro negativi calotipi. Interessato dall’aspetto artistico del mezzo fotografico, Annan diviene nel 1895 membro del Club Linked Ring di Londra. La sua opera è fortemente influenzata dall’estetica dei suoi amici della scuola impressionista di Glasgow, dall’arte giapponese così come da Velásquez e Whistler. Nel 1904, Stieglitz pubblica nella rivista Camera Work una selezione delle opere di Annan che diviene il primo presidente dell’International Society of Pictorial Photographers. Ha partecipato a tutte le esposizioni internazionali del movimento pittorialista fino al 1916, proseguendo ugualmente la sua carriera nello studio fotografico familiare. Cameron, Julia Margaret (Calcutta, 1815 - Ceylon, 1879) Nata in India, a Calcutta, da una famiglia agiata e colta, sposa il diplomatico Charles Hay Cameron nel 1838. Torna in Inghilterra dieci anni più tardi, prima a Londra, e poi nell’isola di Wight nel 1860. Comincia a fare pratica di fotografia al collodio nel 1863. Legata a numerose personalità artistiche e scientifiche come Watts, Tennyson, Herschel, considera le sue fotografie più come una creazione personale che come svago da dilettante. Espone e vende le proprie fotografie. Predilige i tempi di posa lunghi, l’indefinitezza della messa a punto, l’illuminazione di atmosfera e si specializza nel ritratto e nelle scene allegoriche ispirate alla Bibbia o alle leggende medievali. Il suo stile artistico, vicino alla pittura, annuncia già il pittorialismo. Di ritorno da Ceylon nel 1875, muore quattro anni dopo. Coburn, Alvin Langdon (Boston, 1882 - Colwyn Bay, 1966) Iniziato alla fotografia da suo cugino Fred Holland Day, da cui forse eredita una tendenza al non conformismo, Coburn è il migliore rappresentante del versante modernista del pittorialismo. Nato a Boston da una famiglia di industriali, ha la possibilità di viaggiare in Europa; si lega a Steichen, Stieglitz e Demachy; espone a Londra nel 1900 e prende lezioni da Käsebier. Apprende la tecnica dell’héliogravure e stampa lui stesso le tavole dei suoi portfolio London e New York. Ventisei sue immagini vengono pubblicate su Camera Work, ma Corbun si distingue anche per le fotografie del Grand Canyon (1911), per Octopus (1912), per la Casa dalle mille finestre, per le illustrazioni per The Cloud di Shelley (1912). Le vedute dei porti, degli operai, delle fabbriche sono ben lontane dal pittorialismo dei Saloni. La sua esperienza più avanguardista nella fotografia è del 1917, nel quadro del vorticismo fondato da Ezra Pound e Wyndham Lewis: sono i Vortograph, fotografie di effetti di luci in una sorta di caleidoscopio. È del 1922 la sua ultima pubblicazione di ritratti di celebrità artistiche, More Men of Mark. La visione di Coburn è qualche volta aristocratica, spesso tinta da connotazioni spirituali, come se il linguaggio dell’immagine dovesse passare dalla metafora, dal simbolismo dell’ombra e della luce, dal nero o dal bianco, che sono effettivamente i fondamenti della pratica fotografica. Davison, George (Lowestoft, 1854 - Antibes, 1930) La personalità di George Davison, membro fondatore del London Camera Club (1885), membro della Royal Photograpich Society (1886) e più tardi cofondatore del Linked Ring (1892), attraversa tutta la storia del pittorialismo inglese. Dapprima discepolo delle teorie naturaliste apprese da Hemerson, e in questo avversario dell’accademismo difeso da Robinson, cerca di emanciparsi fondando un ‘impressionismo fotografico’ nel 1890. Da quella data, si affianca a Maskell e Hinton. Corrispondente a Londra del Paris-Photographe di Nadar, presente ai Saloni organizzati nelle capitali europee, Davison si specializza nell’iconografia dei paesaggi di campagna e principalmente quelli dei dintorni di Harlech nel Galles. Lì acquista un castello grazie a una fruttuosa carriera a capo della filiale britannica della compagnia Kodak. Attivo in politica e sostenitore del movimento anarchico, Davison diventa un rischio per l’immagine della Kodak da cui si dimette definitivamente nel 1913. Demachy, Robert (Saint-German-en-Laye, 1859 - Hennequeville, 1936) Membro della Société Française de Photographie dal 1882, membro fondatore nel 1894 del Secessionist Photo-Club di Parigi, insieme a Constant Puyo e René Le Begue, habitué dei Saloni internazionali di fotografia, Demachy è uno dei principali teorici del pittorialismo. Scrive infatti di fotografia con grande competenza ed eleganza; in particolare pubblica articoli sulla stampa alla gomma bicromatata e sul suo impiego nella fotografia impressionista. Lavora soprattutto con le gomme bicromate e i pigmenti oleosi: le sue stampe somigliano più ai disegni a carboncino, alle litografie, oppure ai pastelli, piuttosto che alle fotografie. Le sue ballerine e i nudi, ispirati chiaramente a Degas, testimoniano la sua abilità a manipolare le immagini fotografiche. Di solito lavora allo stesso negativo, ma in modi diversi:con il pennello, il pastello oppure il taglierino, per poi stamparne varie versioni, come nel caso di Dans les coulisses e Behind the Scenes. Dopo il 1905, si oppone all’evoluzione generale del pittorialismo guidato dagli americani della Photo Secession; rinnega tali metodi e si isola -e con lui l’intera scuola francese- per ritirarsi dalla scena artistica nel 1914. De Meyer, Baron Adolf Gayne (Parigi ? Dresda ?, 1868 - Hollywood,1946) Dilettante dal passato poco illustre, De Meyer intorno al 1895 fa parte dell’elegante società britannica che gravita intorno al principe di Galles. Nel 1899, sposa Olga Alberta Caracciolo, figlia illegittima del futuro re Edoardo VII e che serve da catalizzatore al suo talento. I due formano una coppia mondana ed esteta, con una grande passione per i balletti russi di Diaghilev. All’inizio del secolo, De Meyer si consacra alla fotografia, e le personalità del mondo cosmopolita dell’aristocrazia e delle arti corrono numerose a posare da lui. Questi ritratti sono classificabili nella produzione pittorialista. I suoi lavori, vicini a quelli di Stieglitz sono esposti alla Galleria 291 (1909) e pubblicati in Camera Work (1912). Nel 1916 cambia il suo nome in Gayne de Meyer. Su Vogue (1914-1922) e poi su Harper’s Bazaar (1922-1934), de Meyer è uno dei primi a trattare la fotografia di moda in maniera soggettiva, aggiungendo charme ed eleganza a una immagine ridotta sino ad allora alla sua funzione descrittiva. Per fare questo utilizza il simbolismo e il pittorialismo, dando un tono a tutte le foto di moda dal 1914 al 1924. Dagli inizi degli anni ’30, l’opera di De Meyer passa di moda e l’artista viene dimenticato. Eugene, Frank (New York, 1865 - Monaco, 1936) Frank Eugene Smith si trasferisce da New York a Monaco, per seguire i corsi dell’Accademia delle arti plastiche. Membro fondatore della Photo Secession con Stieglitz, diviene maestro della manipolazione delle fotografie ‘non fotografiche’. Le sue immagini sono sovente pubblicate nelle lussuose riviste pittorialiste quali Camera Club, Camera Notes o Camera Work. Nel 1906, si trasferisce definitivamente a Monaco, prendendo la nazionalità tedesca e cambiando il nome in Franck Eugene. Acquisisce una grande reputazione di fotografo ma anche di pittore dell’Art Nouveau. Aperto alle nuove tendenze, dal 1907 utilizza il procedimento dell’autochrome. Lo stesso anno organizza a Monaco un summit pittorialista che riunisce Stieglitz, Steichen e Kühn, in un momento particolare del movimento, diviso tra le tesi francesi e lo spirito innovativo proveniente dagli Stati Uniti. È a partire da questa data che il pittorialismo tedesco si congiunge definitivamente con le tesi americane. Nel 1913 l’Accademia reale crea per la prima volta una cattedra di fotografia pittorialista. Evans, Frederick Henry (Londra, 1853 - 1943) Libraio a Londra, comincia ad occuparsi di fotografia nel 1880. Nel 1887 riceve una medaglia dalla Photographic Society per le sue microfotografie, che rivelano un grande rigore di visione. Amico di Aubrey Beardsley e di George Bernard Shaw, Evans esegue i loro ritratti rispettivamente nel 1894 e nel 1895. Realizza delle vedute delle cattedrali di Francia nel 1896. Membro del Linked Ring nel 1900, fa parte dei più brillanti pittorialisti inglesi, e i suoi contatti con gli Stati Uniti sono stretti. Intraprende una corrispondenza con Stieglitz dal 1901, esponendo nello studio di Fred Holland Day a Boston nel 1903; Stieglitz riproduce le sue foto nel primo numero di Camera Work. Nel 1906 Evans espone alla Galleria 291. Nemico delle manipolazioni care ai pittorialisti, è seguace della Straight Photography.
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