| Names: | Other: Percy Wingfield Bullock
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| | Dates: | 1902, 18 April - 1975, 16 November | | Born: | US, IL, Chicago | | Died: | US, CA, Monterey | | Active: | US |
American photographer.Preparing biographies
Biography provided by Focal Press
Steichen selected Bullock’s psychologically based work as the opening piece to his humanistic exhibition, The Family of Man (1955), because he believed Bullock’s visual language united the natural environment with the abstract symbolism of the inner world in an accessible way. Although highly structured, the authority of Bullock’s images lies in their ambiguous temperament and their capability to express his belief that reality is constructed through personal experience.
(Author: Robert Hirsch - Independent scholar and writer)
Michael Peres (Editor-in-Chief), 2007, Focal Encyclopedia of Photography, 4th edition, (Focal Press) [ISBN-10: 0240807405, ISBN-13: 978-0240807409]
(Used with permission)
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Family history
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Visual indexes for this photographer are available for subscribers.There is so much more to explore when you subscribe.
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| Wikipedia has a biography of this photographer. | | Go to website | | Getty Research, Los Angeles, USA has an ULAN (Union List of Artists Names Online) entry for this photographer. This is useful for checking names and they frequently provide a brief biography. | | Go to website | Grove Art Online (www.groveart.com) has a biography of this artist.
[NOTE: This is a subscription service and you will need to pay an annual fee to access the content.] | | Go to website |
The following books are useful starting points to obtain brief biographies but they are not substitutes for the monographs on individual photographers. |
• Auer, Michele & Michel 1985 Encyclopedie Internationale Des Photographes de 1839 a Nos Jours / Photographers Encylopaedia International 1839 to the present (Hermance, Editions Camera Obscura) 2 volumes [A classic reference work for biographical information on photographers.]
• Beaton, Cecil & Buckland, Gail 1975 The Magic Eye: The Genius of Photography from 1839 to the Present Day (Boston and Toronto: Little, Brown & Company) p.212 [Useful short biographies with personal asides and one or more example images.]
• Capa, Cornell (ed.) 1984 The International Center of Photography: Encyclopedia of Photography (New York, Crown Publishers, Inc. - A Pound Press Book) p.85-87
• Evans, Martin Marix (Executive ed.) 1995 Contemporary Photographers [Third Edition] (St. James Press - An International Thomson Publishing Company) [Expensive reference work but highly informative.]
• Lenman, Robin (ed.) 2005 The Oxford Companion to the Photograph (Oxford: Oxford University Press) [Includes a short biography on Wynn Bullock.]
• Witkin, Lee D. and Barbara London 1979 The Photograph Collector’s Guide (London: Secker and Warburg) p.100-101 [Long out of print but an essential reference work - the good news is that a new edition is in preparation.]
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If there is an analysis of a single photograph or a useful self portrait I will highlight it here. |
Photographic collections are a useful means of examining large numbers of photographs by a single photographer on-line.
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| "A thing is not what you say it is or what you photograph it to be or what you paint it to be or what you sculpt it to be. Words, photographs, paintings, and sculptures are symbols of what you see, think, and feel things to be, but they are not the things themselves." | | "Everything went together perfectly, and this is what I mean by knowing. I didn‘t have to analyze anything. I just recognized what was in front of me. All I had to do was set up and take the picture." | | "For me photography has been a profession, an avocation. Now it has become a way of life." | | "I didn‘t want to tell the tree or weed what it was. I wanted it to tell me something and through me express its meaning in nature." | | "I feel all things as dynamic events, being, changing, and interacting with each other in space and time even as I photograph them." | | "I love the medium of photography, for with its unique realism, it gives me the power to go beyond conventional ways of seeing and understanding and say — This is real, too." | | "In a photograph, if I am able to evoke not alone a feeling of the reality of the surface physical world but also a feeling of the reality of existence that lies mysteriously and invisibly beneath its surface, I feel I have succeeded. At their best, photographs as symbols not only serve to help illuminate some of the darkness of the unknown, they also serve to lessen the fears that too often accompany the journeys from the known to the unknown." | | "Searching is everything — going beyond what you know. And the test of the search is really in the things themselves, the things you seek to understand. What is important is not what you think about them, but how they enlarge you" | | "Searching is everything — going beyond what you know. And the test of the search is really in the things themselves, the things you seek to understand. What is important is not what you think about them, but how they enlarge you." | | "The urge to create, the urge to photograph, comes in part from the deep desire to live with more integrity, to live more in peace with the world, and possibly to help others to do the same." | | "What you see is real — but only on the particular level to which you‘ve developed your sense of seeing. You can expand your reality by developing new ways of perceiving." | | "When I photograph, what I‘m really doing is seeking answers to things." |
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