Tori Buell
P108-History and Survey of Photography
Notes 7
4/26/2011
Photo Secessionist
The Photo Secessionist:
“White, Miss Grace 1898”
Meant to break away from traditional photography
Photo Secessionist believed that photography should be an art form on its own
1900’s Stieglitz “Gallery 291” in America was first main gallery showing work from painters of the secessionist era
Began to look beyond the regular to a different view point to objects
Wanted to explore new things in the world around them
More interesting time period; cars, skyscrapers, etc. were being built
Clearance White:
Midwest Photographer
1907 became more of a Secessionist
Was a professor of photography, taught people such as Lange
Believed in a more abstract look to the subject matter
“The Torso Miss Thompson 1907” - picture of a naked ladies torso
“Columbia College New York c1910”
Coburn:
“Place de la Concorde Paris c1904”
Hung out at the Ash Can School of Painters; gritty people gritty work
Worked in Auto Chrome=multiple negatives and combined them
“Station Roofs 1912”
Modernist aspect to photographs
“Woolworth Building c1912”-new architect building; stretched out
“The Flatiron Building Evening 1912”
“Vortograph 1917”- used mirrors to give reflections into the picture to make patterns
Stieglitz:
“Winter Fifth Ave 1892”
Started as a pictorialist then became more of a modernist
“The Terminal 1893”- steaming horses; early pictorialistic
“Hand of Man 1902”-symbolic of what man has done; train tracks, lack of horses: the power of man- Had a use of line and meaningful title to make people think
Photo’s are to be seen like windows
First journal of photography
Published the first photography magazine; Camera Works
“The Steerage 1907”-line to divide rich and poor
Created Gallery 291:modern art; no photographs
“Spiritual America 1923”-Horse with no balls; gives symbolism of engine-animal taken the right to reproduce away, power of the harness
Coined the term Straight Photography:not manipulated
“Equivalent 1927”: all form/not content
Married to Georgia O’Keefe, took many pictures of her
Called the “Big Man”
Steichen:
French Camera Club
Worked with Stieglitz; did most of the work and layout
Painter/Photographer
“The Flatiron 1905”
“The Pond Moonlight 1904”-once the highest costing photo
Designed/layout for Camera Works magazine
gum over platinum-grey tones
“Marlene Dietrich 1932”
Conde Nast Chief Photographer
Fashion/Editorial work; perfects the Hollywood style
Strand:
“Blind Woman 1915”
joins photography club; uses the dark club darkroom for 20 years
Studies with Lewis Hine; toured Gallery 291 with Hine
“Wire Wheel 1917”
Had a side business of taking pictures of University Campus
Worked on a medical team in WWI
Abstract photographer that brought out lines/composition
“Rebecca New York”
“Church Ranchos de Taos New Mexico 1931”
used light/shadows
“The Lusetti Family Luzzara Italy 1953”
Made Pro-Union movies/books
After wife left became a Socialist
Edward Weston:
Began as a pictorialist for straight photography
Leaves his wife for Modotti
“Two Shells 1927”
Joined F64 Club with Ansel Adams
Most known for fruits and veggie pictures
“Pepper Number 30 1930”
“Cabbage Leaf 1931”
“White Raddish 1933”
Would buy fruit to make it look like nudes
“Pelican 1942”
Suffered from Parkinsons Disease; subject of pictures change to dark
Simple light backgrounds used throughout
Contrasted value prominent
Secessionist Photography was the end of the old
"Weston, Two Shells 1927"
http://www.sfmoma.org/images/artwork/large/41.2995_01_b02.jpg
"Strand, Blind Woman 1915"
http://media-3.web.britannica.com/eb-media/25/43725-004-08A38DF2.jpg
"Steichen, The Pond Moonlight 1904"
http://cameraobscura.busdraghi.net/wp-content/uploads/2008/01/steichen_the-pond-moonlight.jpg
Gallery 291
http://en.wikipedia.org/wiki/291_(Art_Gallery)
Info on Pictorialism to Photo Secession
http://www.cmp.ucr.edu/collections/permanent/object_genres/photographers/women/pictorialism.html
