March 3
Modernism
Fred Holland Day. Untitled (Crucifix with Roman Soldiers). 1896.
Marien, Mary Warner. Photography: A cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
Fred Holland Day. Untitled Crucifixion. 1896.
http://www.johncoulthart.com/feuilleton/2007/04/08/fred-holland-day/
Fred Holland Day. The Crucifixion #4 "My God, My God, Why hast thou forsaken me?" 1898.
http://www.nhpr.org/files/teticollection01.jpg |
1901 Stieglitz left Camera Notes |
1902 founded the Photo Secession |
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Invitation only group that included Alfred Stieglitz, Eduard Steichen, Frank Eugene, Gertrude Kaesebier, Joseph
Keiley, John
Bullcok, Eva Watson-Schutze |
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Consciously exculded themselves from traditional photographic practicesthat Stieglitz felt were inferior and old-fashioned |
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Wanted to force the art world to recognize photography "as a distinctive medium of individual expression" |
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1903 established Camera Work as Secession's Journal |
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"As
far as I'm concerned he took about five good pictures in his whole life,
and that was only when he ventured out of himself. He had nothing to
do with me or my pictures. Everything had to revolve around him. It
was one of the silliest and most outrageous cults I've ever seen. I've
never liked any persons or schools that closed other people out."
- Berenice Abbott, 1981 |
Frank Eugene. Adam and Eve. c. 1900.
Heinrich Kuhn. On the Hillside. 1910.
Marien, Mary Warner. Photography: A cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
Clarence White. Morning. 1908.
Marien, Mary Warner. Photography: A cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
Edward
Steichen
1879 - 1973
Edward Steichen. Self-Portrait. 1902.
http://www.journalism.indiana.edu/syllabi/ccookman/j460spring02/ccpix/steichen.jpg
Edward Steichen. The Brass Bowl. 1906.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
Edward Steichen. Auguste Rodin. 1903. |
Characteristics
of Steichen's work: |
Subjective
response to visual world |
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Photograph
used as means of expression |
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Moody overtones |
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Edward Steichen. Moonlight:
The Pond. 1906.
http://www.fotopolis.pl/obrazki/steichen_aukcja.jpg
1904 Lumiere brothers introduce the first
viable color photo process, the Autochrome |
Transparent image on glass - similar to a modern slide |
Filter composed of colored potato starch grains fixed to the top of the glass plate before exposure |
During exposure, light traveled through the color screens before hitting the light sensitive emulsion that coated the bottom of the glass allowing
selective exposure of the emulsion to color |
autochrome close up
http://www.awm.gov.au/captured/images/autochrome.png
How the autochrome process works
Edward Steichen. Alfred Stieglitz.
1907.
Newhall, Beaumont. The History of Photography.
The Museum of Modern Art, New York. 1982.
Jane Reece. The Poinsettia Girl (Self-Portrait). 1907.
Marien, Mary Warner. Photography: A cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
Gertrude Kasebier
1852 - 1934
Gertrude Kasebier. Blessed Art
Thou Amongst Women. c. 1900. Platinum print on Japanese tissue.
Richard G. Tansey & Fred S. Kleiner. Gardner's
Art Through the Ages. Tenth ed. Fort Worth: Harcourt Brace College Publishers,
1996.
Gertrude Kasebier. The Magic
Crystal. c. 1904.
Janson,
H.W. and Anthony F. Janson. History of Art. Sixth ed. Vol. 2. University of
North Carolina; Prentice Hall inc., 2001. 2 vols.
Gertrude Kasebier. Portrait of Miss N.
1902.
Marien, Mary Warner. Photography: A cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
Anne Brigman. The Bubble. 1907.
Joseph T. Keiley. Garden of Dreams. From Camera Work #17 January 1907. 1899. |
The 291 (a.k.a. The Little Galleries of the PhotoSeccesion) 1905 - 1917 |
1910 Stieglitz organizes the last show of Pictorialist work for the Albright-Knox Gallery in Buffalo, New York |
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Constantin
Brancusi. Bird in Space. 1928? |
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Avant-garde
= artists or works that are novel or experimental |
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relates to military
term for soldiers who explore battlefield ahead of advancing army |
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suggests
small group of intellectuals who push the boundaries of what is accepted
as the norm |
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Pablo Picasso. Les Demoiselles D'Avignon. 1907.
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice
Hall Inc., and Harry N. Abrams Inc., 2005.
 |
|
Edmond Fortier.
Type of Women, West Africa. 1906. |
Pablo
Picasso. Les Demoiselles D'Avignon. 1907. Stokstad, Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N. Abrams Inc., 2005. |
Alfred Stieglitz. The Steerage.
1907.
http://www.metmuseum.org/toah/hd/stgp/hob_33.43.419.htm
"I saw shapes related to one another - a picture of shapes, and underlying it, a new vision that held me." - Stieglitz |
 |
 |
Alfred Stieglitz. Winter on Fifth Avenue. 1892. |
Alfred Stieglitz. The Steerage. 1907. |
Straight
Photography = approach that attempts to depict a scene as realistically
and objectively as permitted by the medium. Condemned the use of both
pre-exposure (e.g., filters, lens coatings, soft focus) and post-exposure
(e.g., unusual developing and printing methods) manipulation
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Pictorialism |
Straight
Photography |
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Focus |
Main subject in
focus, everything else fuzzy |
Entire photo
in sharp focus |
Manipulation |
Encouraged dark
room and hand altering of final image |
No manipulation |
Tone |
Almost monochromatic
gray |
Deep contrast
and full range of tones |
Subject |
Sentimental, nostalgic
and sometimes fantastic |
Composition
and form |
Surface |
Printed on art
papers |
Printed on glossy,
waxed paper |
Overall
goal |
To make photos
look like paintings |
To make photos
look like photos |
"This
photographer is working in the same spirit as I am." - Pablo Picasso
in response to the Steerage |
Alfred Stieglitz. The Steerage. 1907. |
Heinrich Kuhn. Schnittterin
(Harvester). |
Formalism
= the concept that a work's artistic value is entirely determined by
its form--the way it is made, its purely visual aspects and its medium.
Formalism emphasizes compositional elements such as color, line, shape
and texture rather than realism, context and content |
Alvin Coburn. The Octopus. 1912.
The Armory Show
1913
Marcel
Duchamp. Nude Descending A Staircase, No. 2. 1912.
Preble,
Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice
Hall, Upper Saddle River, NJ, 2002.
Etienne-Jules Marey.
Man in Black Suit with White Stripes Down Arms and Legs, Walking in Front
of a Black Wall. c. 1884.
Janson,
H.W. and Anthony F. Janson. History of Art. Sixth ed. Vol. 2. University of
North Carolina; Prentice Hall inc., 2001. 2 vols.
Responses to the Armory Show and Duchamp's Nude: |
President Theodore Roosevelt exclaimed, "That's not art!" |
New York Times critic said Duchamp's painting resembled "an explosion in a shingle factory." |
American Art News offered a prize to anyone who could find the nude |
Paul Strand
1890 - 1976
Paul Strand. Chair
Abstract, Twin Lakes, Connecticut. 1916.
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice
Hall Inc., and Harry N. Abrams Inc., 2005.
Paul Strand. Orange
and Bowls, Twin Lakes, Connecticut. 1916.
Rosenblum,
Naomi. A World History of Photography. Abbeville Press, New York. 1989.
"The
full potential power of every medium is dependent upon the purity of
its use...This means a real respect for the thing in front of him...
The fullest realization of this accomplished without tricks of process
or manipulation, through the use of straight photographic methods."
- Paul Strand |
Paul Strand. Wall Street. 1916.
"The work was brutally direct, pure and devoid of trickery." - Stieglitz on Strand |
Paul Strand. New York (from Camera Work, June 1917). 1917. |
