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The Art of Victorian Photography
THE ART OF VICTORIAN Dr. Laurence Shafe [email protected] PHOTOGRAPHY www.shafe.uk The Art of Victorian Photography The invention and blossoming of photography coincided with the Victorian era and photography had an enormous influence on how Victorians saw the world. We will see how photography developed and how it raised issues concerning its role and purpose and questions about whether it was an art. The photographic revolution put portrait painters out of business and created a new form of portraiture. Many photographers tried various methods and techniques to show it was an art in its own right. It changed the way we see the world and brought the inaccessible, exotic and erotic into the home. It enabled historic events, famous people and exotic places to be seen for the first time and the century ended with the first moving images which ushered in a whole new form of entertainment. • My aim is to take you on a journey from the beginning of photography to the end of the nineteenth century with a focus on the impact it had on the visual arts. • I focus on England and English photographers and I take this title narrowly in the sense of photographs displayed as works of fine art and broadly as the skill of taking photographs using this new medium. • In particular, • Pre-photographic reproduction (including drawing and painting) • The discovery of photography, the first person captured, Fox Talbot and The Pencil of Light • But was it an art, how photographers created ‘artistic’ photographs, ‘artistic’ scenes, blurring, the Pastoral • The Victorian -
Information to Users
Alfred Stieglitz and the opponents of Photo-Secessionism Item Type text; Thesis-Reproduction (electronic) Authors Zimlich, Leon Edwin, Jr., 1955- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 21:07:09 Link to Item http://hdl.handle.net/10150/291519 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Photography 2: Landscape, Place and Environment
Landscape, Place and Environment Part One: Beauty and the Sublime Helen Sear, B eyond the View 5 (2010) Image courtesy of the artist. 22 Photography 2: Landscape, Place and Environment “Do not put off doing a coveted picture until another year, for next year the scene will look very different. You will never be able twice to get exactly the same thing.” Peter Henry Emerson, Hints on Art i n N aturalistic Photography for Students of the Art ( 1889) The ‘land’ – or perhaps, ‘our environment’, or ‘the terrain we inhabit’, or simply ‘the space that surrounds us’ – has featured within all documented aspects of human culture: adorning the walls of the caves that our ancestors inhabited; as settings for theological texts and mythological narratives; as a backdrop to historical friezes; as the theme of folksongs and symphonies. The landscape – including water – is an ever-present motif, reminding us of the intrinsic relationship between people and their surroundings. Whether celebrated for its beauty and the resources it provides or respected for its power and the challenges it presents, the different ways we’ve represented the landscape – and continue to represent it – tell us, above all, about the depth, range and contrasting values we place upon it. Lascaux Cave Painting ( Palaeolithic period) Discovered in 1940. Image courtesy of Bridgeman Images. 23 Photography 2: Landscape, Place and Environment As you’ll see when you work through Part One of this course, photographic landscape traditions, like other photographic approaches, are grounded in landscape painting, and these conventions – including particular attention to the ‘play’ of light on the land and strict compositional standards – have continued to dominate landscape photography, within all applications of the medium. -
02Nordström Final
Alison Nordström The Pictorialist Object Lecture on November 21, 2013 on the occasion of the symposium “Inspirations – Interactions: Pictorialism Reconsidered” The context of this paper is a reconsideration of Pictorialism, a turn-of-the-last-century art movement that we historians of photography seem to reconsider on a regular basis, with each reconsideration bearing a reflection of its own times, particular interests, ideologies, and concerns. Today, our times are characterized by an enthusiasm for multiple perspectives and multiple points of view in photographic studies. Today, as was perhaps not the case at the turn of the last century, or even a generation ago, there is no singular aesthetic manifesto, not one dominant journal, no towering leader whose favoritisms and fallings out are legendary. I am just as happy to be moving forward without relying on a solitary arbiter like a Stieglitz, a Newhall, or a Szarkowski in what is today a larger, infinitely more diverse photographic community, but we must acknowledge their influences on how we were trained, and how we think about photographs, especially Pictorialist photographs. I am not an art historian; my work on Pictorialism reflects my training and interest in the discipline of cultural studies, specifically the study of material culture. I have spent my career working in museums, and my research and teaching have generally been with collections’ objects rather than with images viewed on a computer monitor, as projections on a screen, or on the printed page. It goes without saying that I think of photographs as things. I know from my own experience as a collections manager that they take up space and must be moved and handled in order to be used. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
June 3, 2013 to Whom It May Concern, We Support
June 3, 2013 To whom it may concern, We support having The Bancroft Building at 3-7 West 29th Street, New York, New York, 10001, evaluated by the Landmarks Commission. This particular building housed the Camera Club of New York, which exhibited many of the most famous photographers of the turn of the century. As The Director of this 125+ year organization I can tell you this was a very important time for the Club and for the history of the arts in NYC. Alfred Stieglitz, considered by many to be the father of American photography, was an early member, and his groundbreaking publication, Camera Notes, documented the Club’s activities while advocating for the inclusion of photography in the catalog of fine arts. Best, John Stanley CCNY Director The Camera Club of New York (CCNY) 336 West 37th Street, Suite #206 New York, NY 10018 212-260-9927 The Camera Club of New York at 3‐9 West 29th Street, 1898‐1903 The Camera Club of New York, during the time of its residency at 3‐7 West 29th St. (1898‐1903), was recognized as the leading photographic organization of its day in the United States. Combined in 1897 from two other camera clubs, the newly named Camera Club of New York constructed a state of the art facility on the 8th floor and a portrait studio on the roof. The Club had about 335 members at that time. The Camera Club at the turn of the 19th century was a combination of social club and scientific and artistic meeting place. -
Ministers of ‘The Black Art’: the Engagement of British Clergy with Photography, 1839-1914
Ministers of ‘the Black Art’: the engagement of British clergy with photography, 1839-1914 Submitted by James Downs to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in March 2018 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract 1 Ministers of ‘the Black Art’: the engagement of British clergy with photography, 1839- 1914 This thesis examines the work of ordained clergymen, of all denominations, who were active photographers between 1839 and the beginning of World War One: its primary aim is to investigate the extent to which a relationship existed between the religious culture of the individual clergyman and the nature of his photographic activities. Ministers of ‘the Black Art’ makes a significant intervention in the study of the history of photography by addressing a major weakness in existing work. Taking an interdisciplinary approach, the research draws on a wide range of primary and secondary sources such as printed books, sermons, religious pamphlets, parish and missionary newsletters, manuscript diaries, correspondence, notebooks, biographies and works of church history, as well as visual materials including original glass plate negatives, paper prints and lantern slides held in archival collections, postcards, camera catalogues, photographic ephemera and photographically-illustrated books. -
The Stieglitz Revolution the Art Show February 28-March 5, 2018 / Booth B12
THE STIEGLITZ REVOLUTION THE ART SHOW FEBRUARY 28-MARCH 5, 2018 / BOOTH B12 Artist, Rebel, Publisher, Philosopher, Promoter and pioneering Gallerist, Alfred Stieglitz (1864- 1946) played the starring role in the emergence and development of American Modernism. In the early years, Stieglitz fostered the pictorialist photography movement, while bringing the most important European avant-garde artists to American shores and the attention of collectors and artists (names such as Cézanne, Rodin, Matisse, Braque, Picasso, Brancusi, Picabia and Severini). Later, he established and promoted the central canonical group of American modernists, including Bluemner, Lachaise, Maurer, Nadelman and Walkowitz. Stieglitz used every imaginable resource to showcase the foundational artists of modernism, and allow the artists he gathered around him to develop a singularly American response to the avant-garde ideas of the early STIEGLITZ’S GALLERIES THE LITTLE GALLERIES OF THE PHOTO-SECESSION 20th century. (“291”) 1905-1917 After 1915, he principally championed American 291 Fifth Avenue (moves to 293 Fifth Avenue in 1908) modernists and the “7 Americans”, formalized ANDERSON GALLERIES 1921-1925 in a 1925 exhibition presenting the work of 489 Park Avenue Demuth, Dove, Hartley, Marin, O’Keeffe, THE INTIMATE GALLERY Strand and Stieglitz himself. His publications, 1925-1929 489 Park Avenue, Room 303 including the influential Camera Work, were instrumental in disseminating his ideas about AN AMERICAN PLACE 1929-1946 photography and modern art to a general public. 509 Madison Avenue, Room 1710 Through his succession of galleries from 1905- 1946, the artists Stieglitz exhibited and the ideas he promoted changed the course of 20th century art in America. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:May 15, 2007 I, Katie Esther Landrigan, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Art History It is entitled: The Photographic Vision of John O. Bowman, “The Undisputed Box-Camera Champion of the Universe” This work and its defense approved by: Chair: Theresa Leininger-Miller, Ph.D. Mikiko Hirayama, Ph.D. Jane Alden Stevens The Photographic Vision of John O. Bowman (1884-1977), “The Undisputed Box-Camera Champion of the Universe” A thesis submitted to the Art History Faculty of the School of Art/College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Master of Arts in Art History Katie Esther Landrigan B.A., Ohio State University April 2006 Thesis Chair: Dr. Theresa Leininger-Miller Abstract In 1936, John Oliver Bowman (1884-1977) purchased his first box camera with seventy- five cents and six coffee coupons. In his hometown of Jamestown, New York, located in the Chautauqua Lake Region, Bowman spent his free time photographing a wide range of subjects, including farmers plowing the fields or the sun setting over Chautauqua Lake from the 1930s until the end of his life. He displayed a Pictorialist sensibility in his photographs of small town living and received worldwide recognition with a solo exhibition of ninety-nine prints at the New York World’s Fair of 1939-1940, as well as nationwide praise in the popular press. Within forty years, Bowman produced an estimated 8,000 gelatin silver prints. This thesis marks the first in- depth, scholarly study of Bowman’s life and work. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
How Copyright Law Fails to Adequately Account for Photography
Volume 115 Issue 1 Article 11 September 2012 In the Language of Pictures: How Copyright Law Fails to Adequately Account for Photography Teresa M. Bruce University of Denver College of Law Follow this and additional works at: https://researchrepository.wvu.edu/wvlr Part of the Intellectual Property Law Commons, and the Photography Commons Recommended Citation Teresa M. Bruce, In the Language of Pictures: How Copyright Law Fails to Adequately Account for Photography, 115 W. Va. L. Rev. (2012). Available at: https://researchrepository.wvu.edu/wvlr/vol115/iss1/11 This Article is brought to you for free and open access by the WVU College of Law at The Research Repository @ WVU. It has been accepted for inclusion in West Virginia Law Review by an authorized editor of The Research Repository @ WVU. For more information, please contact [email protected]. Bruce: In the Language of Pictures: How Copyright Law Fails to Adequatel IN THE LANGUAGE OF PICTURES*: HOW COPYRIGHT LAW FAILS TO ADEQUATELY ACCOUNT FOR PHOTOGRAPHY Teresa M Bruce I. INTRODUCTION. ........................................ ........ 95 II. PHOTOGRAPHY'S BATTLE FOR FINE-ARTS STATUS..................98 A. The Arguments Against Photographyas a Fine Art ..... ..... 1 01 B. The Arguments for Photographyas a Fine Art ....... ......... 102 1. pictorialism: attempting to imitate the traditional fine arts......102 2. straight photography: developing a true photographic aesthetic........................ ............. 104 3. straight photography and the moment of meaningfulness ....... 105 III. PHOTOGRAPHY AND ORIGINALITY: A PICTORIALIST RATIONALE EVOLVES INTO A STANDARD THAT "ALMOST ANY" PHOTOGRAPH CAN SATISFY ................................................. 108 A. Burrow-Giles Introduces a PictorialistEthic into the OriginalityInquiry.. .................................... 109 B. Burrow-Giles's Progeny and the Move Away from a Strict- PictorialistViewpoint .....................................112 1. -
Elias Goldensky: Wizard of Photography' Gary D
Elias Goldensky: Wizard of Photography' Gary D. Saretzky Who would not, out of sheer vanity, like to have himself photographed by ... Elias Goldensky ... ? Sidney Allan [Sadakichi Hartmann], 1904 In June 1924, Elias Goldensky (1867-1943) traveled from his Philadel- phia studio to demonstrate his portrait photography technique at the Con- vention of the Ontario Society of Photographers in Toronto. To encourage attendance, the Society printed a publicity card with Goldenskys portrait. The text on the back reflects the esteem with which Goldensky was held by his professional colleagues: Mr. Elias Goldensky, the Wizard of Photography, is coming from Philadelphia to demonstrate at our convention .... He has dem- onstrated at Conventions perhaps more than any other living pho- tographer. He is a most interesting lecturer and has the great gift of being a natural teacher; he can, and will, solve your many light- ing problems. He will show how to so balance a lighting that he can light four subjects at opposite corners at one time, clever as this may be in its practical way; he will also demonstrate how to make pictorial work. He is an acknowledged artist, in addition to. his practical craftsmanship. Three Big Performances from the brain of this marvelous workman. You owe it to yourself to see and hear him. .2 The wizard did not disappoint his audience. As reported by the Toronto Star Weekly on June 28 under the headline, "King of the Camera Works Like Greased Lightning," Goldensky, described as "one of the six best in the coun- try," took 400 portraits in 55 minutes while keeping up an amusing running commentary: "Good morning, madam," he began, "in the ma-ter of portraits we have two sizes, one at six photos for twenty dollars, one at six for forty.