HISTORY OF PHOTOGRAPHYSECTION 3

Artistic Movements

1850-1900

ART (artistic) PHOTOGRAPHY

• Some artists believed photography corrupted the artistic process– Images were considered “too real”– No room for imagination

• Major effort to legitimize photo as Art• The ‘new’ idea was that PHOTOGRAPHY can

IMITATE ART• Themes - very melodramatic, dreamlike• Reflected other Victorian era art forms

ARTISTIC TECHNIQUES

• Very staged and planned compositions• Combined negatives to achieve desired results

(ie. sort of an early version of photoshop layers)• Manipulated the printing in dark room• Used models, sets, and dramatic lighting to set

an artistic mood• These early ‘artistic’ photographs are identified

as art -- as relevant as painting

Oscar Gustave Rejlander (1813-1875)

• Considered the “father of Art photography”

• Inspired a movement of artists to follow his artistic vision for photo

• --“we can make photography the next great art form”

• Criticized by other photographers for using manipulation

• Started with portraits -later created more detailed and elaborate compositions

Boy and Girl in Colonial Costume --1860, albumen print

Oscar Rejlander

Putto as Allegory for Painting --1886Portrait of Two Girls --1860

Oscar Rejlander

The Bachelors Dream—1860, Albumen Print

Oscar Rejlander

Hard Times --1860– Spiritistic Photograph– Combination Albumen Print (two negatives)

Oscar Rejlander

• The Two Ways of Life -- 1858 -- Gelatin Silver Print– Theme- Virtue vs. Vice– 30 separate negatives used – Elaborate staging and costumed models used for photo

Oscar Rejlander

• Becomes tired of making artistic photos• Writes letter to Henry Peach Robinson:

--“I am tired of photography for the public, particularly composite photos, for there can be no gain and there is no honor but cavil* and misrepresentation…”

* (‘cavil’ means petty or unnecessary objections)

Henry Peach Robinson (1830-1901)

• English pictorialist photographer• Best known for his pioneering combination

printing• In 1856, with Rejlander, founded the

Birmingham Photographic Society• Forced to give up his studio at age 34 due to ill-

health from exposure to toxic photographic chemicals

• Continued to work with theoretical practices in writing and advocacy

Henry Peach Robinson (contd.)

• 1869 published a book entitled Pictorial Effect in Photography: Being Hints On Composition And Chiaroscuro For Photographers

• In this he maintains that the composite image is directly affected by his hand, and therefore Art

• One of the primary forces behind the rise of pictorialism was the belief that straight photography was purely representational ‒ that it showed reality without the filter of artistic interpretation – therefore simply a record of facts, lacking artistic intent or merit

Fading Away – 1858 - composite image from five different negatives

When the Day’s Work is Done – 1877, composite image from six different negatives

Julia Margaret Cameron (1815-1879)

• Came to photography at age 48 when daughter gave her a camera

• Within a year, became a member of the Photographic Societies of London and Scotland

• Known for soft focus “fancy” portraits taught to her by David Wilkie Wynfield who had developed a technique of shallow-focus portrait photography

Julia Margaret Cameron (contd.)

• The bulk of Cameron's photographs fit into two categories—closely framed portraits and illustrative allegories based on religious and literary works.

• The allegorical work most closely resembles the work of the Pre-Raphaelites, with far away looks, limp poses and soft lighting

• Significance of her work attributed to making the only photos of famous figures (especially literary)

Pre-Raphealite workProserpine by Dante Gabriel Rosetti1874, Oil on canvas

Peter Emerson (1856-1936)

• His photos are early examples of promoting photography as an art form

• Most work displays a natural setting

• Believed the photograph should be a true representation of what the eye saw

• Claimed that photography should be seen as a genre of its own, not one that seeks to imitate other art forms.

Field Workers at Rest1885, platinum print

Impressionist Paintings (artistic style of the time period 1860’s-90’s)

Luncheon of the Boating Party -1881 – Pierre-Auguste Renoir

Sunday Afternoon on the Isle of La Grande Jatte (1884-86)

-Georges Seurat

Characteristics of Impressionism

• Visible brush strokes

• Open composition

• Ordinary subject matter

• Emphasis on depiction of light in its changing qualities (accentuating passage of time)

• Inclusion of movement as a crucial element of human perception

• Unusual visual angles

Peter Emerson

Gathering Water Lilies-1886, Platinum Print

Peter Emerson

In the Barley Harvest -1890 Broxbury Church -1888

Peter EmersonFurze Cutting -1885 Platinum Print

The Haunt of the Pike -1885

Peter EmersonA Winter’s Sunrise --1890

Pictorialism further defined:

• Lack of sharp focus• Printed in one or more colors (browns to

deep blues)• Not composites, not exaggerated or

melodramatic• Possible manipulation of surface• Projecting emotional intent upon the

viewer’s imagination (in common with the ‘artistic style)

Alfred Steiglitz (1864-1946)

• Father of Modern Photography• Started out as pictorialist, but

thought manipulation wasn’t necessary

• Opened Little Galleries of the Photo-Secession (more well known as ‘291’- an art gallery in NYC located on 291 Fifth Avenue)– Promoted art, and

photography (often together)

– Emphasis on design concepts such as composition, shape, form, etc.

– Published Camera Work to promote the new art of photography. Established new modern aesthetic (Modernist’)

Sunlight and Shadows - 1889

Alfred Steiglitz – The Terminal, 1893

Alfred Steiglitz

Spring Showers NY- 1901

Flat Iron Building NY- 1903

Alfred Steiglitz

Venetian Boy-1887

Alfred Steiglitz

The Steerage -1907

Other Pictorialist Work

Emile Puyo - The Gorgons Head -1898 George Seeley - The Firefly -1907

More Pictorialist Work

Edward Steichen - Self-Portrait 1901 Clarence White- Morning -- 1908

Portrait of J.P. Morgan1903By Edward Steichen

The Flatiron1904By Edward Steichen