William Henry Fox Talbot the Boulevards

Home , Barbette (performer), Camera Work, Carbon print, George Henry Fox, Gustave Le Gray, Henry Fox Talbot

William Henry Fox Talbot Hill & Adamson English, 1800–1877 Scottish, active 1843–1848 The Boulevards of Paris, 1843 Elizabeth Rigby Salted paper print (calotype) (Lady Eastlake), 1843–47 Salted paper print The inventor of the salted paper process, Talbot photographed the boulevards from In the mid-1840s, the Scottish painter- a similar vantage point as J. L. M. Daguerre, photographer partners David Octavius the inventor of the daguerreotype, did. Hill and Robert Adamson produced the Talbot’s print allowed people in the know first significant body of artistic portraiture to compare these rival processes on a one using the salted paper process pioneered to one basis. The ghost images of carriages by William Henry Fox Talbot. They often along the boulevard are a product of the photographed Elizabeth Rigby, who would long exposure time needed with this early become Lady Eastlake upon her marriage printing technique. On the captured spring in 1849 to Sir Charles Eastlake, President afternoon, the streets had just been wetted of the Royal Academy, Director of the down to settle the dust stirred up from the National Gallery, and first President of unpaved road. the Royal Photographic Society. An author and critic, Lady Eastlake championed photography as a mysterious art that revived “the spirit of Rembrandt.”

Louis-Jacques-Mandé Daguerre (French, 1787–1851), Boulevard du Temple, Paris, 1838. Daguerreotype.

WAGSTAFF.Labels_rd3.indd 1 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 2 9/7/16 2:37 PM Unidentified Artist Roger Fenton Fern Leaves, c. 1850 English, 1819–1869 Photogenic drawing Dinornis elephantopus, 1854–58 “Photogenic drawing” was William Salted paper print Henry Fox Talbot’s name for his first— cameraless—photographic process. Appointed the first official photographer To create the “drawing,” Talbot immersed of the British Museum in 1854, Fenton smooth paper in a solution of table salt explored photography’s potential for then brushed the paper with a solution of recording art and artifacts. Against an silver nitrate. The nitrate combined with interior brick wall, he hung a backdrop the salt to produce silver chloride, which of white sheets that emphasizes the is light sensitive. Small textured objects flightless bird’s physical structure. This such as leaves or lace were placed on the extinct creature’s skeleton was among his paper and exposed to sunlight. The objects most unusual subjects. The picture reveals blocked the chemical reaction caused by the skeleton’s scaffold support of thin the sun, leaving them silhouetted against wires, its many vertebrae, and its strange a dark background. proportions—from a tiny head and long neck, to wide hips and giant talons.

WAGSTAFF.Labels_rd3.indd 3 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 4 9/7/16 2:37 PM Louis-Antoine Froissart French, 1815–1860 A Flood in Lyon, 1856 Albumen silver print

Froissart was the ofﬁcial photographer for the city of Lyon, France. He is best known for documenting the disastrous Rhône Count Olympe Aguado River ﬂood at Lyon in 1856, seen here in French, 1827–1894 this albumen print. Invented in 1850, the albumen print replaced the salted paper Study of Trees, Bois de print. Albumen prints made using glass Boulogne, 1855 plate negatives produced an image with Salted paper print greater detail and a glossy surface quality.

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WAGSTAFF.Labels_rd3.indd 5 9/7/16 2:37 PM Maxime Du Camp French, 1822–1894 Louis Désiré Blanquart-Evrard French, 1802–1872 Statue of Memnon, Thebes, Bisson Frères negative, 1850; print, 1852 French, active 1840–1864 Salted paper print

Interior of the Church of Armchair travelers were thrilled by Saint-Ouen, Rouen, 1857 photography’s ability to capture views Salted paper print of distant places. Here we see one of two massive stone statues guarding the entrance to the mortuary temple of Egyptian pharaoh Amenhotep III in Thebes. The Greeks named the pair after Memnon, son of Aurora (goddess of the dawn).

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WAGSTAFF.Labels_rd3.indd 8 9/7/16 2:37 PM Francis Frith Nadar (Gaspard-Félix English, 1822–1898 Tournachon) The Second Pyramid from French, 1820–1910 the Southeast, negative, 1857; Gustave Doré, 1856–58 print, 1858 Salted paper print Albumen silver print Nadar is considered the greatest French Frith was a pioneering English travel photographic portraitist of his generation. photographer who used the sale of his His clientele included famed artists, photographs to fund his journeys. In 1856, writers, musicians, actors, and royals. he made an extended trip to Egypt. This photograph depicts the bohemian The success of his images, published the painter Gustave Doré, known primarily following year, ﬁnanced his next trip to for his book illustrations. In this portrait Palestine and then Syria. He returned Nadar has captured the spontaneity to Egypt in late 1857, when he took this and energy of a young artist on the rise. photograph of a Giza pyramid, and again Doré is dressed dashingly in checked in 1859. During his 1859 visit, Frith traveled trousers and scarf. His hair cascades up the Nile to the Fifth Cataract—farther across his head as if blown by the wind than any earlier photographer had gone. and he thrusts his leg forward as if to take a step. Nadar photographed Doré many times, even on his deathbed.

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WAGSTAFF.Labels_rd3.indd 9 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 10 9/7/16 2:37 PM Gaudenzio Marconi Italian, born Switzerland, 1842– after 1885 Male Figure in Repose, c. 1860 Albumen silver print

The nude, a cornerstone of European art, became the subject of photography Léon Crémière shortly after its invention was announced French, 1831 – after 1882 in 1839. Marconi made his living creating photographic ﬁgure studies for the Dogs, 1850–52 prestigious art school, the École des Albumen silver print Beaux Arts in Paris. Artists and students used the photographs as sources to sketch when live models were not available. In this example, Marconi positioned his model in a classical pose taken from the Barberini Faun, a life-size Roman marble sculpture dating from about 220 bce.

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Barberini Faun, c. 220 bce. Glyptothek, Munich.

WAGSTAFF.Labels_rd3.indd 11 9/7/16 2:37 PM Horatio Ross Pierre-Louis Pierson English, 1801–1886 French, 1822–1913 Self-Portrait Preparing Napoleon III and the Prince a Collodion Plate, 1856–59 Imperial, c. 1859 Albumen silver print Albumen silver print

Ross was a celebrated athlete as well as an Pierson placed his camera far enough amateur photographer. In this self-portrait, back to capture all the players and he depicts himself at work, holding a sheet reveal the workings of his studio in this of glass while preparing a collodion plate carefully staged scene. At the center is with photographic chemicals. Invented the Prince Imperial, strapped into a seat in 1851, the use of wet collodion on glass on his horse’s back. An attendant at left produced an image with greater detail than keeps the animal steady, while the boy’s could be achieved with the earlier salted father, Emperor Napoleon III, at right, looks paper process. This method of making a on. A variant of this image that featured negative was popular from the 1850s until the child and his horse was sold to the about 1880, when the manufacture of dry- public as a popular carte-de-visite — small plate negatives made them obsolete. photographs mounted on card stock that people collected and traded.

WAGSTAFF.Labels_rd3.indd 13 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 14 9/7/16 2:37 PM Gustave Le Gray Gustave Le Gray French, 1820–1884 French, 1820–1884 The Great Wave, Sète, c. 1857 The Beech Tree, 1855–57 Albumen silver print Albumen silver print

Le Gray ingeniously used two negatives Le Gray took many photographs of to print an image that captures one of the Forest of Fontainebleau, a popular nature’s most dramatic scenes. Because of destination for artists and vacationing the limitations of photographic chemistry Parisians in the mid-nineteenth century. at the time, if Le Gray timed his exposure This photograph is more of a portrait of to accurately render the sea, the sky would a tree than a landscape. With its gnarly be so overexposed that it would appear roots exposed, this majestic old beech blank. But if he shortened the exposure for is a commanding force of nature whose the sky, the sea and shore would come out trunk glows in the direct sunlight as if lit as silhouettes. Le Gray’s combination gets from within. Its leaves shimmer in the around this limitation: the stormy clouds sun’s glow, making the dense foliage are one negative; the crashing waves and appear weightless. blackened jetty are another. The uniﬁed result is a photograph that achieves a sense of a single moment frozen in time.

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WAGSTAFF.Labels_rd3.indd 15 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 16 9/7/16 2:37 PM Roger Fenton Alexander Gardner English, 1819–1869 American, born Scotland, 1821–1882 Valley of the Shadow of President Lincoln, United Death, 1855 States Headquarters, Army of Salted paper print the Potomac, near Antietam, October 4, 1862 One theme that runs through Wagstaff’s Albumen silver print collection of photographs is death. Here the empty Crimean War battlefield is Gardner took this portrait of Abraham a chilling reminder of war’s destructive Lincoln during the Civil War. The location, power. Fenton traveled in 1853 to the near Antietam, was the recent site of a Crimean peninsula on the Black Sea, costly Union victory. Twenty-six thousand where England, France, and Turkey were soldiers were killed or wounded in a battle fighting a war against Russia. In the first that forced Confederate General Robert E. extensive series of war photographs, Lee to retreat to Virginia. In Gardner’s Fenton refrained from picturing the dead. photograph, the President and Commander- In this image, the desolate landscape is in-Chief stands tall, front, and center in inhabited only by cannonballs that stand his stovepipe hat. His erect posture is in for the human casualties we do not see. emphasized by the tent pole behind him. The title, Valley of the Shadow of Death, is The men flanking him show allegiance from the Twenty-third Psalm of the Bible. by placing their hands over their hearts. Despite having the President in their midst, the presence of the reclining man at left and the shirt hanging from the tree show that no attempts were made to spare Lincoln from the ordinary circumstances of a military camp.

WAGSTAFF.Labels_rd3.indd 17 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 18 9/7/16 2:37 PM Henry P. Moore Julia Margaret Cameron American, 1835–1911 English, born India, 1815–1879 Slaves of General Thomas F. Mrs. Herbert Duckworth Drayton, 1862–63 (Julia Jackson, Mrs. Leslie Albumen silver print Stephen), 1867 Albumen silver print Moore was a photographer from Goffstown, New Hampshire, who documented the A pioneer of photographic portraiture, 3rd New Hampshire Regiment during the Cameron went beyond documenting Civil War. While in South Carolina, Moore appearance to testing the medium’s visited the seven-hundred-acre Fish Haul artistic possibilities. Cameron took this Cotton Plantation where ﬁfty-two enslaved portrait of her niece the year she married people lived and worked. This picture Herbert Duckworth, a prominent barrister. represents the hard working men and By posing photographing her sitter in semi- women, who were in the process of being darkness and turning her proﬁle into the freed by the federal government. light, Cameron drew on artistic principles to emphasize her niece’s classical beauty. Three years later Julia was a widow and the mother of three children. Her second marriage, in 1878, to intellectual Sir Leslie Stephen, produced the painter Vanessa Bell and the writer Virginia Woolf.

WAGSTAFF.Labels_rd3.indd 19 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 20 9/7/16 2:37 PM Julia Margaret Cameron Roger Fenton English, born India, 1815–1879 English, 1819–1869 Thomas Carlyle, 1867 Glastonbury Abbey, Arches Albumen silver print of the North Aisle, 1858 Albumen silver print Cameron photographed many prominent intellectuals in her circle of family and In the early 1850s Fenton began to friends. Pictured here is the historian photograph England’s historical and Thomas Carlyle, most famous for writing architectural treasures. One of these On Heroes, Hero-Worship and the Heroic treasures, the Benedictine Abbey of in History (1841). Perhaps a play on the St. Mary at Glastonbury, was one of the scholar’s major work, Cameron heroizes oldest abbeys in England. However, after her sitter through her use dramatic lighting, a disastrous ﬁre and centuries of strife which simultaneously illuminates and within the church, the monasteries at obscures his face, conveying an emotional Glastonbury were dissolved and the abbey intensity also found in his powerful writing. became a quarry. Some ruins, like the ones She inscribed some prints of this image in this view, remained. Fenton’s photograph with the caption: “Carlyle like a rough evokes the passage of time and the power block of Michelangelo’s sculpture.” of nature: the lush cascade of ivy spills over the remaining arches, devouring the ruins and metaphorically reclaiming what is left of the structure.

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WAGSTAFF.Labels_rd3.indd 21 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 22 9/7/16 2:37 PM Timothy H. O’Sullivan Timothy H. O’Sullivan American, c. 1840–1882 American, c. 1840–1882 Ancient Ruins in the Cañon Desert Sand Hills near de Chelle, New Mexico, 1873 Sink of Carson, Nevada, 1867 Albumen silver print Albumen silver print

This image of ruins was part of a series O’Sullivan was one of the photographers of government-funded geological surveys hired to participate in the “Geological of the American West. O’Sullivan, who Exploration of the Fortieth Parallel” began his career photographing Civil expedition of 1867, an exploration of War battleﬁelds, was a documentary the American West in preparation for photographer for the program. In 1873 expanding railroads and industry. Although O’Sullivan went on an expedition to the the project was really about collecting data, eleventh-century pre-Columbian cliff O’Sullivan’s photographs also reveal his dwellings known as the White House eye for poetic beauty. In this photograph Ruin, named by the Navajo for a natural taken near Carson Sink in Nevada, tracks white streak that crosses the upper tier trace the path of O’Sullivan’s wagon, pulled of structures. A monumental striated by four mules and ﬁlled with over 400 rock formation hovers above the building pounds of photographic equipment. The complex nestled in the crevice of the footsteps visible in the sand reveal the cliff. Photographed from a great distance, photographer’s trek from the wagon to the O’Sullivan gives us a sense of both nature’s point from which he shot the picture. The overwhelming scale and man’s ingenuity. wagon’s presence in this otherwise barren scene sums up the pioneering experience of exploration.

WAGSTAFF.Labels_rd3.indd 23 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 24 9/7/16 2:37 PM William H. Bell William J. Stillman American, 1830–1910 American, 1828–1901 Perched Rock, Rocker Creek, Eastern Portico of the Arizona, 1872 Parthenon, 1869 Albumen silver print Carbon print

The Perched Rock in Rocker Creek, Arizona, Stillman was a diplomat, journalist, painter, stands perfectly balanced on its natural and photographer. He published this pedestal. The crouched ﬁgure at the lower photograph of the famous ancient Greek right gives us a sense of the rock’s massive temple in an album titled The Acropolis size. In 1872 Bell joined the U.S. War of Athens: Illustrated Picturesquely and Department’s expedition and survey of Architecturally in Photography. His images Arizona. This mounted print was part of an are remarkable for their sharpness. album titled Photographs: Explorations and Survey West of the Hundredth Meridian 1871, 1872 and 1873.

WAGSTAFF.Labels_rd3.indd 25 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 26 9/7/16 2:37 PM Jean Pierre Philippe Lampué Frederick H. Evans French, 1836–1924 English, 1853–1943 Still Life of Sculpture and Kelmscott Manor: Architectural Fragments, 1868 In the Attics (Number 1), 1896 Albumen silver print Platinum print

Lampué became the ofﬁcial photographer Evans’s photograph of this medieval attic of the École des Beaux Arts of Paris revels in visual geometry. He captures (The National School of Fine Arts in Paris) the angles formed both by the physical in 1865. In this photograph he gathered structure and by the light that bathes the fragments of sculpture and architecture area near the stairs. These sharp angles to create an arresting still life. are contrasted by the softer lines of the rough-hewn posts and beams. Evans selected the platinum printing process, which was prized for its archival stability, matte surface quality, and wide tonal range—from rich blacks to silvery grays.

WAGSTAFF.Labels_rd3.indd 27 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 28 9/7/16 2:37 PM Unidentiﬁed Artist A. C. Vroman Barnum and Bailey Circus American, 1856–1916 Tent in Paris, France, 1901–2 Moki [Hopi] Pottery, 1900 Gelatin silver print Platinum print

The American and European circus Wagstaff proclaimed Vroman to be was at the height of its popularity from “the ﬁrst American photographer of the 1850s to the mid-twentieth century, the 20th century.” While some leading inspiring scores of circus-themed photographers were still creating paintings, drawings, prints, sculptures, photographs that imitated painting, and photographs. Here the photographer Vroman made sharp-focus images that trained the camera on the structure of anticipated post-World War I trends in the tent and bleachers instead of the photography. His picture of rows of Pueblo expected spectacle of performers and pottery and Navajo rugs conveys his animals. The crisscrossing vertical poles appreciation for geometric design. and swirling ovals above and below— including the central rings where daring performances would take place —create an abstract composition that still conveys a sense of anticipation for the show to come.

WAGSTAFF.Labels_rd3.indd 29 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 30 9/7/16 2:37 PM Frederick H. Hollyer Baron Wilhelm von Gloeden English, 1837–1933 German, 1856–1931 Lilies, c. 1885 Boy with Lilies, 1890–1914 Platinum print Toned gelatin silver print

The number of still life photographs of Von Gloeden created sensuous, often great quality declined during the 1870s nude studies of young men and boys from and 1880s. The shift away from still life Taormina, Italy. The photographs were as a subject was not only the result of avidly collected, and some were even changing tastes, but of the invention of the published in National Geographic. Following dry plate negative, which made traveling his death, Italy’s Fascist government with the camera less cumbersome. confiscated his work as pornographic This fine platinum print of white lilies material and destroyed or damaged the (flowers traditionally associated with the majority of it. During the 1970s, gay men Immaculate Conception) is an exception. like Wagstaff were largely responsible for Hollyer included the dying blooms at the collecting and preserving von Gloeden’s base of each stalk to remind the viewer of remaining prints. Von Gloeden often the fleeting nature of beauty. balanced the eroticism of his images with props that added symbolic associations. The abundance of lilies in this photograph symbolically connects the Neapolitan street boy to the Virgin Mary.

WAGSTAFF.Labels_rd3.indd 31 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 32 9/7/16 2:37 PM Thomas Eakins Alfred Stieglitz American, 1844–1916 American, 1864–1946 Male Figures at the Site of The Hand of Man, 1902 Swimming, 1884 Photogravure Albumen silver print A locomotive engine steams toward the Eakins took photographs to use as reference camera, the billowing black cloud of smoke material for his paintings as well as works like a plumed hat. The crisscrossing lines of art in their own right. This photograph of tracks and telephone poles snake off informed the compositional structure of his toward the horizon. Stieglitz titled the iconic painting The Swimming Hole. Here, photograph The Hand of Man, setting up Eakins stands slightly apart at the left, a comparison between the machine that observing the other nude men—his students is depicted and his own artistic hand that at the Pennsylvania Academy of Fine Arts— created the image. The work bears witness at Mill Creek near Bryn Mawr, Pennsylvania. to the importance of the machine in the Eakins posed the youths in a dynamic modern Industrial Age. arrangement as types rather than individuals. The ﬁgures recall classical Greek ideals of physical beauty, strength, and friendship.

Thomas Eakins, The Swimming Hole [originally titled Swimming], 1884–85. Oil on canvas. Amon Carter Museum, Fort Worth, Texas.

WAGSTAFF.Labels_rd3.indd 33 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 34 9/7/16 2:37 PM Edward S. Curtis Carl E. Moon American, 1868–1952 American, 1878–1948 The Eclipse Dance, 1910–14 A Navajo Boy, [Esikio Tobar, Gelatin silver print 1893–1950], 1907 Gelatin silver print From 1907 to 1930, Curtis dedicated himself to documenting the threatened traditions of Moon’s lifelong interest in Native Native American people by publishing his Americans began as a boy reading James twenty-volume treatise, The North American Fenimore Cooper’s stories, like The Last Indian. For the Paciﬁc Northwest Coast of the Mohicans (1826). Although there Kwakiutl tribe, elaborate dance ceremonies was much cultural insensitivity toward were a form of religious, social, and artistic Native Americans in his day, Moon, who expression. In this (probably staged) lived for weeks at a time in Navajo villages, reenactment of a ceremony, Kwakiutl photographed Native American subjects people dance in a circle around a smoking in a romantic style that suggests a more ﬁre in response to a lunar eclipse. Believing sympathetic attitude. His photographs a sky creature swallowed the moon, they appeared in magazines and were dance to prompt its disgorgement. exhibited at the Museum of Natural History in New York. President Theodore Roosevelt even invited Moon to show them at the White House.

WAGSTAFF.Labels_rd3.indd 35 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 36 9/7/16 2:37 PM George H. Seeley Baron Adolf de Meyer American, 1880–1955 American, born France, 1868–1946 White Chrysanthemums, 1914 Glass and Shadows, Gum bichromate print negative, 1908–11; print, 1912 Photogravure Seeley’s composition is simple yet poetic: a glass bowl ﬂecked with light emerges De Meyer photographed several glass from a watery background. Behind the bowl objects through a scrim. The thin woven are white chrysanthemums on a window fabric softens the edges of the objects, seat. Seeley made an enlargement from replicating the effects of an etching by his original negative and printed it using an artist like Rembrandt. De Meyer’s the gum bichromate process. The process photographs were published in several made it possible for photographers to issues of Alfred Stieglitz’s deluxe art manipulate their images by hand (often journal Camera Work. In 1913 the publisher using a brush) and to customize the color of Condé Nast hired de Meyer as the ﬁrst of the print, in this case a grayish green. full-time photographer at Vogue magazine Seeley, who had studied painting in Boston, and contracted him to work for Vanity Fair. fully embraced photography’s expressive ability to achieve soft tonalities that approximate painting.

WAGSTAFF.Labels_rd3.indd 37 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 38 9/7/16 2:37 PM Heinrich Kühn Baron Adolf de Meyer Austrian, born Germany, 1866–1944 American, born France, 1868–1946 Women from Pustertal, Rita de Acosta Lydig, 1913–14 negative, 1913; print, 1914 Bromoil transfer print Gelatin silver print

Kühn chooses an unusual perspective This elegant photograph of Rita de Acosta for this photograph—hovering above Lydig is one of a series created for Vogue and behind the three women. The bird’s magazine. De Acosta Lydig was of Spanish eye viewpoint was favored by modernist and Cuban descent: her lineage could be painters of the time because it reduces traced to the Dukes of Alba, and her father ﬁgures into faceless masses of soft forms. was a prominent merchant in Havana The bromoil transfer process uses a and New York. She was known for her bleached bromide print to create a matrix extravagant lifestyle, including living at the to hold an oil-based ink. The resulting Ritz in Paris. Called “the most picturesque image is typically grainy and atmospheric, woman in America,” de Acosta Lydig resembling a painting or charcoal was photographed not only by de Meyer, drawing—visual proof that photography but also Edward Steichen and Gertrude was more than just a mechanical process. Käsebier, and was painted by Giovanni Boldini and John Singer Sargent, among others.

WAGSTAFF.Labels_rd3.indd 39 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 40 9/7/16 2:37 PM Baron Adolf de Meyer Arnold Genthe American, born France, 1868–1946 American, born Germany, 1869–1942 Josephine Baker, 1925 Edna St. Vincent Millay, Collotype c. 1917

Gelatin silver print Baker was an African American dancer from Saint Louis, Missouri. In 1925 she made her Genthe created many portraits of his debut on the Paris stage in La Revue Nègre coterie of friends—primarily actors, artists, (The Black Review), wearing nothing and writers. Among the most beautiful are but a skirt of feathers. An instant sensation, those of the poet and playwright Edna she sang and performed her gyrating, St. Vincent Millay. Seen in proﬁle, Millay’s fast-paced danse sauvage (savage dance). hair is in a loose chignon and she is framed Unlike Baker’s cool reception in segregated by the branches of a magnolia tree in bloom. America, Jazz-Age France loved her. Ernest Hemingway, the American writer living in France, called Baker “the most sensational woman anybody ever saw—or ever will.” Instead of focusing on her sexually-charged stage persona, de Meyer conveyed the warmth of her personality.

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WAGSTAFF.Labels_rd3.indd 41 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 42 9/7/16 2:37 PM Francis Bruguière Mole & Thomas American, 1879–1945 American, active c. 1910–1919 Exterior Archway of the Human Statue of Liberty, Panama-Paciﬁc Exposition, Eighteen Thousand Ofﬁcers Palace of Fine Arts, San and Men at Camp Dodge, Francisco, California, 1915 Des Moines, Iowa, c. 1918 Hand-colored gelatin silver print Gelatin silver print

The San Francisco artist Bruguière Wagstaff, who served in World War II, had experimented with multiple exposures a deep love for his country and its history. and hand-coloring his photographs, In addition to Civil War photographs, he as seen in this image. collected images of World War I soldiers. This peculiar photograph was part of a trend in which soldiers gathered together to form patriotic symbols. Here, 18,000 men line up to create the Statue of Liberty. Shot from an eighty-foot viewing tower, the composition covers a half mile. Although just seventeen men can be counted in the ﬁrst row at the base, 12,000 soldiers made up the torch alone.

WAGSTAFF.Labels_rd3.indd 43 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 44 9/7/16 2:37 PM Edward Steichen Paul Outerbridge American, born Belgium, 1879–1973 American, 1896–1958 Gloria Swanson, 1924 Eggs in Bowl, 1922 Gelatin silver print Palladium print

Steichen photographed hundreds Outerbridge shot this tightly-cropped of portraits of the leading personalities close-up of eggs in a ceramic bowl from in film, literature, politics, and sports. above. A fine art photographer determined In this mysterious portrait of silent-film to satisfy the needs of his commercial star Gloria Swanson, she stares into the clients, he was celebrated for his avant- camera through a floral veil. Steichen garde compositions that used space in melds the overall softness and moodiness innovative ways. He was able to create of Pictorialist style with the boldness abstract patterns formed by the careful and sharp lines of Modernism in this placement and lighting of everyday objects. portrait of a fashionable, romantic, yet Outerbridge’s style drew from Cubism independent woman. and Modern abstract painting. In turn, painters and photographers alike were influenced by his formally precise images and meticulously crafted prints.

WAGSTAFF.Labels_rd3.indd 45 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 46 9/7/16 2:37 PM Man Ray (Emmanuel Radnitzky) American, 1890–1976 Barbette Making Up, 1926 Gelatin silver print

This backstage portrait of Barbette, a Texas-born female impersonator, high-wire Man Ray entertainer, and trapeze artist, belongs to (Emmanuel Radnitzky) a series commissioned by the surrealist American, 1890–1976 author Jean Cocteau. In the 1920s and 1930s, gender-play crossed social lines [Untitled Rayograph], 1922 in America and Europe. It was popular in Gelatin silver print vaudeville, burlesque, and ﬁlm and was embraced by avant-garde artists. Barbette dressed in elegant gowns, makeup, and wigs during his performances. Man Ray photographed the performer in heavy stage makeup but without his wig, which allows the viewer to see his dual male and female personas in the reﬂections of the two mirrors. WAGSTAFF.Labels_rd3.indd 48 9/7/16 2:37 PM

WAGSTAFF.Labels_rd3.indd 47 9/7/16 2:37 PM Man Ray László Moholy-Nagy (Emmanuel Radnitzky) American, born Hungary, 1895–1946 American, 1890–1976 Photogram Number 1: The [Untitled Rayograph], 1922 Mirror, negative, 1922–23; Gelatin silver print print, c. 1928 Gelatin silver print Light and shadow are the subjects in Man Ray’s Rayographs, cameraless images Moholy-Nagy made this abstract photogram that he named after himself. He made by placing objects on light-sensitive paper them by placing objects on top of a sheet and exposing them to light without the of photographic paper, then exposing it use of a camera. The title refers to a mirror; to light; the objects block the light from the shapes in this composition may have reacting with the paper, resulting in the been made using a circular looking glass objects being silhouetted in a dark ﬁeld. and its reﬂections. The large size of the The comb in this image was probably print suggests that Moholy-Nagy used an translucent, thereby allowing the light to earlier photogram as a negative to make pass through it. this enlargement, thus this image is a “mirror” image, or reversal of the earlier composition. The shadow effects of the circular and angular forms energize the space, evoking movement.

WAGSTAFF.Labels_rd3.indd 49 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 50 9/7/16 2:37 PM Walker Evans American, 1903–1975 Times Square / Broadway Composition, 1930 Gelatin silver print

“They say the neon lights are bright / Francis Bruguière On Broadway / They say there’s always American, 1879–1945 magic / In the air.” Composers Jerry Lieber and Mike Stoller could easily have had this Cut-Paper Abstraction, c. 1927 photograph by Walker Evans in mind when Gelatin silver print they penned those famous opening lyrics. The dazzling overlay of interweaving lights captures the vibrancy of New York City. This photomontage, made by combining several negatives, eliminates the space between the marquees and shifts the focus from the details of the entertainments to their combined visual impact. The Big House, whose bright lights anchor the composition, was a hard-boiled, Academy Award-winning prison drama. WAGSTAFF.Labels_rd3.indd 51 9/7/16 2:37 PM

WAGSTAFF.Labels_rd3.indd 52 9/7/16 2:37 PM Sir Cecil Walter Hardy Harold Edgerton Beaton American, 1903–1990 English, 1904–1980 Tennis Swing, 1930s Marlene Dietrich, 1932 Gelatin silver print Gelatin silver print Edgerton used photography as a scientific During the Great Depression, Hollywood tool. Most photographs take one image films offered fans escape from economic per frame of film. But in a multi-flash hardship into a world imbued with wealth photograph, like this one, several exposures and fame. Beaton described German- are made on a single negative. The multiple American actress Marlene Dietrich’s flashes come from a stroboscope, or strobe, unapproachable beauty in his memoir: which emits brief, repetitive flashes of “From the flat screen Dietrich stormed light. The film is exposed only when the the senses, looking always tangible, and stroboscope flashes to achieve exposures at the same time untouchable.” Beaton as fast as 1/100,000 of a second. Beginning chose a black background to emphasize in 1931, Edgerton developed and improved her pale complexion and sultry expression. strobes and used them to freeze objects He paired her feminine beauty with a in motion for film. He revealed aspects luxurious Cattleya orchid. Beaton was an of motion not visible to the naked eye by English fashion and war photographer, photographing everyday actions—including painter, interior designer, and an Academy a tennis player hitting a stroke. Award-winning stage and costume designer for film and theater.

WAGSTAFF.Labels_rd3.indd 53 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 54 9/7/16 2:37 PM Manuel Álvarez Bravo Edward Weston Mexican, 1902–2002 American, 1886–1958 Parabola Optica, Bananas and Orange, 1927 negative, 1931; print, 1974 Gelatin silver print Gelatin silver print “To clearly express my feeling for life with This photograph of an optician’s shop, photographic beauty, present objectively taken from the perspective of a pedestrian the texture, rhythm, form in nature, looking up, plays a trick on the viewer. without subterfuge or evasion in technique Bravo, a leading Latin American modernist or spirit,...this is my way in photography.” photographer, ﬂipped the negative to So wrote Edward Weston in 1927, the year produce reversed text, calling into question in which he made this still life composition. the accuracy of vision. Images of the human The skin of the fruit is rendered in precise eye reiterate the theme of looking. The detail, with the bruises and marks on the shop’s name La Optica Moderna means bananas becoming graphic strokes of the “the modern optician’s shop,” but for Bravo camera’s “brush.” The pocked surface of these words imply “the modern viewpoint.” the citrus fruit is also clearly delineated The title, Parabola Optica, compounds this while the orange’s center reveals a strange wordplay; parabola suggests both an oval organic form. shape and a parable, or story with multiple meanings, while optica suggests the story will be told through visual means.

WAGSTAFF.Labels_rd3.indd 55 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 56 9/7/16 2:37 PM Edward Weston August Sander American, 1886–1958 German, 1876–1964 Sand Dunes, Oceano, 1936 Master Mason, 1932 Gelatin silver print Gelatin silver print

Sand Dunes, Oceano, 1936 This portrait is part of Sander’s Gelatin silver print incomplete, lifelong project “People of the Twentieth Century.” It was intended Group f/64 formed in San Francisco, as a comprehensive photographic index California in 1932. Weston and its other of the German people, classiﬁed by social members embraced photography’s type. Although the Nazis banned Sander’s power to transform everyday objects and portraits in the 1930s because the landscapes into abstract compositions. subjects did not always conform to the Here Weston used the patterns of light ideal Aryan type, he continued to make and shade to create a composition photographs. Framed by the chimney focused on line, shape, and tone. This he is building, this mason embodies the warm-toned gelatin silver print transmits craftsman of the pre-industrial era. He glistening gradations, from velvety blacks holds his tools effortlessly, as though they to reﬂective highlights. are extensions of his hands.

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WAGSTAFF.Labels_rd3.indd 57 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 58 9/7/16 2:37 PM Dora Maar (born Henriette Man Ray Theodora Markovitch) (Emmanuel Radnitzky) French, 1907–1997 American, 1890–1976 Lise Deharme, 1936 Butterﬂies, 1935 Gelatin silver print Carbro print

Maar confounds the viewer’s expectations Always interested in new ways of of a portrait by focusing on an overly manipulating the photographic medium, elaborate birdcage rather than her friend, Man Ray experimented with early color the surrealist poet and society hostess photography during the mid-1930s. This Lise Deharme. The cage could represent display of brilliantly colored butterﬂies the sitter’s state of mind, a sense of provided an ideal showcase for the rich entrapment, for women have often been hues of the tri-color carbro printing portrayed in art and literature as pet birds process. The name “carbro” comes from trapped in gilded cages by men. This the combination of carbon pigments and photograph may have been taken when bromide prints used to make the matrices Pablo Picasso visited Deharme and Maar in necessary to create a full color print. The San Tropez in 1936. Maar soon became one ﬁrst commercial color printing process, of Picasso’s muses and their destructive it was widely used in advertising from the relationship was notorious. mid-1930s through the 1950s.

WAGSTAFF.Labels_rd3.indd 59 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 60 9/7/16 2:37 PM Carl Van Vechten American, 1880–1964 Jacob Lawrence, 1941 Gelatin silver print

American writer, critic, and photographer Van Vechten began taking portraits of Lisette Model significant cultural figures in 1932. His portraits of African Americans active American, born Austria, 1901–1983 in the Harlem Renaissance constitute Running Legs, Forty-Second a significant part of his large body of Street, New York, 1940–41 work. At the time this photograph was taken, Jacob Lawrence was working in his Gelatin silver print Harlem studio on his monumental project The Migration of the Negro, sixty paintings depicting the Great Migration of millions of African Americans from the Jim Crow South to the North.

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WAGSTAFF.Labels_rd3.indd 62 9/7/16 2:37 PM Irving Penn American, 1917–2009 Mrs. William Rhinelander Stewart, 1948 Gelatin silver print

Penn is famous for his insightful Arthur Rothstein portraiture and his influential work in the American, 1915–1985 field of fashion. Here he arranged two portable background screens to create a Organized, c. 1940 stage. To emphasize the resulting sense Gelatin silver print of claustrophobic confinement, he posed Mrs. William Rhinelander Stewart, a beautiful New York socialite, in the tight corner with her arms tucked behind her. Mrs. Stewart is a study in refined formality in her strapless, pleated ball gown with handkerchief hemline. Her bare shoulders, coiffed hair, and pearl choker epitomize elegance, yet a glance at the floor reveals an untidy tangle of photographer’s cords—a reminder of Penn’s efforts to WAGSTAFF.Labels_rd3.indd 63 9/7/16 2:37 PM make Stewart’s beauty seem effortless.

WAGSTAFF.Labels_rd3.indd 64 9/7/16 2:37 PM Jerome Liebling Weegee (Arthur Fellig) American, 1924–2011 American, born Austria, 1899–1968 Cop’s Hat, Union Square, Children at the Movies, N.Y.C., 1948 Palace Theatre, c. 1943 Gelatin silver print Gelatin silver print

WAGSTAFF.Labels_rd3.indd 65 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 66 9/7/16 2:37 PM Bill Brandt Philippe Halsman English, born Germany, 1904–1983 American, born Latvia, 1906–1979 August 1951, 1951 Dalí Atomicus, 1948 Gelatin silver print Gelatin silver print

Using a wide-angle lens, Brandt Halsman’s photograph of surrealist artist experimented with distortions of the Salvador Dalí painting Leda Atomica female body. Here the woman’s crossed (1949) was inspired by that painting’s leg and foot point like an arrow to the chair, composition in which everything appears window, and cityscape beyond, which to float. In the photograph, the painting is grounds the viewer in a recognizable suspended in mid-air, along with a chair, space. Such dynamic compositions reveal an easel, three cats, a spout of water, Brandt’s appreciation for distortions and Dalí himself. The photographer and in Modern art—particularly in works painter staged twenty-eight attempts by Man Ray, Pablo Picasso, and Henri before achieving the final image, which is Matisse. Brandt was a well-established not this one. Halsman said, “When you ask photojournalist who documented all levels a person to jump, his attention is mostly of British society. His nude studies were directed toward the act of jumping and the among the few works he did not create for mask falls so that the real person appears.” a professional assignment. It is a special opportunity to have this photograph on view at the Wadsworth Atheneum—the first American museum to acquire works by Dalí.

WAGSTAFF.Labels_rd3.indd 67 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 68 9/7/16 2:37 PM Robert Frank Unidentiﬁed Artist American, born Switzerland, 1924 Floyd Patterson Knocking Out Paris, 1950 an Opponent, 1950s Gelatin silver print Gelatin silver print

Frank is best known for his photographic The standing boxer, identified as Floyd book, The Americans. However, the Patterson, has just knocked out his Swiss-born photographer also worked opponent who is captured falling to the in France. This image is part of a series canvas. Note the four photographers lining focused on flower sellers in Paris. the edge of the ring ready to document the Although the figures seem isolated from climactic event. As an amateur, Patterson one another, the photograph invites won the Gold medal as a middleweight for viewers to connect them, to see the Paris the United States at the 1952 Olympics streets as a stage for human drama. held in Helsinki, Finland. As a professional, Patterson became the youngest heavyweight champion in history and the first heavyweight to regain his title after a loss.

WAGSTAFF.Labels_rd3.indd 69 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 70 9/7/16 2:37 PM Robert Frank American, born Switzerland, 1924 Ball Dress, 1952 Gelatin silver print

Frank worked briefly as a fashion photographer at Harper’s Bazaar before Unidentified Artist branching out as a freelancer and traveling the world. While in France, he took this Two Unidentified Boxers, photograph of a curvaceous woman seen One Tripping over from the back wearing a full-length white the Downed Boxer, 1950s ball gown and mink stole. The woman’s mysterious sensuality lingers as she Gelatin silver print disappears into the darkness.

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WAGSTAFF.Labels_rd3.indd 72 9/7/16 2:37 PM Dorothea Lange William Klein American, 1895–1965 American, born 1928 Mormon Couple, Gunlock, Vogue, Chapeau, Utah, 1954 negative, 1957; print, 1979 Gelatin silver print Gelatin silver print

Over the course of three weeks in 1953, Klein created instant glamor for the Lange took photographs for her project magazine French Vogue with this photograph Three Mormon Towns with her friend and of American model Barbara Mullen fellow photographer Ansel Adams. The whose face is slightly obscured by waves series depicts communities grappling of cigarette smoke. The curling patterns with the economic boom after World in the smoke naturally mimic the white War II and the changes that it brought to ﬂower petals in the extravagant hat rural, southwestern Utah. Known for her designed by French milliner Gérard Albouy, probing and sympathetic portraits, Lange known as Ouy. captures an elderly couple seated on their crumbling front stoop in the remote town of Gunlock.

WAGSTAFF.Labels_rd3.indd 73 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 74 9/7/16 2:37 PM Diane Arbus Andy Warhol American, 1923–1971 American, 1928–1987 Puerto Rican Woman with Photo Booth Self-Portrait, a Beauty Mark, 1965 1960–65 Gelatin silver print Gelatin silver print

Often criticized for exploiting subjects on Committed to the appeal of popular culture, the margins of society, Arbus also had the pop artist Warhol created a series of uncanny ability to make the familiar seem photographs taken in photo booths in the strange. This confrontational portrait of a 1960s. A device for quickly producing self- woman on the street in New York reveals portraits, the photo-booth format allows for the photographer’s penetrating style. spontaneity of pose within the ﬁxed setting Staring at the camera with a curled lip, the of the booth during a controlled time frame. heavily made-up woman seems to return In this strip of four images, Warhol plays our gaze with a mixture of disgust and with the idea of disguise, obscuring his face aggression. This portrait encourages the with his hands and dark sunglasses—except viewer to consider the power dynamics for a rare, full-face portrait—while the between photographer and subject and the camera automatically exposed each frame. role of choice in the encounter.

WAGSTAFF.Labels_rd3.indd 75 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 76 9/7/16 2:37 PM Minor White American, 1908–1976 Schoodic Point, Maine, 1968 Gelatin silver print

White captured this stunning view at Schoodic Point, located at the southern tip of Schoodic Peninsula in Winter Harbor, Edmund Teske Maine. The surf pounds against huge American, 1911–1996 igneous rocks that were formed from the cooling of magma during past volcanic Mineral Baths, Big Sur, activity. An inﬂuential teacher and writer California, 1967 about photography, White cofounded the Gelatin silver print magazine Aperture in 1952 and edited it for twenty-three years. As he told his readers, he used photography of the natural world to tap into the deep spiritual realms of the human psyche.

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WAGSTAFF.Labels_rd3.indd 77 9/7/16 2:37 PM Larry Clark Martin Parr American, born 1943 English, born 1952 Playing Kung Fu in the Park, Jubilee Street Party, Elland, 1975 Yorkshire, 1977 Gelatin silver print Gelatin silver print

From Clark’s series “Teenage Lust,” this Parr explores the incongruities of the photograph depicts two shirtless male everyday. Here he presents an outdoor hustlers in a New York City park. Their banquet scene, tables filled with plates youth is betrayed by the way they play of food and a tiered cake set between around while waiting to meet clients. flooded industrial buildings on a stormy Caught in mid-jump, the young man on day. When the photographer came on the the right reveals his boyish enthusiasm. scene there wasn’t a person in sight and The other young man has his feet planted yet, despite the wealth of information he firmly, prepared for his opponent to captured in the photograph, its meaning strike, perhaps suggestive of the dangers seems to be closely linked to the hopes associated with their trade. and disappointments of human beings.

WAGSTAFF.Labels_rd3.indd 79 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 80 9/7/16 2:37 PM William Eggleston American, born 1939 J. A. Kelley and Co. at Night, c. 1970

Chromogenic print

Illuminated only by the solitary streetlight, Elaine Mayes the J. A. Kelley and Co. building sits bathed American, born 1936 in a bluish light from a mercury-vapor lamp. Eggleston was able to see mystery Tweede, 1973 in the mundane; by using color and light, Gelatin silver print he transformed an ordinary building on an empty street into an ominous setting. The red streak at left was created by the taillight of a passing vehicle.

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WAGSTAFF.Labels_rd3.indd 82 9/7/16 2:37 PM NASA William A. Garnett Astronaut on the Moon, American, 1916–2006 c. 1971 Water Hole with Cattle Gelatin silver print Tracks, Santa Fe Trail, West of Wagon Mound, 1975 From 1963 to 1972, the Apollo program Gelatin silver print was designed to land humans on the moon and return them safely back After serving as a United States Army to earth. Six of the missions, among Signal Corps cameraman during World 14 15 1971 them Apollos and in when War II, Garnett learned how to pilot a this photograph was taken, achieved single engine plane so he could record this goal. The missions provided a the American landscape. Garnett’s wealth of scientific data and almost aerial photographs resemble abstract 400 kilograms of lunar samples, which paintings or views through a microscope. astronauts collected on excursions in As landscapes, they do not have the the lunar mobile lab, depicted here. The traditional grounding of a horizon line. Apollo astronauts also brought with All reveal astonishing patterns that are them a hopeful vision of America and not visible from the ground. Garnett’s the human spirit. work defies the stereotype of aerial photography as purely scientific and without artistry. He became the first aerial photographer to earn the prestigious Guggenheim Award.

WAGSTAFF.Labels_rd3.indd 83 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 84 9/7/16 2:37 PM Gerald Incandela Joel-Peter Witkin American, born Tunisia, 1952 American, born 1939 Thilo von Watzdorf and His Mini-mat Pia-tat, 1979 Parents, Clapham Common, Gelatin silver print London, 1976 Known for his dark imagination fueled by Gelatin silver print references to art history, Witkin carefully composed this tableau reminiscent of This image is a composite portrait of a Pietá, a depiction of the Virgin Mary Incandela’s boyfriend Thilo von Watzdorf cradling the dead Christ. Witkin subverts and his parents. In the center, the the revered Christian composition. One photographer can be seen in the mirror figure is gagged; the other is blindfolded with his camera. Seven photographs were and dressed in a bra, stockings, and garter joined together to create a continuous belt. After photographing the scene, frame, the visible rectangles breaking the artist scratched out elements of the the illusion of a seamless composition. negative—parts of the figures’ faces The dual images of the mother and her and all of the hands and feet—creating reflection—seen from behind gesturing unnerving deformities. toward the camera—add a sense of simultaneity. The father, visible through an open door reading the newspaper in an adjoining room, also suggests an alternate vantage point. Incandela extended the side room by drawing a triangle onto the image where his signature appears.

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WAGSTAFF.Labels_rd3.indd 85 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 86 9/7/16 2:37 PM Larry Sultan Chris Enos American, 1946–2009 American, born 1944 Untitled, 1979 Untitled (from the Plant Chromogenic print Life Series), 1978 Gelatin silver print

WAGSTAFF.Labels_rd3.indd 87 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 88 9/7/16 2:37 PM Tom Zetterstrom American, born 1945 D.C., 1980 Gelatin silver print

In the series “Moving Point of View,” Zetterstrom photographed the landscape Peter Hujar from a moving car. Shot while driving through the I-695 tunnel under the American, 1934–1987 Anacostia River near Washington, D.C., Lynn Davis Pulling Her Hair, the artist captured the lonely stretch of 1981 highway with unexpected excitement. The lights inside the tunnel, photographed Gelatin silver print while the car was in motion, are transformed into jagged and threatening lines, reminiscent of a violent lightning storm.

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WAGSTAFF.Labels_rd3.indd 90 9/7/16 2:37 PM Rick Dingus American, born 1951 After the Tornado at Wichita Falls, 1979–81 Gelatin silver print with hand-applied graphite

Dingus’s photograph of twisted metal and broken utility wires captures the devastation in a small town after a tornado. The artist then drew directly onto the photograph with silver pencil. These marks Ice Bowl and Spoon, c. 1871 In 1984 Wagstaff became passionate about nineteenth-century American silver, and he Gorham Manufacturing Company give a sense of the wind that whipped (American, founded 1831) quickly assembled one of the finest collections Silver in the field. This magnificent ice bowl was Lent by the Dallas Museum of Art, the Eugene created to commemorate the United States through the area during the storm. When and Margaret McDermott Art Fund, Inc. l.2016.1.1–.2 purchase of Alaska in 1867. Fashioned in the viewed from different angles, the image shape of ice blocks with cast icicles and polar-bear handles, it symbolizes the period becomes visible then invisible, perhaps when American silversmiths turned away from historical revival styles toward a new reminiscent of the before and after of the sense of originality in their designs. fast-moving cyclone.

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WAGSTAFF.Labels_rd3.indd 91 9/7/16 2:37 PM Salted Paper Prints Albumen Silver Prints 1840s–c. 1860 1855–90s

Qualities Qualities

Matte surface with visible Glossy surface

paper texture Depending on condition, colors Warm color range, from reddish range from warm reddish brown brown to purplish gray to purplish brown to purple

Soft shadows Sharp detail

The prints are often made on The paper is coated with albumen high-quality writing paper using (egg whites) and the image is created sodium chloride (table salt) and using a solution of silver salts. silver nitrate.

WAGSTAFF.Labels_rd3.indd 93 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 94 9/7/16 2:37 PM Platinum or Gelatin Silver Prints Palladium Prints 1890s–present 1880s–1920s; 1970s–present Qualities

Qualities Matte or glossy surface

Matte surface, sometimes with with ﬁne detail

prominent paper texture that can Colors range from soften image bluish gray to black

Wide tonal range, from rich, neutral blacks to ﬁne, silvery grays This medium displaced albumen by 1895, when most photographers Platinum prints fell out of favor stopped preparing their own during World War I as a result of the paper and turned to newly available increasing cost of platinum, but they commercial products. enjoyed a revival in the 1970s.

WAGSTAFF.Labels_rd3.indd 95 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 96 9/7/16 2:37 PM Three-Color Dye Transfer Prints Carbro Prints 1930s–present 1920s–50s Qualities

Qualities Matte surface

Matte surface Rich color that resists fading

Saturated color range Uses three dyes (cyan, magenta,

Uses three pigmented tissues and yellow), transferred one at a time (red, green, and blue) applied at once Artists favor this multistep process The name carbro comes from for color control and permanence. carbon and bromide. The ﬁrst Its origins date from the 1870s, but commercial color printing process, by the 1930s it had evolved into the it was often used for advertising. method used today.

WAGSTAFF.Labels_rd3.indd 97 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 98 9/7/16 2:37 PM Chromogenic Prints 1935–present

Qualities

Surface ranges from matte to glossy

Naturalistic colors that can shift over time Unidentiﬁed Artist

Until recently, this technique was George E. Swain, Horse Thief, 1886 used by everyone from drugstore developers to ﬁne art photographers. Albumen silver print in a cartes-de-visite album of criminal “mug shots” The word chromogenic is from the Greek, meaning “color forming.”

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WAGSTAFF.Labels_rd3.indd 99 9/7/16 2:37 PM Oscar G. Mason Unidentiﬁed Artist American, 1830–1921 Sergeant Brazier Wilsey, Lupus Vulgaris, 1900 Civil War Victim, c. 1865 Hand-colored halftone in George Henry Fox, Albumen silver print Photographic Atlas of the Diseases of the Skin (1902)

WAGSTAFF.Labels_rd3.indd 101 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 102 9/7/16 2:37 PM Edward and Henry T. Underwood & Underwood Anthony & Co. (publisher) (publisher) American, active 1862–1901 American, active 1880–1940s Perspective View of the Photographing New York City Carriage Way in the Suspension on a Slender Support Eighteen Bridge, Niagara, c. 1865 Stories above Pavement of Albumen silver prints Fifth Avenue, 1905 Gelatin silver prints

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