Photo-historian John Wood ( The Daguerreotype ) here resonantly portrays a "more gracious naive" era in the art and craft of photography by focusing on turn-of-the-century photographers like Stieglitz, Steichen, Clarence White and Heinrich Kuhn, who employed autochrome, a particularly luminous starch-dye and glass-plate photographic color process. First presented in Paris in 1904 by the Lumiere brothers, autochrome has a nuance and fragility that seems to impose its own aesthetic on practitioners. In one example of the 75 included, Karl Struss's 1910 work, Boardwalk, L.I. , has a charm that eludes today's more glaring standards, in part, perhaps, because the muted softness inherent in the process mitigates the bright sunlight indicated by the numerous raised parasols. Wood's smart text also explains how the Photo-Secessionists, in their artistic and literary ferment, later rejected autochrome. Factual and evocative "Notes on the Plates" (far removed from their subjects by the antic tyranny of picture book design) would have benefited from same-page placement, thus enlightening--without distracting--the fortunate viewer.
37 Ibid., 208. 38 E. J. Wall, The History ofThree-Color Photography (1925; rpt. London: Focal Press, 1970), 463. 39 R. J. Wallace, “Measurements of ... 52 Letter from William Wallace White, Richards & Co.
In this stunning collection, Pam Roberts has gathered the finest examples of the art of colour photography.
Since the Lumiere brothers made the autochrome process commercially available in June 1907, colour photography has proliferated in so many directions that we are saturated with it. In this stunning...
Donald B. Marron Wynton Marsalis ** Robert B. Menschel * Harvey S. Shipley Miller Philip S. Niarchos James G. Niven Peter Norton Maja Oeri Richard E. Oldenburg Michael S. Ovitz Richard D. Parsons Peter G. Peterson * Mrs. Milton Petrie ...
From its earliest days, photography could not escape the pictorial traditions that had gone before it. This book, the first comprehensive study of Pictorialism in Europe, analyses the remarkable diversity...
Coatings on Photographs: Materials, Techniques, and Conservation
Monet to Evan Charteris, June 21, 1926, quoted in Stephen Z. Levine, “Monet's Series: Repetition, Obsession,” October 37 (Summer 1986): 65. On March 18, 1892, Monet wrote to Alice Hoschedé, “J'ai été pincé par mon frère (jour de bourse) ...
"Copublished with the Milwaukee Art Museum on the occasion of the exhibition, Color rush: 75 years of color photography in America, on view February 22 to May 19, 2013."--Colophon.
He later returned to exploring the photograph as objective record, concentrating mainly on writing and to experiments in photographic technology. This landmark volume surveys the works of a revelatory photographer.
About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work.