The career of the American photographer Carleton E. Watkins (1829-1916) spanned more than fifty years. It is his giant photographs of Yosemite, from the "best general view," that most effectively articulate his artistic vision. The J. Paul Getty Museum holds more than fourteen hundred pictures by Watkins, making him the best-represented nineteenth-century photographer in the collection. In Focus: Carleton Watkins features approximately fifty of these works, including mammoth plates, stereographs, albumen prints, and cabinet and boudoir cards. The plates are accompanied by commentaries written by Peter E. Palmquist, an independent scholar of the history of photography. Mr. Palmquist, along with David Featherstone, Tom Fels, Weston Naef, David Robertson, and Amy Rule, were participants in a 1996 colloquium on Watkins and his career. An edited transcript of their discussion and a chronological overview of Watkins's life and art follow the plate section.
This is an illustrated volume that takes readers on a tour through Yosemite Valley from the view at Inspiration Point to the panorama high above the valley at Glacier Point, all from the perspective of one of Yosemite's first surveyors.
Works of the nineteenth century photographer who focused mainly on landscape photos, and Yosemite was a favorite subject of his. His photos of the valley significantly influenced the United States...
Collects the photographs of Carleton Watkins that contributed to the argument for creating the National Park Service, along with essays that explore the artist and his work providing context and depth to the images.
Accompanies the exhibition "In Focus: The Tree," held at the J. Paul Getty Museum, Los Angeles, Feb. 8 through July 3, 2011.
Carleton Watkins: Selected Texts and Bibliography
September: Muybridge photographs at Point Bonita on the north side of the Golden Gate, including views of the stranded ship Costa Rica, which went aground at Point Diablo here in September 1873. He seems to have photographed San Quentin ...
Watkins documented late nineteenth century California, including Yosemite, mining areas, towns, trees. He published them as albums, single photographs, and as stereographs.
Underwood's biographer describes this as a “lighter rustic” than had been developed in the parks prior to the establishment of the NPS, a design that echoes the mass and verticality of the canyon, uses its materials, and yet blends with ...