Photography at Moma Contributors
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Photography at MoMA Contributors Quentin Bajac is The Joel and Anne Ehrenkranz The Museum of Modern Art draws upon the exceptional depth of its collection to Chief Curator of Photography at The Museum tell a new history of photography in the three-volume series Photography at MoMA. of Modern Art, New York. Since the invention of photography, legions of practitioners have mined its Georey Batchen is Professor of Art History, artistic and practical potential, paying particular attention to its novel depiction Classics, and Religious Studies at the Victoria of space and time, its utility as a tool for documentation and exploration, and its University of Wellington, New Zealand. distinctive take on modernism and modernity. This volume explores the ways in which this new medium—photography—and this new apparatus—the camera— Michel Frizot is a former professor at the École du Louvre, Paris, and editor of A New History evolved during its irst century, from the masterworks of William Henry Fox Talbot, of Photography (1998). one of photography’s inventors, to the portraits of Julia Margaret Cameron, Nadar, and Gertrude Käsebier; the motion studies of Eadweard Muybridge; Lucy Gallun is Assistant Curator in the Department surveys of landscape and architecture by American and European practitioners; of Photography at The Museum of Modern Art, the documentary images of Carleton Watkins, Eugène Atget, and Lewis Hine; New York. and the modernist works of Karl Blossfeldt, Edward Steichen, and Paul Strand. Sarah Hermanson Meister is Curator in the This volume provides a wide-ranging look at a medium so thoroughly and instantly Department of Photography at The Museum modern that it is represented in MoMA’s collection by works that predate any of Modern Art, New York. of the Museum’s paintings or sculptures by a full forty years. And now, more than 175 years later, the modern spirit of early photography remains intact, Roxana Marcoci is Senior Curator in the Department and Photography at MoMA: 1840 to 1920 provides a record of its contradictions, of Photography at The Museum of Modern Art, aspirations, and achievements. New York. Shelley Rice is Arts Professor at New York University, with a joint appointment between the Photography and Imaging Department and the Department of Art History. Bonnie Yochelson is an independent curator and art historian based in New York. Cover: Charles Thurston Thompson British, 1816¨1868 English Mirror, c. 1730, from Cumberland Lodge, Windsor Forest. 1853 Albumen silver print 9⅛ ª 6⅛ in (23.1 ª 15.6 cm) Acquired through the generosity of Jon L. Stryker, 2014 376 pp.; 402 color reproductions Published by The Museum of Modern Art 11 West 53 Street New York, NY 10019¢5497 ISBN: 978¢1¢63345¢028¢8 www.moma.org Printed in Spain Photography at MoMA Edited by Quentin Bajac Lucy Gallun Roxana Marcoci Sarah Hermanson Meister 1840 1920 Contents Foreword The Pencil of Nature: Great Britain Glenn D. Lowry 1840 1870 9 Entirely Modern: Early British Photography Geoffrey Batchen “Background Material”: Nineteenth-Century 18 Photography at MoMA Quentin Bajac 10 Early Photography in France 1850 1870 “The Black Clothing of Things”: French Photography under the Second Empire Quentin Bajac 56 Armchair Travelers: Around the World 1840 1870 Far Away, So Close: Photography in the Age of Colonial Expansion Roxana Marcoci 98 The New Frontier: Exploring America 1860 1910 Impressions of America Lucy Gallun 142 American Vernacular 1840 1920 Not Necessarily Art: Nineteenth-Century American Photographs Sarah Hermanson Meister 186 European Applied Photography 1860 1920 Photographic Rigor and Truth: The Document Michel Frizot 234 Pursuing the Ideal: the Artist and the Amateur 1880 1920 Expectations of Meaning (or, The House that Alfred Built) Shelley Rice 280 Pictorialism into Modernism 1900 1920 Becoming Modern Bonnie Yochelson 322 Index of Plates 368 Acknowledgments 372 Contributors 374 Trustees of The Museum of Modern Art 376 The Pencil of Nature: Early Photography Armchair Travelers: The New Frontier: American European Applied Pursuing the Ideal: Pictorialism Great Britain in France Around the World Exploring America Vernacular Photography the Artist and the into Amateur Modernism 1840 1870 1850 1870 1840 1870 1860 1910 1840 1920 1860 1920 1880 1920 1900 1920 Robert Adamson Olympe Aguado de las Marismas James Anderson George N. Barnard Charles Dudley Arnold Thomas Annan Zaida Ben-Yúsuf Paul L. Anderson Anna Atkins François Aubert Felice Beato Charles M. Bell Jessie Tarbox Beals Ottomar Anschütz Alvin Langdon Coburn Karl Blossfeldt Julia Margaret Cameron Charles Aubry Paul-Marcellin Berthier William H. Bell Arthur P. Bedou Eugène Atget Edward Curtis Anton Giulio Bragaglia Lewis Carroll Édouard-Denis Baldus Bisson Frères Henry Hamilton Bennett Ernest J. Bellocq Alphonse Bertillon Hilaire-Germain-Edgar Degas Arturo Bragaglia Charles Cliord Auguste Belloc Samuel Bourne James Wallace Black Henry Hamilton Bennett Hippolyte Blancard Robert Demachy Anne W. Brigman Alfred Capel Cure Bisson Frères George P. Critcherson Brady & Company Wilson A. Bentley Committee on Public Information Eugène Druet Gertrude LeRoy Brown Francis Edmond Currey Bruno Braquehais Louis De Clercq Solomon D. Butcher Brown Brothers Georges Demenÿ Peter Henry Emerson Clarence Sinclair Bull Hugh Welch Diamond Adolphe Braun Maxime Du Camp William England Charles H. Currier Louis-Émile Durandelle Frederick H. Evans Alvin Langdon Coburn Roger Fenton Étienne Carjat John L. Dunmore Alexander Gardner Lewis W. Hine Gebrüder Haeckel Arnold Genthe Arthur Wesley Dow Clementina, Lady Hawarden Eugène Cuvelier Roger Fenton Alfred A. Hart Clifton Johnson Heinrich Harmsen Frank Hurley Marcel Duchamp David Octavius Hill André-Adolphe-Eugène Disdéri Francis Frith Frank Jay Haynes Frances Benjamin Johnston Edward Hoole Gertrude Käsebier Hugo Erfurth Fallon Horne Guillaume-Benjamin-Armand Joseph-Philibert Girault de Prangey William Henry Jackson Edwin Hale Lincoln Enrico Imoda Heinrich Kühn Laura Gilpin Robert Howlett Duchenne de Boulogne John B. Greene Darius Kinsey William H. Martin Eduard Jacobi Jacques-Henri Lartigue Bernard Shea Horne Calvert Richard Jones Herman Heid Gustave Le Gray Eadweard J. Muybridge Eadweard J. Muybridge Jules Janssen Léonard Misonne Walter R. Latimer, Sr. James Mudd Alphonse Le Blondel Robert Macpherson Timothy H. O'Sullivan Pach Brothers Charles Harry Jones George H. Seeley August Sander William Henry Fox Talbot Gustave Le Gray Auguste Mestral William H. Rau Jacob August Riis Georg Koppmann Edward Steichen George H. Seeley Charles Thurston Thompson Henri Le Secq John Murray John Reekie John Runk London Daily Mirror Alfred Stieglitz Charles Sheeler Benjamin Brecknell Turner Charles Marville Charles Nègre Andrew Joseph Russell Charles Schenk Étienne-Jules Marey Félix Thiollier Edward Steichen Unknown photographer Nadar William Henry Pigou Underwood and Underwood William J. Shew Paul Martin Adam Clark Vroman Alfred Stieglitz Charles Nègre Carlo Ponti Unknown photographers Charles Norman Sladen Charles Marville Eva Watson-Schütze Paul Strand Henri-Victor Regnault James Robertson Carleton E. Watkins H. William Tupper Emil Mayer Clarence H. White Karl Struss Louis-Rémy Robert Auguste Salzmann Underwood and Underwood James Nasmyth Margaret Watkins Louis Rousseau John Shaw Smith Unknown photographers Herbert G. Ponting Orrin Wightman Adolphe Terris Giorgio Sommer Carleton E. Watkins Prefecture of Police, Paris Stanisław Ignacy Witkiewicz Adrien Tournachon William James Stillman John Adams Whipple Press Illustrating Company Unknown photographers Félix Teynard Joseph Janvier Woodward Henry Ruschin Auguste Vacquerie Linnaeus Tripe Willard Worden Otto Schmidt Julien Vallou de Villeneuve Underwood and Underwood Yerkes Observatory Paul Thompson Unknown photographers John Thomson Underwood and Underwood Unknown photographers Léon Vidal Hugo van Werden American Vernacular 1840 1920 Charles Dudley Arnold Pach Brothers Jessie Tarbox Beals Jacob August Riis Arthur P. Bedou John Runk Ernest J. Bellocq Charles Schenk Henry Hamilton Bennett William J. Shew Wilson A. Bentley Charles Norman Sladen Brown Brothers H. William Tupper Charles H. Currier Underwood and Underwood Lewis W. Hine Unknown photographers Clifton Johnson Carleton E. Watkins Frances Benjamin Johnston John Adams Whipple Edwin Hale Lincoln Joseph Janvier Woodward William H. Martin Willard Worden Eadweard J. Muybridge Yerkes Observatory American Vernacular Not Necessarily Art: Nineteenth- Books on Photography.”2 Of the seven titles listed thus not easily reproducible), but on glass rather than increasing achievements in science in general.”10 Century American Photographs as “Histories,” Newhall describes Marcus Root’s silver (and thus cheaper to produce) (plates 127, 177, Whipple’s salted paper print (plate 179) is derived from The Camera and the Pencil; or, The Heliographic Art . 178). The image in an ambrotype is captured as an this (or a similar) daguerreotype, thus overcoming Together with Its History in the United States and underexposed collodion negative, which, when seen one of the principle drawbacks of the daguerreotype, Sarah Hermanson Meister in Europe as the “only history of photography in this against a dark background, appears as a positive. At ambrotype, and tintype processes: as unique objects they country.” This wouldn’t be all that remarkable if it approximately the same time, some enterprising required multiple—often complex—additional steps to weren’t for the title’s surprisingly early publication date: