HISTORY OF PHOTOGRAPHY SECTION 3 Artistic Movements

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 ( ) 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 , albumen print

Oscar Rejlander Putto as Allegory for Painting Portrait of Two Girls

Oscar Rejlander The Bachelors Dream—1860, Albumen Print

Oscar Rejlander Hard Times –Spiritistic Photograph –Combination Albumen Print (two negatives)

Oscar Rejlander The Two Ways of Life 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 ( ) 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 – composite image from five different negatives

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

Julia Margaret Cameron ( ) 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 work Proserpine by Dante Gabriel Rosetti 1874, Oil on canvas

Peter Emerson ( ) 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 Rest 1885, platinum print

Impressionist Paintings ( artistic style of the time period 1860’s-90’s ) Luncheon of the Boating Party – Pierre-Auguste Renoir Sunday Afternoon on the Isle of La Grande Jatte ( ) -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 Broxbury Church -1888

Peter Emerson Furze Cutting Platinum Print The Haunt of the Pike -1885

Peter Emerson A Winter’s Sunrise

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 ( ) 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

Alfred Steiglitz – The Terminal, 1893

Alfred Steiglitz Spring Showers NY Flat Iron Building NY- 1903

Alfred Steiglitz Venetian Boy-1887

Alfred Steiglitz The Steerage -1907

Other Pictorialist Work Emile Puyo - The Gorgons Head George Seeley - The Firefly -1907

More Pictorialist Work Edward Steichen - Self-Portrait 1901Clarence White- Morning

Portrait of J.P. Morgan 1903 By Edward Steichen

The Flatiron 1904 By Edward Steichen