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|After the Photo-Secession: American Pictorial Photography, 1910-1955 |
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|Product Details |
W.W. Norton & Company
From Library Journal
This book gathers and honors the work of the pictorial photographers who followed Alfred Stieglitz, including Imogen Cunningham and Edward Weston. Peterson's previous book, Alfred Stieglitz's Camera Notes (LJ 10/15/93), gives him the aesthetic grounding to offer insight into this photographic style, which, he effectively argues, faded with the advent of 35mm photography. The pictorial photographers featured in this volume conducted their work in a slow, carefully planned, intellectual, artistic, and physical process. Their equipment was large and heavy, while their results are almost painterly images, composed and refined with painstaking care. Peterson's book is slowly paced, as if in tribute to the genre, demanding time for full appreciation of the work of dozens of lesser-known, even forgotten photo-artists of an earlier day. But his finely crafted text, woven around beautiful images and supported by brief biographies of 75 practitioners of this art, provides great satisfaction to the reader and the viewer. For all art and photography collections.?David Bryant, New Canaan P.L., Ct.
Copyright 1997 Reed Business Information, Inc.
Describes the background of the "Pictorial Movement" in America, the photographers' methods and their work, their camera and clubs.
The beautiful and seductive images of an overlooked movement, reproduced in their full tonal range.
Much has been written about Alfred Stieglitz and his role in establishing photography as an art. Little attention, however, has been paid to the pictorial photographers who followed Stieglitz, among them Imo Jean Cunningham, Edward Weston, Clarence H. White, and a host of others who, in a widespread movement, approached photography in a painterly fashion, creating beautiful images through the use of careful lighting, manipulated tones, soft focus effects, and artistic compositions.
In this important volume, Christian A. Peterson finally gives the pictorialists of the first half of the twentieth century their due. He describes the backgrounds of the movement, their methods, the photo clubs they belonged to, and their work, illustrated here with ninety-three stunning productions. The movement seemed to die out, Peterson suggests, with the rising popularity of 35mm photography in mid-century, when the care and slow working procedures required by large-format cameras became unpopular.
Christian A. Peterson is associate curator of photography at the Minneapolis Institute of Arts and author of Alfred Stieglitz's Camera Notes, also from Norton. 93 full-color photographs.