April 4, 2013
Fah352 last lecture
1.Ememphasis on fine photographic printing
2.emulation of other, established media, paint, pastel, chalk
3.focus on traditional academic subject matter
4.use of graphical signatures and monograms
Alfred Stieglitz, From My window, 1902
He is better known as impresario someone who brings togeather and
promotes group of modern artist who he feels represents… by training
he is a photographer and it is in the capacity that we look at his works.
Rejected P.H Samersons suggestions. Emulates subject matter of non
photographic art. Conotation of view seen by a particular person. Yet
that seems to agree with Emersons emphasis the image that results is
a complete rejection of what view is suppose to reproduce, tree
occupied in snow occupying left 2/3rds of photo is like a smoke screen
occluding our vision of the left of the picture but not over the right.
Don’t look anything like Emerson says they aught to look like.
Alfred Stieglitz, the dirigible, from camera work 1910,
Blimp flying over his home in the countryside. Failure of the human
eye, ultimate inability of human eye to relate to seen that it represents
and to serve as aesthetic use. Central area of photograph is covered
by clouds. We know sun is behind clouds but we cant see it and even
that seems to be floating on the surface like a cataract in the visual
field of Stieglitz looking up in the sky. Doesn’t follow and
demonstrating rejecting them. In 1910 he dramatically renounced the
Pictorialist aesthetic in favour of the Modernist sharp focus and optical
clarity of which the camera had long been capable.
Stieglitz, spring showers-the coach, 1899
3inch height 2 inches wide, delicate meticulay worked small object
held in one hand. No differentiation of level of focus, furnished photo
with aesthetic interests cuz articulates what in the title the idea of a
kind of dampness, thickness, made visible through particular way he
printed it on a delicate kind of paper obtained probably from japan.
Luxury item. Making clear what its priorities are which are not
recollection accurate of scene but potential of photography as
objective to nevertheless capture a particular moment in time.
Edward Steichen, Self-Portrait with a Brush and Palette, Paris,
Younger protégé man. Photograph of artist as a painter, seems
strange choice cuz he is not a painter but a photographer and he April 4, 2013
seems like he might risk jeopardizing legitimacy of his own medium by
comparing it directly to undisputable medium of panting but achieves
the opposite shows persona of artist is one that can be articulated
through photographic medium even when he looks like a painter and it
looks like a painting. Gum print, high collar and intense expression.
Steichen-writer, curator, critic, administrator and entrepreneur co-
founded the Photo-Secession in 1902 and in Paris 1905 began
organizing exhibitions for Stieglitz’s New York Gallery.
Steichen, Balzac, The Silhouette, 4am, 1908.
Thinking abt medium of painting as something he wants to explore to
legitimize… sculptural portrait of Balzac. Photographs seemed see
threw, unacceptable result for Steichen so heightens photographic
qualities by waking him up at 4am and tells him to push statue outside
to take image in the moonlight. Remarkable, we know the silhouette,
outline form of the thing, the focus can not be its object the sculpture
but has to be the relationship btw photographic medium and other
more established media like sculpture. Lengths gone through to gain
for photography undeniably aesthetically bold standard just one of
many steps taken.
Point of reference paintings of Wisler, so called nocturnals. Astonishing
ot look at both nxt to each other with formal qualities similar.
Emanating whislers look achieved in paint which came first.
Steichen, The Flatiron, 1903.
Interest in finding photographic views that can be easily aestheticized,
to look ambitious. Image reworked over the years to come reprinted
using diff photographic processes. Turned it into a kind of hybrid, diff
effects by making decisions of how to print photo, which made him
front and center shows no underlying natural photographic image cuz
each time printed ur making aesthetic decisions what materials surface
and quality announce presence of an artist.
Same image process, gum dichromate over platinum print, 1904.
Printed 1909 layered on top 2 ndprocess
3 version changes title flatiron building-even 1906
no authoratatic flatiron picture each makes own statement and
emplies artist roe in making that statement, conceiving these as
variations. One of very first skyscrapers of the world. Might be first
building to have an elevater installed in it in America. As if transition
from susk into light light fades slowly from the sky and those electric
lights ont eh street slowly turn up. Figure in foreground slowly fades April 4, 2013
from being the protagonist from the scene to being darkest most
opsque feature. He may be a figure or a statue.
Frys Argentic Bromide Enlargements, Advertisement
Strange endorsement, greatest testimony amoung this period and
group of photographers was to say that it was “are like fine
engravings” “artistic in the highest degree”.
Frank Eugene: Eugene, Steiglitz, Kuhn and Steichen.
Emphasize aesthetic to other media in this case drawing becaome
indistinguishable from others. Shows four of the ppl most intramental
in this tactic of making photos that don’t look like photos ppl looking
over notes on table way shows them as if in charcoal drawing rather
than as a photo. Steglitx, german photographer and then Steichen,
group portrayed in way that is consanent with aesthetic objectives
trying to obtain.
Heinrich Kühn, Still Life, 1910
Virtually impossible to determine medium of what looking at of course
photo made using gum process which allows u to add brushwork into
the printing of an image so it had properties of painting despite being
underlying purely photographic image. He was one of only two
Europeans elected to membership in the Photo-Secession, the premier
photographic society in the U.S begun by Alfred Stieglitz. He employed
same papers and pigments painters used to create his images, on
rough textured watercolour paper. Watercolour pigment mixed with
light-sensitized gum Arabic, which can be manipulated with an artist’s
brush, causing the print to resemble a painting, like a painter he is
able to control the density and tone of his pigment.
Heinrich Kuhn, Landscape in Windy Weather, 1902
Clarence white, The Ring Toss, 1899.
One of most distinguished figures in photography who was American up until
1900’s was famous of slices of American life, genres of scenes of everyday life yet
begins to make photos in a way that blur the line btw photography and drawing.
Intersting 1.it is symbolically fraud, 3 young girls tossing rings on 3 pegs in the
distance, abt the trasition from innocence into adulthood but kind of pic featured in
thousands of 19 century American genre paintings, scene of young ppl at play.
Vievweres already accustome to seeing image as photo and drawing by replicating
look of media challenging viewer to discern exactly what he or she are looking at.
Cant tell diff btw charcoal drawing and photo do they have diff aesthetic value? One
of the leaders of the second wave.