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Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945

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Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 i © 2014 Jennifer Elizabeth Anne Rudd All rights reserved ii Abstract Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd This study offers a history of the concept of realism in portrait photography through the examination of a set of categories that have colored photographic practices since the origins of the medium in 1839: the posed and the candid. The first section of this study deals with the practices of posing in early photography, with chapters on the daguerreotype, the carte de visite, and the amateur snapshot photograph. Considering technological advances in conjunction with prevailing cultural mores and aesthetic practices, this section traces the changing cultural meaning of the portrait photograph, the obsolescence of the pose, and the emergence of an “unposed” aesthetic in photography. The second section of this study examines three key photographers and their strategies of photographic representation, all of which involved candid photography: it looks at Erich Salomon’s pioneering photojournalism, Humphrey Spender’s politicized sociological photography, and Walker Evans’ complex maneuvering of the documentary form. Here, the emphasis is on the ways in which the trope of the candid informed these three distinct spheres of photography in the early 20th century, and the ways in which the photographic aesthetic of candor cohered with—or contested—political and cultural developments of the interwar period in Germany, Britain, and the United States. i Table of Contents List of Figures iv Acknowledgments viii Introduction: The Posed and the Candid 1 PART I. 1. Likenesses Taken: Portraiture in the Era of the Daguerreotype 11 Sublime Precision: The Reception of the Daguerreotype 12 From Subject to Object: Portraiture and the Pose 19 The Daguerreotype as Metaphor 34 Posing the “Character” 36 The Paradox of Posing 46 2. Victorians Living in Public: Cartes de Visite, Circulation, and the 50 Performance of Identity “Industry’s First Inroads”: The Carte de Visite as Photographic Commodity 51 Looking at “The Real Thing”: Cartes de Visite as Mass Media 59 “I Know That Face, Somehow”: Victorians Living in Public 64 Performative Portraiture: The Carte de Visite and Social Mobility 69 3. The Janus-Faced Kodaker: Hand Cameras, Snapshots, and the Divided 75 Reputation of Amateur Photography The Outmoding of the Pose 77 The Cultural Significance of the Snapshot 83 i Technological Change and the Popularization of Amateur Photography 88 “You Press the Button, We Do the Rest” 93 Inventing “The Charm of Photography” 104 The Kodaking of Everyday Life 110 The Camera Fiend 116 PART II. 4. Le roi des indiscrets: Erich Salomon’s Candid Camera and the Work of 126 Photojournalism Photographic Ethics and Etiquette 130 “What You See, You Can Photograph”: The Inconspicuous Camera 135 The Illustrated Magazines 143 Erich Salomon and the Birth of the Modern Photojournalist 145 “When the Image Itself Became the Story”: The Photo Essay 152 Image Culture and Its Critics 159 5. The Unobserved Observer: Humphrey Spender’s Hidden Camera and 166 the Politics of Visibility in Interwar Britain “The Cannibals of Lancashire”: Mass Observation’s “Anthropology at Home” 169 Observers in Worktown 172 Mass Observation and British Anthropology 177 Against the Picturesque: Spender Before Mass Observation 180 New Visions: Spender, the Continental Avant-Garde, and British 185 Documentary ii The Problem of Artificiality 192 The Politics of Visibility 199 6. “True Portraiture, or the Nearest Approach Thereof”: Walker Evans’ 204 Subway Photographs “A Penitent Spy and an Apologetic Voyeur”: The Project of Subway 206 Photography In Search of the Photographic: Stieglitz, Strand, and Photography’s 216 Ontologies The Unposed Portrait 223 “The Ladies and Gentlemen of the Jury”: Evans’ Type Studies 230 “Naked Repose”: The Subway and the Unconscious 238 Conclusion 247 Figures 259 iii List of Figures 1. Daguerreotype portrait of unidentified mother and daughter by Southworth and 259 Hawes, c. 1850. George Eastman House. 2. Daguerreotype self-portrait of Henry Fitz Jr., c. 1839. National Museum of 260 American History, Photographic History Collection. 3. Undated daguerreotype portrait of an unidentified woman (c. 1840-60), collection 261 of Larry Gottheim. 4. Unattributed carte de visite portrait with hidden mother, undated (c. 1860s), 262 collection of author. 5. Daguerreotype portrait of a young girl, undated (c. 1850), Harvard Fine Arts 263 Library. 6. Honoré Daumier, illustration titled “Photography: New process for obtaining 264 graceful poses.” In Le Charivari, 1856. 7. “Trying, Very.” Illustration in Harper’s Weekly, 1859. 265 8. Daguerreotype portrait of Timothy Boutelle, c. 1850. Photographer unknown. 266 Harvard Art Museum. 9. Daguerreotype portrait of Samuel F.B. Morse (c. 1845), unattributed; likely a 267 self-portrait. Library of Congress. 10. Carte de visite photograph of Napoleon III, by André Disdéri, c. 1859. George 268 Eastman House. 11. Carte de visite photograph of Queen Victoria and Prince Albert, by J. E. Mayall, 269 1860. National Portrait Gallery, London. 12. Carte de visite photograph of Abraham Lincoln, by Alexander Gardner, 1863. 270 iv Library of Congress. 13. Carte de visite photograph of Abraham Lincoln with his son Tad, by Mathew 271 Brady, 1864. Fine Arts Library, Harvard. 14. Carte de visite photomontage of John Wilkes Booth by Williamson of Brooklyn, 272 1865. Brander Matthews Dramatic Museum Collection, Rare Book and Manuscript Library, Columbia University. 15. Carte de visite portrait by Bradley and Rulofson of San Francisco, undated. 273 Beinecke Library, Yale University. 16. Advertisement for Kodak camera in Outing Magazine, 1888. 274 17. Kodak advertisement in Collier’s, 1911. 275 18. Kodak advertisement in Harper’s, 1905. 276 19. Kodak advertisement in Ladies’ Home Journal, 1905. 277 20. Kodak advertisement in Country Life in America, 1908. 278 21. Kodak advertisement in Youth’s Companion, 1903. 279 22. Premo advertisement in Everybody’s Magazine, 1908. 280 23. Premo advertisement in Country Life in America, 1909. 281 24. Premo advertisement in Country Life in America, 1909. 282 25. Kodak advertisement in Ladies’ Home Journal, 1915. 283 26. Kodak advertisement in Ladies’ Home Journal, 1911. 284 27. Book camera by Scovill & Adams, 1892. 285 28. Advertisement for Marion’s “Parcel” Detective Camera, 1886. 286 29. Advertisement for the American Camera Company’s Demon Detective Camera, 287 1889. v 30. Cuthbert Bede, “The Photographic Detective,” in Photographic Pleasures, 1855. 288 31. “The Peeping Toms of the Camera,” Puck, 1891. 289 32. The Graphic, May 11, 1929, featuring cover photograph by Erich Salomon. 290 33. Postmortem photograph of Otto von Bismarck, by Max Priester and Willy Wicke, 291 1898. Published in Frankfurter Zeitung, 1952. 34. Ermanox advertisement in Photo-Era, 1927. 292 35. “The Supreme Court Sits,” with photographs by Erich Salomon, in Fortune, 293 1932. 36. “The New Prime Minister,” in The Graphic, 1923. 294 37. “The Candid Camera in Germany’s Parliament,” with photographs by Erich 295 Salomon, in The Graphic, 1930. 38. “‘Unsuspected Moments’ at the Royal Academy,” with photographs by Erich 296 Salomon, in The Graphic, 1929. 39. “Private Viewers: More or Less Well-Posed Moments at the Academy,” in The 297 Graphic, 1929. 40. Humphrey Spender, photograph from Worktown series, 1938. Bolton Museum 298 and Archive Service. 41. Humphrey Spender, “Lensman” study for the Daily Mirror, December 4, 1934. 299 42. Humphrey Spender, photograph from Worktown series, 1937-38. Bolton Museum 300 and Archive Service. 43. Bill Brandt, “Northumberland Miner at his Evening Meal”, 1936. In The English 301 At Home (London: Batsford, 1936). 44. Humphrey Spender, “The Men Baldwin Would Not See,” Left Review, 1936. 302 vi 45. Photograph from “With a Candid Camera in the Café of Artists,” Picture Post, 303 November 12, 1938. 46. “The world looks at No. 10,” Picture Post, October 1, 1938. 304 47. “What d’you think…they’re looking at?” Picture Post, October 29, 1938. 305 48. Humphrey Spender, photograph from Worktown series, 1937-38. Bolton Museum 306 and Archive Service. 49. Walker Evans, photograph of Helen Levitt on the subway, 1938. Walker Evans 307 Archive, Museum of Modern Art. 50. Advertisement for DeSoto Six, in New York Times (January 13, 1932), 48. 308 51. Paul Strand, “Blind Woman,” 1916. Alfred Stieglitz Collection, Metropolitan 309 Museum of Art. 52. Edward Steichen, “The Flatiron,” 1904. Alfred Stieglitz Collection, Metropolitan 310 Museum of Art. 53. Walker Evans, “Penny Picture Display, Savannah,” 1936. Walker Evans Archive, 311 Metropolitan Museum of Art. 54. Walker Evans, subway photograph of sailor, 1941. Walker Evans Archive, 312 Metropolitan Museum of Art. 55. Walker Evans, subway photograph of two women, 1941. Walker Evans Archive, 313 Metropolitan Museum of Art. 56. Walker Evans, subway photograph of three passengers, 1941. Walker Evans 314 Archive, Metropolitan Museum of Art. 57. August Sander, “Unemployed Man,” 1920. Metropolitan Museum of Art, 315 58. Walker Evans, portrait of Allie Mae Burroughs, 1936. Library of Congress. 316 vii Acknowledgments This project owes much to the curatorial
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