Alvin Langdon Coburn
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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. -
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. -
Coburn Photographs 1912 to 1923
Verity Andrews Section name Librar y A.L. Coburn and E.O. Hoppé , Photographs of artists 1912-1923 Special Collections featured item for October 2005 by Verity Andrews Alvin Langdon Coburn, 1882-1966 and Emil Otto Hoppé, 1878-1972. Photographs of artists 1912-1923 Selected from material held in the Coburn Collection, University of Reading Library Archives A. L.Coburn and E.O. Hoppé were contemporaries who both in their different ways advanced the art of photography. They were intimately involved in the artistic movements of their times, both photographed many of their fellow-artists and often shared subjects. Alvin Langdon Coburn Alvin Langdon Coburn, shown here in a portrait by Max Weber owned by Reading University, was born in Boston, Massachusetts, in 1882. He started taking photographs at the age of eight and by the time he was 15 had exhibited his work in Boston. From 1899 to 1912 he worked and travelled between America and Britain but after his marriage in 1912 he settled in Britain permanently. His work concentrated on landscapes and portraits, particularly of creative people. He produced both prints for exhibitions and finely produced books of photogravures. ©University of Reading 2007 Page 1 In October 1913 Coburn photographed ‘that brilliant and truculent figure’ Ezra Pound, who had recently defined the Imagist movement in poetry and was soon to champion Vorticism, the English variant of Cubism. ‘And then there was Ezra Pound!’ wrote Coburn in More Men of Mark, 1922. ‘But why do I speak of him in the past tense? Is not our Ezra always with us? At almost any private view of the very latest thing in Super- Modern Art are not his Leonine Mane and Large Lapis Coat Buttons to be found at the very heart and centre of the Vortex? … our Ezra is a fine fellow – a terrible adversary, but a staunch friend’. -
Framing Modernity in Madison Square, 1890-1920
'Rising Visions / Fragmentary Glimpses': Framing Modernity in Madison Square, 1890-1920. Jay Castro Undergraduate Senior Thesis Department of History Columbia University April 17th, 2020 Second Reader: Professor Elizabeth Blackmar Seminar Advisor: Professor Hilary Hallett Acknowledgements This thesis would not exist with the support of many people. I am eternally grateful for the ways they have enabled me to accomplish this project I have dreamed of for years, in ways I never would have imagined. I am a better person at the end of it all, and I have you to thank. To Professor Elizabeth Blackmar, who always knew what I was thinking better than I did myself and whose honest enthusiasm inspired me when I was most overwhelmed. This thesis would be unrecognizable without her comments, insights, and pep talks. To walk into your office was to see the world open up suddenly and magnificently. To Professor Hilary Hallet, for her unending patience and understanding throughout this long process, and her careful, thoughtful edits on so many harried drafts. I will return your book to you safely, one day! To Professor Matthew Hart, who showed me the potentials of what modernism can be, and who after years of radio silence believed in me honestly and without question. You have taught me to allow things to breathe and exist in all their contradictions. To Professor Gergely Baics, who first introduced me to archival maps and challenged me to believe in history for the sake of it. To Josh Schwartz, whose assistance in locating sources on early twentieth century New York illustrators completely transformed this project. -
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. -
Alvin Langdon Coburn Papers, (GB 0210 COBURN)
Llyfrgell Genedlaethol Cymru = The National Library of Wales Cymorth chwilio | Finding Aid - Alvin Langdon Coburn Papers, (GB 0210 COBURN) Cynhyrchir gan Access to Memory (AtoM) 2.3.0 Generated by Access to Memory (AtoM) 2.3.0 Argraffwyd: Mai 06, 2017 Printed: May 06, 2017 Wrth lunio'r disgrifiad hwn dilynwyd canllawiau ANW a seiliwyd ar ISAD(G) Ail Argraffiad; rheolau AACR2; ac LCSH This description follows NLW guidelines based on ISAD(G) Second Edition; AACR2; and LCSH. https://archifau.llyfrgell.cymru/index.php/alvin-langdon-coburn-papers archives.library .wales/index.php/alvin-langdon-coburn-papers Llyfrgell Genedlaethol Cymru = The National Library of Wales Allt Penglais Aberystwyth Ceredigion United Kingdom SY23 3BU 01970 632 800 01970 615 709 [email protected] www.llgc.org.uk Alvin Langdon Coburn Papers, Tabl cynnwys | Table of contents Gwybodaeth grynodeb | Summary information .............................................................................................. 3 Hanes gweinyddol / Braslun bywgraffyddol | Administrative history | Biographical sketch ......................... 3 Natur a chynnwys | Scope and content .......................................................................................................... 4 Trefniant | Arrangement .................................................................................................................................. 5 Nodiadau | Notes ............................................................................................................................................ -
Photographic Periodicals A-D ART CAHAN LITERATURE BOOKSELLER, LTD AMERICANA
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