Contents
| This theme includes example sections and will be revised and added to as we proceed. Suggestions for additions, improvements and the correction of factual errors are always appreciated.
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Introduction to Pictorialism
8.01 Pictorialism > Introduction to Pictorialism
From the invention of photography some of its key proponents, such as
Oscar Gustave Rejlander (1813-1875) and
Henry Peach Robinson (1830-1901), saw the potential of using technology to create art works that were the aesthetic equivalent of painting. As early as 1845 John Jabez Edwin Mayall illustrated The Lord's Prayer with a series of ten Daguerreotypes.
The arguments over whether photography is art still continue unresolved today but at certain historically decisive moments the craft of photography has been influenced by the debate with photographers striving to produce unique and irreproducible artworks that are indistinguishable from painting.
8.02 Pictorialism > The roots of Pictorialism
   
Early photographers had little stylistic choice but to reference the artistic milieu with which they were aware. The inventors of photography such as Nicéphore Niépce, Louis Mandé Daguerre and Fox Talbot were cultured people who were immersed in both the arts and sciences of their time. Here four examples clearly show how emerging photography was influenced by engravings and paintings.
- One of the earliest heliographs by Nicéphore Niépce on a pewter plate in about 1820 was copy of a print of Cardinal d'Amboise. The early photographers such as Fox Talbot, John Dillwyn Llewelyn and many others copied artworks as a means of testing the fidelity of their photographs and demonstrating their utility.
- In the still life by Louis Jules Duboscq from about 1850 the layout of objects is far from random and it closely follows spacing rules used to create a harmonious painting.
- Early portraits were often uninteresting but there are some photographers who seem a hundred years before their time and the partnership of David Octavius Hill and Robert Adamson in the 1840s is one of these. In this 1844 portrait of James Nasmyth, inventor of the steam hammer, the pose and gaze resemble a painting or engraving with his eyes avoiding the viewer and seemingly deep in thought.
- With the 1877 photograph "When the Day‘s Work Is Done" Henry Peach Robinson has constructed a set of props where costumed models play roles in a living tableau. Images that showed hard work with nostalgic overtones for a rural past were popular in Victorian Britain. Using people in period costumes to imitate paintings was used by other photographers including Oscar Gustave Rejlander, Guido Rey, Richard Polak, Lejaren à Hiller and more recently with Cindy Sherman and Sandy Skoglund.
The links between photographic subjects and painting are unmistakable and understanding these roots helps in appreciating the rise of Pictorialism that was so important in photography until the 1920s.
Naturalism and Pictorialism
8.03 Pictorialism > Naturalism and Pictorialism
  
The technology that was available to the 19th century photographer necessitated slow exposure times and this tended to promote the use of studio settings. Here the light could be controlled, the subjects posed and time taken to achieve the ideal composition often based upon classical or allegorical themes. Between 1886 and 1895 Peter Henry Emerson (1856-1936) published eight books or portfolios including:
Life and Landscape on the Norfolk Broads, 1886
The Complete Angler, Vol. 1 & 2, 1888
Pictures of East Anglian Life, 1888
Wild Life on a Tidal Water, 1890
On English Lagoons, 1893
Marsh Leaves, 1895
There was none of the rigidity of the studio in his Life and Landscape on the Norfolk Broads (1886) which included forty platinum prints of daily rural life in East Anglia (England). The images showed life as it was but at the same time the resulting images taken with a whole plate (6 1/2 x 8 1/2 inches) view camera have the beauty of a painting but lack the sentimentality that was common in contemporary Victorian painting. Although in the angry arguments that followed his assertion that photography is a pictorial art he later changed his opinion and came to the conclusion that because of technical limitations photography was not an art - he had an immense influence on the way 'artist' photography would develop.
8.04 Pictorialism > Peter Henry Emerson (1856-1936)
About this photographer | Photographs by this photographer
   
Peter Henry Emerson was a motivated, argumentative and talented amateur photographer in Victorian England who attacked head on the staged portraiture of Henry Peach Robinson and Julia Margaret Cameron. He argued in his 1889 book Naturalistic Photography for Students of Art for Naturalism in photography that took the actual world that was in front of the camera. The image should imitate what the eye actually saw and this was not hard edged but soft and slightly out of focus - this approach had outcomes - firstly it heralded in a type of photography that was distinct from the over sentimental paintings that were in vogue at the time and secondly the softer prints had a profound effect of the pictorialists that followed him.
Emerson changed his views on photography the following year and published the black bordered pamphlet The Death of Naturalistic Photography: A Renunciation (1890) that shocked the community by stating that "Photography is a very limited art"
8.05 Pictorialism > Peter Henry Emerson: Marsh Leaves (1895)
About this photographer | Photographs by this photographer
               
In 1895 Peter Henry Emerson produced Marsh Leaves, the last of his volumes of photographs to be published. Smaller in format than the early works, it is illustrated with sixteen photogravures. For On English Lagoons and Marsh Leaves Emerson did, as he claimed he would do, make all his own photogravure plates, finally freeing himself from commercial engravers.
Many of the photographs in this last book demonstrate that he was no longer exclusively concerned with the direct transcribing of perception. Several are taken with a lens of relatively long focal length, resulting in a distant, two-dimensional view quite different from unaided human vision. He was using, to borrow a phrase from Aaron Scharf, ‘the vocabulary and syntax’ of photography. It is possible that, released by his "Renunciation" from the requirement to follow artistic conventions, Emerson at last felt free to discover what photography itself had to offer.
It is tempting to see, in Emerson’s last published photographs, the first suggestions that he had begun to adopt an approach and a working practice that were closer to the twentieth century than to the nineteenth, and it is certainly true that he maintained a keen interest in the most recent technology. No photograph he took after the mid-nineties has been identified, however, so as far as posterity is concerned, his career as a photographer ended in 1895.
The distinctive characteristics of Emerson's later work have been noted by other writers, notably Ian Jeffrey, 1989, Emerson Overturned; On English Lagoons and Marsh Leaves in Weaver, Mike (ed.), 1989, British Photography in the Nineteenth Century (Cambridge University Press) and Mark Durden, 1994, Autumn, Peter Henry Emerson, The Limits of Representation, History of Photography, vol. 18 No. 3, pp. 281-4.
Emerson, PH, 1895, Marsh Leaves (London: David Nutt) [Illustrated with 16 photogravures]
The plates included are:
[Courtesy of David Stone]
Photo-Club de Paris
8.06 Pictorialism > Photo-Club de Paris: Première Exposition d'Art Photographique - 1894
                                                                                 
The Photo-Club de Paris was created by members who seceded from the Société Francaise de Photographie and it included influential photographers including Robert Demachy and Constant Puyo. In 1894 they hosted one of the most lavish and international of the artistic photographic salons of the late nineteenth century. Precedents to this had been set by the 1888 Vienna salon, followed by the Vienna salons of 1891 and 1892 and the first London (Linked Ring) salon held in 1893. Each of these broke away from the older established photographic societies that were inclusive but frequently interested in technical rather than artistic achievement.
On 20th July 1893 the 10 articles outlining the rules for entry to this first French exposition (Première Exposition d‘Art Photographique) were established by Photo-Club de Paris president Maurice Bucquet and counter-signed by the club‘s secretary Paul Bourgeois. A jury of ten men was established headed by Armand Dayot, the Inspecteur des Beaux-Arts, and it included five painters, a sculptor, an art-critic and two photographers who were members of the committee for the Société Francaise de Photographie. It was seen as important by the founders of the salons that photography was accepted within the broader community of the arts and the composition of the jury reflects this goal.
first exhibition, the "Première Exposition d‘Art Photographique", ran from 10th - 30th January 1894 and was held by the fashionable Galleries Georges Petit at 8 Rue de Seze in Paris. exact number of photographs and entrants is given differently by different sources - Weston Naef in his book Collection of Alfred Stieglitz gives 505 photographs by 156 photographers were accepted and displayed and a contemporary reviewer (G.M.) in La Nature: Revue Des Sciences (1894 -premier semestre) gives 511 accepted photographs from the 2000 submitted. Whatever the exact figure it was a very substantial exhibition.
A contemporary review (La Nature: Revue Des Sciences - 1894 -premier semestre) gives the breakdown of the accepted prints by country:
It is not surprising given the location that sixty nine of the photographers accepted for this first exposition were from France but the material included was highly international. There were thirty photographers from Great Britain including Scotland and the Isle of Wight; Austria had seventeen followed by Belgium and Holland with ten. Nine were from America: including Emilie Clarkson, John Bullock, John Dumont, Rudolph Eickemeyer, Emma Farnsworth, Clarence Moore, William Post, Robert Redfield and Alfred Stieglitz. Works from Germany, Italy, Spain, Russia and Switzerland were hung. Algeria was represented by at least one photograph by the Frenchman Emile Fréchon. work of the deceased, but influential, British photographer Julia Margaret Cameron (1815-1879) was acknowledged by the exposition committee members and she had an unknown number of works accepted for hanging.
Weston Naef in his book Collection of Alfred Stieglitz describes this first French exposition:
"most stunning event, outdoing anything yet seen in the world of photography, was the 1894 Première Exposition d‘Art Photographique held by the Photo-Club de Paris." (1978:30)
but he also makes the observation that
"selection process was not as highly selective as that of the Photographic Salon in London, nor did it reflect the direction Stieglitz would take in organizing American exhibitions." (1978:32)
Naef continues:
"Winner of the sweepstakes for most works exhibited at Paris was J. Craig Annan with fifteen photographs, followed closely by René Le Bègue, with fourteen pictures. Surprisingly high in the running was Emma Justine Farnsworth, whose nine images considerably outdistanced Eickemeyer‘s seven and Stieglitz‘s three. exhibition reflected the tastes of a jury half of which consisted of painters and sculptors, while the selection in the deluxe catalog was made by the photographers." (1978:32)
An Austrian perspective of this first French exposition was included in the March 1894 issue of the Vienna Camera Club journal Wiener Photographische Blätter. Club president Alfred Buschbeck first gave notice of the groundbreaking photographic art exhibition held by his club in 1892 and how the 1893 London salon of the Linked Ring Brotherhood followed suit. He stated that the 1894 Paris exposition was done in the same spirit and acknowledged the fine entries accepted by several members of the Vienna club. Furthermore, he informed interested members that copies of a "werk" with "50 heliogravures" could be purchased for the price of 50 French francs. Further acknowledgment of this exposition catalogue appears on page 164 and lists seven Vienna Camera Club members who participated in the show and the six who had work reproduced in the catalogue.
This online version of the spectacular portfolio of large-plate heliogravures (photogravures), comes from the personal copy of Photo-Club de Paris founder member Constant Puyo. It is example #42 of 470 deluxe copies printed on French hand-made white Marais paper. An additional 30 copies were printed on Imperial Japan paper. All of the heliogravures were printed by the important French lithography firm of LeMercier & Cie. Fifty of the copper plates were made by M. Fillon and the remaining six were by Blechinger, Richard Paulussen of Vienna, Dujardin, James Craig Annan of Scotland and gallery host Georges Petit for the watercolor by artist Guillaume Dubufe that began the catalogue as the first plate.
Photoseed is honored and pleased to let people around the world experience the beauty of this important 1894 exposition by means of the Internet.
Translations from the French have been kindly provided by Frédéric Perrier where necessary and I have done my best to include accents but apologies if some have been missed.
D. Spencer (Photoseed)
Naef, Weston (1978) Collection of Alfred Stiegltiz: Fifty Pioneers of Modern Photography Metropolitan Museum of Art
8.07 Pictorialism > Photo-Club de Paris: Deuxième Exposition d'Art Photographique - 1895
                                                                 
In 1894 the Photo-Club of Paris (Photo-Club de Paris) with Constant Puyo, Robert Demachy, René Le Begue, Hachette and De Singly held its first exhibition the Première exposition d‘art photographique. This section includes all the plates printed as photogravures in the catalogue of the second exhibition that took place in 1895; the Deuxième exposition d‘art photographique.
Within this exhibition there are some well known names such as Alfred Stieglitz from the USA and the founders of the Photo Club, Constant Puyo, Robert Demachy and René Le Begue but the key point is to appreciate the international flavor of the pictorialists in the 1890s. The photographers represented in the catalogue are from France, Germany, Belgium, Holland, England, Scotland, Austria and the USA while others from Italy, Germany and Switzerland were included in the hung exhibition.
Hans Watzek (1848-1903) and Hugo Henneberg (1863-1918) from Austria would go on to found the ‘The Clover Leaf‘ (‘Das Kleeblatt‘ or ‘Trifolium‘) society of pictorialist photographers with Heinrich Kühn in 1896. Although many of the photographers listed are relatively unknown J. Craig Annan (1864-1946) was a masterful Scottish photographer and in the 1890s he printed the photographs of David Octavius Hill and Robert Adamson. Also of note is Baron Adolph de Meyer who became one of the greatest of the early fashion photographers and was the chief photographer at Vogue in the USA for many years.
The history of photography has not been kind to many people and most of the photographers shown here are now forgotten but we should resist using modern viewpoints to judge the talents of these amateurs. They were involved in a movement that fundamentally changed the course of artistic photography.
8.08 Pictorialism > Photo-Club de Paris: Troisième Exposition d'Art Photographique - 1896
                                                
The third international photographic art exposition hosted by the Photo-Club de Paris was held at the Galerie Des Champs Elysées at 72 Avenue des Champs Elysées in Paris between May 12th and 31st, 1896. The Photo-Club de Paris was created by members who seceded from the Société Francaise de Photographie and it included influential photographers including Constant Puyo and Robert Demachy.
This was also the third year the Photo-Club de Paris issued a commemorative portfolio for the exposition. This portfolio broke with the tradition of the first two years of the exposition portfolios being bound volumes with printed tissue guards. Instead, the vellum plate large-format photogravures were printed in the ateliers Charles Wittmann (470 deluxe copies printed on paper manufactured by Blanchet and Kléber of Rives, France) blind-stamp numbered which corresponded to a list of plates (Table des Planches) and inserted loosely into an olive cloth portfolio with silk ties. The presence of several loose tissue guards (unprinted) scattered among the plates is also evident in this copy: #128.
This portfolio, along with the successive Photo Club de Paris Exposition d‘Art Photographique portfolios in Photoseed for the years 1894, 1895, and 1897, were the personal copies of Photo-Club de Paris co-founder Constant Puyo.
A three-page "Liste des Exposants" included in the letterpress at the beginning of the portfolio lists a total of 223 distinct photographers who entered their work in this third exposition. The breakdown of the number of photographers from each country was:
Other countries represented include Germany, Sweden, Spain, Russia, and Ireland - represented by a Mr. Alfred Werner from Dublin.
This portfolio contains 42 individual large format photogravures and one lithographic plate-depicting an Art-Nouveau style drawing by the French artist Edme Couty of a woman holding out a flower. Background on individual photographs has been included where appropriate. In addition to containing several important and ground-breaking examples in the history of photography, the portfolio also brings new discoveries of material worthy of further photographic scholarship.
Photoseed is honored and pleased to let people around the world experience the beauty of this important 1896 exposition portfolio by means of the Internet.
David Spencer
8.09 Pictorialism > Photo-Club de Paris: Quatrième Année Salon de Photographie - 1897
                                            
This fourth international photographic art exposition (Quatrième Année Salon de Photographie) hosted by the Photo-Club de Paris at the Galerie Des Champs Elysées in Paris was held between 13th and 28th April 1897. The Photo-Club de Paris was created by members who seceded from the Société Francaise de Photographie and it included influential photographers including Constant Puyo and Robert Demachy.
This was also the fourth year that the Photo-Club de Paris issued a commemorative portfolio for the exposition. It seems the decision was made to issue this portfolio in a much smaller edition than the previous three years. This example in this exhibition (#40) was the personal copy of Constant Puyo, and was one of only 200 examples printed on vellum. Another 30 deluxe examples were issued printed in a double suite of plates on Impérial Japan paper and vellum. Each of the large plate photogravures was printed on paper manufactured by Blanchet and Kléber of Rives, France. Several notable things were eliminated in the introductory letterpress for this portfolio. Principally, these were the "Règlement de l‘Exposition", which were basically the rules for entering the exhibition and most notably, the lengthy exhibitors list for all those photographers who had their work accepted for hanging at the exhibition.
We have included an example of the large color lithographic poster used to promote the exhibition. If this was made into a reduced form and included as a plate similar to the Edme Couty lithograph in the third portfolio catalogue of 1896, then it has gone missing from this particular copy. This large poster (34 x 47 2/3") went unsold in a major recent German camera auction.
There are 38 photogravures in this portfolio, also a major reduction considering the first year showcased 64 photographs printed on 56 individual plates. The majority of the copper plates in this portfolio were engraved by the firm of Fillon et Heuse, an atelier based in Paris. All of the plates were printed by Charles Wittmann. The letterpress, along with the poster, were printed at Imprimerie Chaix in Paris - perhaps better known for the fact that it was headed up by artist Jules Cheret - its‘ principal artist and director best known for his series of large lithographs of the Folies-Bergére.
On the judging front however, there was a noticeable difference - and one might even call it "progress" in giving the photographs a stronger voice on the judging panel. This was because unlike the first three years (1894-1896) of the expositions, in which the largely unknown amateur photographers Audra and Saint-Senoch were the only photographic voices among the artists, sculptors and critics acting as judges, the fourth year was a great leap in that three very well known "artistic" photographers: Hector Colard (Belgium: 1851-1923), Paul Bergon (France: 1863-1912) and René Le Beque (France: 1857-1914) were represented on the judging committee.
It is known that there was a fifth year for this international salon sponsored by the Photo-Club de Paris, also held at the Galerie Des Champs Elysées (May 3-29, 1898). However, it is unknown if there was a final portfolio similar to the previous four issued for the 1898 salon.
Photoseed is honored and pleased to let people around the world experience the beauty of this important 1897 exhibition catalog.
Key subjects for Pictorialism
8.10 Pictorialism > Pictorialism and trees
                                        
8.11 Pictorialism > Flowers: A Pictorialist perspective
                  
This selection is rather limited in the examples it has of pictorialist flower photography but we are seeking to include further examples. Examples from the Clarence H. White School of Photography have been included which show the intellectual and stylistic changes from Pictorialism to Modernism.
8.12 Pictorialism > Pictorialism and the innocence of children
                     
8.13 Pictorialism > Pictorialism and the portrait
                     
8.14 Pictorialism > Pictorialism, the nude and erotica
                  
Case studies
8.15 Pictorialism > Robert Demachy: Struggle
About this photographer | Photographs by this photographer
  
8.16 Pictorialism > Edward Steichen: The Flatiron
About this photographer | Photographs by this photographer
  
8.17 Pictorialism > Edward Steichen: Rodin's statue of Balzac (1908)
About this photographer | Photographs by this photographer
 
8.18 Pictorialism > Clarence H. White: Ring Toss (1899)
About this photographer | Photographs by this photographer
  
8.19 Pictorialism > Edward S. Curtis and Pictorialism
About this photographer | Photographs by this photographer
       
The Native American photographs taken by Edward Sheriff Curtis for his 20 volume series reference|2408|North American Indian (1907-1930) can be viewed from multiple perspectives. books contain extensive ethnographic research and documentation and there are photographs that accurately reflect the clothing of a particular group but Curtis was also interested in the preservation of a record of groups that were being affected by outside influences, had been largely moved into reserves, and traditional practices were being replaced or forgotten as traditional cultural connections and trade routes had been disrupted.
photographs of Curtis can be magnificent but they don't always reflect the time in which they were taken but are a nostalgic look back on a past age. There is no sign of outside contact in these photographs. His use of poses that are reminiscent of contemporary pictorialism with soft-focus and printed with photogravures are selected for mood rather than scientific rigour. Individual images can be magnificent but the titles such as At the Old Well at Acoma, Prayer to the Stars, Homeward Bound and most famously image|31214|Vanishing Race which shows a group riding slowly away from the camera are about states of mind - a romanticized view of the past that has no place in ethnography. wording of the titles themselves hints at nostalgia. Although contemporary writers have concerns about the work of Curtis it remains the most comprehensive of the period.
alan@luminous-lint.com |
      
General reading
1895, Pictorial Photographs. A Record of Photographic Salon 1895. In Twenty Plates Reproduced in Photogravure by Walter L. Colls, (London: Kegan Paul, Trench, Trübner and Co.) [Δ]
1994, Pictorialism in California: Photographs 1900–1940, (Malibu, CA: J. Paul Getty Museum; San Marino, CA: Henry E. Huntington Library and Art Gallery) [Δ]
Bannon, Anthony, 1981, The Photo-Pictorialists of Buffalo, (Buffalo, NY: Media Study) [Δ]
Borcoman, James, 1974, December, ‘Purism Versus Pictorialism: The 135 Years War. Some Notes On Photographic Aesthetics‘, ArtsCanada, no.192-195, pp.68-82 [Δ]
Buerger, Janet E., 1984, The Last Decade: The Emergence of Art Photography in the 1890s, (Rochester, NY: International Museum of Photography at George Eastman House) [Δ]
Bunnell, Peter (ed.), 1980, A Photographic Vision: Pictorial Photography, 1889–1923, (Salt Lake City, UT: Peregrine Smith) [Δ]
Doty, Robert, 1978, Photo-Secession: Stieglitz and the Fine-Art Movement in Photography, (New York: Dover Publications, Inc.) [Foreword by Beaumont Newhall] [Δ]
Evans, Jessica (ed.), 1997, The Camerawork Essays: Context and Meaning in Photography, (New York: New York University Press) [Δ]
Fulton, Marianne et al., 1996, Pictorialism into Modernism: The Clarence H. White School of Photography, (New York: Rizzoli, in association with George Eastman House and the Detroit Institute of Arts) [Δ]
Green, Jonathan (ed.), 1973, Camera Work: A Critical Anthology, (Millerton, NY: Aperture) [Δ]
Homer, William Innes, 1983, Alfred Stieglitz and the Photo-Secession, (New York: Little, Brown) [Δ]
Lukacher, Brian, 1994, ‘Powers of Sight: Robinson, Emerson, and the Polemics of Pictorial Photography‘, in Handy, Ellen (ed.), Pictorial Effect Naturalistic Vision: The Photographs and Theories of Henry Peach Robinson and Peter Henry Emerson, pp.29-51 [Δ]
Peterson, Christian A., 2012, Pictorial Photography at the Minneapolis Institute of Arts, (Christian A. Peterson: Privately printed) [Limited to 50 initialed copies] [Δ]
Roberts, Pam, 1997, Camera Work: The Complete Illustrations 1903–1917. Alfred Stieglitz, 291 Gallery and Camera Work, (Köln and New York: Taschen) [Δ]
Weaver, Mike, 1986, The Photographic Art. Pictorial Traditions in Britain and America, (London: The Herbert Press) [Δ]
Readings on, or by, individual photographers
G.L. Arlaud
Arlaud, G.L., 1920, Vingt Études de Nu en Plein Air, (Paris, Horos Editions) [Δ]
Alvin Langdon Coburn
Bellman, David, 1994 (ca), Quest for beauty: Alvin Langdon Coburn: artist -photographer, Wales 1919-1966 = Cwest am harddwch: artist -ffotograffydd, Cymru 1919-1966, (Mold: Clwyd County Council Library and Information Service) isbn-10: 1859910068 [Δ]
Chesterton, G.K. & Coburn, Alvin Langdon, 1914, London With ten photographs by Alvin Langdon Coburn, (London: Privately printed for Alvin Langdon Coburn & Edmund D. Brooks and their friends) [Δ]
Coburn, Alvin Langdon, 1909, London, (London: Duckworth & Co.) [Δ]
Coburn, Alvin Langdon, 1910, New York, (London: Duckworth and New York: Brentano‘s) [Introductory essay by H.G. Wells] [Δ]
Coburn, Alvin Langdon, 1978, Alvin Langdon Coburn, 1882-1966: an exhibition of photographs from the International Museum of Photography, George Eastman House, Rochester, New York [organized by the] Arts Council of Great Britain / [with an essay by Paul Blatchford], ([London: The Council]) isbn-10: 0728701731 [Δ]
Coburn, Alvin Langdon, 1998 (ca), Alvin Langdon Coburn: Fotografien, 1900-1924 / herausgegeben von Karl Steinorth; mit einem Essay von Nancy Newhall, (Zu¨rich: Edition Stemmle) isbn-10: 3908161320 [Δ]
Gernsheim, Helmut & Gernsheim, Alison (eds.), 1966, Alvin Langdon Coburn, Photographer, An Autobiography, (New York: Praeger) [Also published by Dover Publications 1978] [Δ]
Weaver, Mike, 1986, Alvin Langdon Coburn: Symbolist Photographer, (New York: Aperture) [Δ]
Well, H.G., 1911, The Door in the Wall, and other stories Illustrated with photogravures from photographs by Alvin Langdon Coburn, (London: Grant Richards) [Δ]
F. Holland Day
Crump, James, 1995, F. Holland Day: Suffering the Ideal, (Santa Fe: Twin Palms Publishers) [Δ]
Jussim, Estelle, 1981, Slave to Beauty: The Eccentric Life and Controversial Career of F. Holland Day, (Boston: David R. Godine) [Δ]
Robert Demachy
1990, Robert Demachy: Pictorialist, (Paris: Bookking International) [Δ]
Jay, Bill, 1974, Robert Demachy, 1859–1936, (New York: St. Martin’s Press) [Δ]
Alison Gernsheim
Gernsheim, Helmut & Gernsheim, Alison (eds.), 1966, Alvin Langdon Coburn, Photographer, An Autobiography, (New York: Praeger) [Also published by Dover Publications 1978] [Δ]
Helmut Gernsheim
Gernsheim, Helmut & Gernsheim, Alison (eds.), 1966, Alvin Langdon Coburn, Photographer, An Autobiography, (New York: Praeger) [Also published by Dover Publications 1978] [Δ]
Bill Jay
Jay, Bill, 1974, Robert Demachy, 1859–1936, (New York: St. Martin’s Press) [Δ]
Gertrude Käsebier
Michaels, Barbara, 1992, Gertrude Käsebier: The Photographer and Her Photographs, (New York: Harry N. Abrams) [Δ]
Donald M. Mennie
Cooper, Elizabeth, 1914, My Lady of the Chinese Courtyard, (New York: Frederick A. Stokes Co.,) [Includes thirty-one duo-tone illustrations from photographs by Donald Mennie] [Δ]
Mennie, Donald, 19-?, China by Land and Water, (Shanghai: A.S. Watson) [Δ]
Mennie, Donald, 1920 (?), Glimpses of China, (Shanghai: A.S. Watson & Co. Ltd.) [Δ]
Mennie, Donald, 1922, China, North and South, (Shanghai: A.S. Watson) [Δ]
Mennie, Donald, 1926, The Grandeur of the Gorges. Fifty photographic studies, with descriptive notes, of China's great waterway, the Yangtze Kiang, including twelve hand-coloured prints. From photographs by Donald Mennie, (Shanghai: A.S. Watson & Co.) [Δ]
Mennie, Donald & Weale, Putnam, 1922, The Pageant of Peking. Comprising sixty-six Vandyck photogravures of Peking and environs from photographs by Donald Mennie, (Shanghai: A.S. Watson & Co.) [With an introduction by Putnam Weale. Descriptive notes by S. Couling. Third edition. The first edition was published in 1920] [Δ]
José Ortiz-Echagüe
Ortiz-Echagüe, José & Diaz, Julio Montero, 2011, November, ‘Documentary Uses of Artistic Photography: Spain. Types and Costumes by José Ortiz-Echagüe‘, History of Photography, vol.35, no.4, pp.394-415 [Δ]
Emile Joachim Constant Puyo
Puyo, Emile Joachim Constant, 1896, Notes sur la Photographie Artistique. Texte et Illustrations par C. Puyo, (Paris: Gauthier-Villars et fils Editeurs) [Δ]
Henry Peach Robinson
Robinson, Henry Peach, 1896, The Elements of a Pictorial Photograph, (London: Percy Lund) [Δ]
Edward Steichen
Brandow, Todd, & Ewing, William A., 2007, Edward Steichen: Lives in Photography, (Minneapolis: Foundation for the Exhibition of Photography) [Δ]
Haskell, Barbara, 2000, Edward Steichen, (New York: Whitney Museum of American Art) isbn-10: 0874271266 isbn-13: 978-0874271263 [Δ]
Smith, Joel, 1999, Edward Steichen: The Early Years, (Princeton, N.J.: Princeton University Press and the Metropolitan Museum of Art) isbn-13: 978-0691048734 [Δ]
Torosian, Michael & Greenberg, Howard, 2011, Steichen: Eduard et Voulangis. The Early Modernist Period 1915 - 1923, (Howard Greenberg Gallery and Lumiere Press) [Δ]
Alfred Stieglitz
Greenough, Sarah, 2000, Modern Art and America: Alfred Stieglitz and his New York Galleries, (Washington: National Gallery of Art.) isbn-10: 0894682830 [Also published by Bullfinch Press, ISBN-10: 0821227289, ISBN-13: 978-0821227282] [Δ]
Greenough, Sarah, 2002, Alfred Stieglitz: The Key Set, (Washington, D.C.: National Gallery of Art) [2 vols] [Δ]
Greenough, Sarah & Hamilton, Juan, 1999, Alfred Stieglitz: Photographs & Writings, (Washington, D.C.: National Gallery of Art) [2nd edition] [Δ]
Homer, William Innes, 1977, Alfred Stieglitz and the American Avant-Garde, (Boston: New York Graphic Society) [Δ]
Lowe, S. D., 1983, Stieglitz: A Memoir/Biography, (New York: Farrar, Straus & Giroux) [Δ]
Messinger, Lisa Mintz, 2011, Stieglitz and His Artists: Matisse to O'Keefe, (Metropolitan Museum of Fine Art) isbn-10: 0300175884 isbn-13: 978-0300175882 [Δ]
Naef, Weston, 1995, In Focus: Alfred Stieglitz: Photographs from the J. Paul Getty Museum, (J. Paul Getty Museum) isbn-10: 0892363037 isbn-13: 978-0892363032 [Δ]
Norman, Dorothy, 1900, Alfred Stieglitz: An American Seer, (New York: Aperture) [Δ]
Peterson, Christian A., 1993, Alfred Stieglitz’s “Camera Notes.”, (New York: W. W. Norton) [Δ]
Stieglitz, Alfred, 1897, Picturesque Bits of New York and Other Studies, (New York: R.H. Russell) [Δ]
Waldo, Frank et al., 1934, America and Alfred Stieglitz: A Collective Portrait with 120 illustrations, (New York: Doubleday Doran & Company) [Δ]
Waldo, Frank et al., 1979, America and Alfred Stieglitz: A Collective Portrait. 1934, (Millerton, NY: Aperture) [Revised edition of the 1934 original] [Δ]
Whelan, R., 1995, Alfred Stieglitz: A Biography, (Boston: Little, Brown) [Δ]
Whelan, Richard & Greenough, Sarah, 2000, Stieglitz on photography: His selected essays and notes, (Aperture) [Δ]
Yochelson, Bonnie, 2010, Alfred Stieglitz: New York, (Skira Rizzoli) isbn-10: 0847834905 isbn-13: 978-0847834907 [Δ]
Paul Strand
Greenough, Sarah, 1990, Paul Strand, An American Vision, (Washington, DC: National Gallery of Art in association with Aperture Foundation) [Δ]
Margaret Watkins
Pauli, Lori, 2012, Margaret Watkins: Domestic Symphonies, (National Gallery of Canada) isbn-10: 0888849036 isbn-13: 978-0888849038 [Introduction by Joseph Mulholland] [Δ]
Clarence H. White
Homer, William Innes, 1977, Symbolism of Light: The Photographs of Clarence H. White, (Wilmington, DE: Delaware Art Museum) [Δ]
If you feel this list is missing a significant book or article please let me know - Alan - alan@luminous-lint.com
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