July2011 Adapter.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Anne Brigman Visionary in Modern Photography
ANNE BRIGMAN VISIONARY IN MODERN PHOTOGRAPHY Photographer, poet, critic, and mountaineer, Anne Brigman (1869-1950) is best known for her figurative landscape images made in the Sierra Nevada in the early 1900s. During her lifetime, Brigman’s significance spanned both coasts of the United States. In Northern California, where she lived and worked, she was a leading Pictorialist photographer, a proponent of the Arts & Crafts movement, and a participant in the burgeoning Berkeley/Oakland Bohemian community. On the East Coast her work was promoted by Alfred Stieglitz, who elected her to the prestigious Photo-Secession and championed her as a Modern photographer. Her final years were spent in southern California, where she wrote poetry and published a book of photographs and poems, Songs of a Pagan, the year before she died. This retrospective exhibition, with loans drawn from prestigious private and public collections around the world, is the largest presentation of Brigman’s work to date. ***** The exhibition is curated by Ann M. Wolfe, Andrea and John C. Deane Family Senior Curator and Deputy Director at the Nevada Museum of Art. We thank the following individuals for their scholarly contributions and curatorial guidance: Susan Ehrens, art historian and independent curator; Alexander Nemerov, Department Chair and Carl & Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University; Kathleen Pyne, Professor Emerita of Art History at University of Notre Dame; and Heather Waldroup, Associate Director of the Honors College and Professor of Art History at Appalachian State University. ENTRANCE QUOTE Close as the indrawn and outgoing breath are these songs Woven of faraway mountains … and the planes of the sea … Gleaned from the heights and the depths that a human must know As the glories of rainbows are spun from the tears of the storm. -
Research.Pdf (1.328Mb)
VISUAL HUMOR: FEMALE PHOTOGRAPHERS AND MODERN AMERICAN WOMANHOOD, 1860- 1915 A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Meghan McClellan Dr. Kristin Schwain, Dissertation Advisor DECEMBER 2017 © Copyright by Meghan McClellan 2017 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled Visual Humor: Female Photographers and the Making of Modern American Womanhood, 1860-1915 presented by Meghan McClellan, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Dr. Kristin Schwain Dr. James Van Dyke Dr. Michael Yonan Dr. Alex Barker To Marsha Thompson and Maddox Thornton ACKNOWLEDGMENTS The difficulty of writing a dissertation was never far from anyone’s lips in graduate school. We all talked about the blood, sweat, and tears that went into each of our projects. What we also knew was the unrelenting support our loved ones showed us day in and day out. These acknowledgments are for those who made this work possible. This dissertation is a testament to perseverance and dedication. Yet, neither of those were possible without a few truly remarkable individuals. First, thank you to all my committee members: Dr. Alex Barker, Dr. Michael Yonan, and Dr. James Van Dyke. Your input and overall conversations about my project excited and pushed me to the end. Thank you Mary Bixby for giving me the “tough love” I needed to make sure I met my deadlines. -
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. -
Characterization, Contextualization and Reception of Robert Demachy's
Julien Faure-Conorton Characterization, contextualization and reception of Robert Demachy’s photographic work (1859-1936) Ph.D. Thesis defended on 11 May 2015 at the École des Hautes Études en Sciences Sociales (EHESS), Paris to be granted the title of Doctor of Art History and Theory summa cum laude Examiners: - Jacques Aumont, Research Director, EHESS, Paris - Claire Barbillon, Professor, Poitiers University - Michel Frizot, Research Director Emeritus, CNRS, Paris (supervisor) - Bertrand Lavédrine, Professor, MNHN, Paris - François-René Martin, Professor, ENSBA, Paris - Anne de Mondenard, Curator, C2RMF, Paris Abstract: From 1894 to 1914, Robert Demachy (1859-1936) was the leader of French pictorial photography and his name became famous worldwide thanks to the excellence of his works. Touchstone of the Photo-Club de Paris, he is still considered today as one of the best “pictorialists” and remains one of the most important names in the history of French photography. Yet, until now, his work had never been studied extensively. This is the purpose of this thesis, which is not limited to the study of the pictorialist adventure but embraces all the phases and all the aspects of his work, from the 1870s to the 1930s. Almost 6000 original works of all kinds have been taken into account: negatives, prints, albums, glass slides, etc. Great technician, apostle of the pigment processes (gum bichromate, oil, oil transfer), Robert Demachy was also a prolific writer and his numerous articles had a decisive influence on the growth and legitimization of pictorial photography, from his technical instructions to his theoretical essays (notably those against “straight photography”). He also played a key role in the development of foreign pictorialism in France, especially British (Linked Ring) and American (Alfred Stieglitz’s Photo-Secession). -
Die Kunst in Der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908
Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908 A thesis submitted to the faculty of the University of Cincinnati College of Design, Architecture, Art, and Planning in partial fulfillment of the requirements for the degree of Master of Arts in Art History Emily Bauman March 2016 M.A., University of Cincinnati, 2008 B.A., University of Cincinnati, 2002 Committee members: Chair: Dr. Morgan Thomas Dr. Mikiko Hirayama Dr. Valerie Weinstein Abstract Die Kunst in der Photographie was an early art photography journal published in Berlin from 1897 to 1908. The photographs in its pages are predominantly nostalgic, with landscape and genre scenes that offer sentimentalized or ruralized depictions of contemporary life. This tendency to turn away from industrialization and to embrace a certain rusticity resonates with the Romantic ideals that saw their peak in the early half of the nineteenth century, seeming to imply that Die Kunst in der Photographie fixed a stubborn eye on the past. Yet portrait photographs in the journal reveal a focus on intersubjectivity—an attempt to put the viewer into contact with the distinct personality of the subject—which demonstrates a break from what had become the traditional conventions of photographic portraiture. Rather than emphasizing what the sitter looked like, these portraits display an inwardness of composition, depicting the sitter in shadows and with down-turned eyes. This inwardness cuts against the theatricality, and perhaps pompousness, of contemporaneous photographs that depicted the sitter surrounded by lavish objects, staring back at the viewer. These portraits provide a modern counterpart to the journal’s nostalgic landscape and genre scenes. -
Camera Work (Alfred Stieglitz) the Complete Photographs
Camera Work (Alfred Stieglitz) The complete Photographs @José Antonio Alcázar - elbojetivosubjetivo.com Camera Work (Alfred Stieglitz) The complete Photographs Contiene la colección completa de fotografías aparecidas en la revista “Cámera Work”. De la revista se publicaron 50 números entre 1910 y 1927. Fue la primera revista fotográfica eminentemente visual, y reconocida internacionalmente por la calidad de sus huecogragados. Comienza con una introducción de Pam Roberts, que fue conservador de la Real Sociedad Británica de Fotografía. La Introducción que ocupa unas 30 páginas, en cada uno de los tres idiomas en los que viene esta edición (Español, Italiano y Portugués) y el resto de las páginas hasta 552, quitando unas 5 para los índices y pies de página, está destinado a la reproducción de las fotos @José Antonio Alcázar - elbojetivosubjetivo.com Camera Work (Alfred Stieglitz) The complete Photographs La introducción hace una somera presentación de la figura de Alfred Stieglitz, fundador, editor, financiador, y el alma de Camera Work. Stieglitz fue un hombre polifacético, carismático, y muy polémico, y sin duda uno de los que más influyeron en el desarrollo de la fotografía, en una época en que aún no estaban claros los fines y posibilidades de esta disciplina en ciernes, ni los derroteros por los que habría de atravesar. Se hace también mención al trabajo de Stieglitz relacionado con su sala de exposiciones en el 291 de la Quinta Avenida de New York. Galería cuyas exposiciones estuvieron íntimamente relacionadas con las fotos que aparecieron en los diferentes números de la revista. @José Antonio Alcázar - elbojetivosubjetivo.com Camera Work (Alfred Stieglitz) The complete Photographs Es una gozada ver obras, algunas muy famosas, y otras casi desconocidas de grandes fotógrafos como Eduard Steichen, Paul Strand, Robert Demachy, George Davison, el propio Stieglitz. -
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. -
STIEGLITZ, Alfred (Editor). Camera Work 1904-1905: Issues 5-12
87 Newtown Lane, East Hampton, New York 11937 T: 631-324-1131 F: 31-324-1191 E: [email protected] W: www.harpersbooks.com STIEGLITZ, Alfred (editor). Camera Work 1904-1905: Issues 5-12. New York: Camera Work, 1904-1905. Deluxe Editions. Large quartos. The publisher’s bound volumes of two years of Camera Work, 1904-1905, issues 5-12, two books in total; Eduard Steichen’s copies. One of a small number of such deluxe bound editions; very few have been offered in commerce. Historical association copies of the highest caliber: both books INSCRIBED by Alfred Stieglitz to Eduard Steichen. The 1904 volume reads: “To one true friend / from another true friend, / Eduard J. Steichen / from / Alfred Stieglitz / Feb. 17 1905 - / Third Anniversary / of the Photo-Secession’s Birth / after the surprise of 291 Fifth Avenue.” The 1905 volume reads: “To one who does - achieves - / and thereby helps us all - / Eduard J. Steichen / from his friend / Alfred Stieglitz / Christmas, 1905.” Light scuffing, hint of peeling; near fine copies in the publisher’s velour boards, with the Camera Work insignia blindstamped on the front covers, titles blindstamped on the spine. The binding has preserved the fragile contents, which are in remarkable condition; the wrappers are crisp, pages clean and bright, gravures uniformly immaculate. One of the greatest photobook associations of all-time, articulating nothing less than the origin of modern photography and art in America. $160,000.00 Contents of the issues are as follows: Number 5 includes six photogravures by Robert Demachy, one photogravure by Prescott Adamson, one photogravure by Frank Eugene, an essay by Joseph Keiley on Robert Demachy, an essay by Sadakichi Hartmann on criticism, quotations by James McNeill Whistler, and miscellaneous texts by F.H. -
Gertrude Kasebier: Her Photographic Career, 1894-1929
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1985 Gertrude Kasebier: Her Photographic Career, 1894-1929 Barbara L. Michaels Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1848 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript 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 re produced 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. -
Seizing the Light
Dedication V Rural Practice 42 Preface vii The Daguerreotype and the Landscape 42 The Daguerreotype and Science 43 CHAPTER ONE o John Whipple Advancing toward Photography: The Birth CHAPTER THREE z of Modernity 3 Calotype Rising: H A Desire for Visual Representation 3 The Arrival of Photography 49 W Perspective 4 The Calotype^ 49 z Thinking of Photography 4 William Henry Fox Talbot Camera Vision. 5 Early Calotype Activity 52 H The Demand for Picturemaking Systems 6 David Octavius Hill; Robert Adamson; C/5 Proto-Photographers: Chemical Action of Sir William Newton; Thomas Keith Light 7 Calotypists Establish a Practice 59 Modernity: New Visual Realities 9 Louis-Desire Blanquart-Evrard; Thomas Sutton; Louis Jacques Mande Daguerre Gustave Le Gray; Charles Negre Calotype and Architecture: Mission Optical Devices 10 Heliographique 63 Images through Light: A Struggle for Permanence 11 Henri Le Secq; Edouard Baldus; Charles Marville Joseph Nicephore Niepce; Sir John Fredrick William The End of the Calotype and the Future of Photography 67 Herschel; William Henry Fox Talbot; Anna Atkins Other Distinct Originators 18 CHAPTER FOUR Hippolyte Bayard; Mungo Ponton; Hercules Florence Pictures on Glass: CHAPTER TWO The Wet-Plate Process 71 The Daguerreotype: The Albumen Process 71 Image and Object 25 Frederick Scott Archer The New Transparent Look 72 What Is a Daguerreotype? 27 The Ambrotype 74 Samuel F. B. Morse Pictures on Tin 77 The Daguerreotype Comes to America 28 The Carte-de-Visite and the Photo Album 78 The Early Practitioners 29 Andre Disderi;John Jabez Edwin Mayall Early Daguerreian Portrait Making 29 The Cabinet Photograph: Post-Mortem Portraits 33 The Picture Gets Bigger 82 Technical Improvements 33 The Studio Tradition 84 Expanding U.S. -
Α Τ Λ Ι Δ Ο Χολ.Εσο 2013-2014 Μαθημα: Ερετνησικη Εργαια - P R O J E C T Σαξη : Α’ Λτκειοτ - Σμημα : Α 1
Λ Τ Κ Ε Ι Ο Β Α Θ Ε Ω – Α Τ Λ Ι Δ Ο ΧΟΛ.ΕΣΟ 2013-2014 ΜΑΘΗΜΑ: ΕΡΕΤΝΗΣΙΚΗ ΕΡΓΑΙΑ - P R O J E C T ΣΑΞΗ : Α’ ΛΤΚΕΙΟΤ - ΣΜΗΜΑ : Α 1 ΘΕΜΑ : ΣΕΦΝΗ & ΠΟΛΙΣΙΜΟ ( ΥΩΣΟΓΡΑΥΙΑ : ΣΕΦΝΙΚΗ & ΜΕΟ ΕΚΥΡΑΗ ) ΔΙΔΑΚΩΝ ΚΑΘΗΓΗΣΗ : ΛΙΟΛΙΟΠΟΤΛΟ ΔΗΜΗΣΡΙΟ, ΠΕ12.02 (ΑΡΧΙΣΕΚΣΩΝ) ΟΜΑΔΕ ΖΙΖΟΛΛΙ ΕΡΑ ΚΑΡΑΜΠΕΛΑ ΘΑΝΑΗ ΥΩΣΟΓΡΑΥΙΑ ΔΡΟΜΟΤ ΚΑΡΟΛΙ ΜΙΦΑΛΗ (STREET PHOTOGRAPHY) ΖΓΙΟΤΝΙ ΑΓΓΕΛΟ ΒΑΙΛΕΙΟΤ ΙΩΑΝΝΗ ΖΙΑ ΝΙΚΟ ΩΜΑ ΜΗΦΑΝΗ ΜΟΡΑΒΑ ΑΛΕΞΑΝΔΡΟ ΚΑΡΑΜΠΑ ΦΡΤΟΤΛΑ ΛΕΙΒΑΔΙΣΗ ΦΡΙΣΙΝΑ ΤΠΟΒΡΤΦΙΑ ΥΩΣΟΓΡΑΥΙΑ ΛΕΙΒΙΔΙΩΣΗ ΑΝΣΩΝΙΑ ΖΙΑ ΚΑΣΕΡΙΝΑ ΖΑΦΑΡΑΚΗ ΚΩΝ/ΝΑ ΚΑΥΕΣΖΗ ΚΑΣΕΡΙΝΑ ΣΟΠΕΙΟ ΓΕΩΡΓΙΟΤ ΕΛΕΝΗ ΒΙΒΙΝΗ ΙΩΑΝΝΗ ΚΙΟΟΓΛΟΤ ΕΤΓΕΝΙΟ ΑΝΣΩΝΙΟΤ ΒΑΙΛΗ ΑΙΘΗΣΗΡΕ (SENSORS) ΔΗΜΟΠΟΤΛΟ ΠΑΝΑΓΙΩΣΗ ΚΡΙΑΝ ΡΑΣΖ ΚΕΛΕΠΟΤΡΗ ΒΑΙΑ ΚΟΤΡΝΟΠΟΤΛΟΤ ΑΝΑΣΑΙΑ ΥΑΚΟΙ ΑΝΣΩΝΙΟΤ ΠΕΣΡΟ ΓΕΡΑΜΑΝΗ ΒΕΝΕΣΙΑ STREET PHOTOGRAPHY - ΥΩΣΟΓΡΑΥΙΑ ΔΡΟΜΟΤ ΟΜΑΔΑ : ΖΙΖΟΛΛΙ ΕΡΑ - ΚΑΡΑΜΠΕΛΑ ΘΑΝΑΗ - ΚΑΡΟΛΙ ΜΙΦΑΛΗ - ΖΓΙΟΤΝΙ ΑΓΓΕΛΟ Τη είλαη ηειηθά θωηνγξαθία δξόκνπ; Ο θαζνξηζκφο ηεο θσηνγξαθίαο δξφκνπ κπνξεί λα κελ είλαη αληηθεηκεληθφο εμαηηίαο ηεο ειεπζεξίαο θαη ηεο εληειψο κε νκνηφκνξθεο θχζεο ηεο. Ωζηφζν, επεηδή δελ ππάξρεη θάπνπ έλαο ζπγθεθξηκέλνο νξηζκφο γηα ηελ θσηνγξαθία δξφκνπ ζα πξνζπαζήζνπκε λα δψζνπκε έλα, παξά ηηο κεγάιεο πηζαλφηεηεο γηα αλαθξίβεηα. Με απιά ιφγηα ε θσηνγξαθία δξφκνπ πεξηιακβάλεη θάζε θσηνγξαθία πνπ ιακβάλεηαη νπνπδήπνηε ζε δεκφζηνπο ρψξνπο. Κάπνηνη ην πεξηνξίδνπλ ζε αζηηθέο πεξηνρέο, θαη κεξηθνί άλζξσπνη ππνζηεξίδνπλ φηη πξέπεη λα ππάξρνπλ άλζξσπνη παξφληεο ζε ηέηνηνπ είδνπο θσηνγξαθίεο. Αιιά ε νπζία είλαη φηη θάζε θσηνγξάθνο δξφκνπ ζα βξεη ην δηθφ ηνπ λφεκα θαη ηελ δηθή ηνπ πξνζέγγηζή. Ωο εθ ηνχηνπ κπνξεί ν θαζέλαο λα θαηαιήμεη ζηνλ δηθφ ηνπ νξηζκφ ν νπνίνο φκσο ζα ιεηηνπξγεί πξνο ην θαιφ ηεο θσηνγξαθίαο δξφκνπ. -
Autour De Frances Benjamin Johnston, Gertrude Käsebier Et Catharine Weed Barnes Ward
Artl@s Bulletin Volume 8 Issue 1 Women Artists Shows.Salons.Societies Article 1 (1870s-1970s) Autour de Frances Benjamin Johnston, Gertrude Käsebier et Catharine Weed Barnes Ward: stratégies séparatistes dans l’exposition des femmes photographes américaines au tournant des XIXe et XXe siècles Thomas Galifot musée d'Orsay, Paris, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the American Art and Architecture Commons, Other American Studies Commons, Other Feminist, Gender, and Sexuality Studies Commons, Photography Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Galifot, Thomas. "Autour de Frances Benjamin Johnston, Gertrude Käsebier et Catharine Weed Barnes Ward: stratégies séparatistes dans l’exposition des femmes photographes américaines au tournant des XIXe et XXe siècles." Artl@s Bulletin 8, no. 1 (2019): Article 1. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Autour de Frances Benjamin Johnston, Gertrude Käsebier et Catharine Weed Barnes Ward: stratégies séparatistes dans l’exposition des femmes photographes américaines au tournant des XIXe et XXe siècles Cover Page Footnote Ce texte est dédié à la mémoire du professeur François Brunet (1960-2018).