Wednesday, May 26, 2010
Monday, May 17, 2010
PICTORIALISM
Now I would like to discover an early photography movement which I came across during my research regarding aspects of Fine Art Photography.
Pictorialism:
This movement took place in the second half of the nineteenth century when photography became first popular. According to Leggat (1999) pictorialism meant focusing more on the finished picture than the subject itself. The key aspect was putting the attention on the created atmosphere or the point of view. Those photographers were trying to achieve a more artistic approach of the image taking. They were more interested in the aesthetics of the photograph and the emotional impact it would have on the viewer.
By the end of the nineteenth century, after the people got used to this new technical device, some of them started questionning the camera. They regarded it as too accurate and too detailed in its recordings. So they tried to reduce the signs of the technological process within the photographs which were often out of focus on purpose (Wells, 1997). This lead to the fact that photographers began to experiment with the camera and developed new techniques which brought the photographs closer to an art form which was called High-Art photography.
At this period photographers were also strongly influenced by current art movements, i.e. by the impressionism. Their works showed particular features similar to paintings.
New techniques (Leggat 1999):
Oscar Rejlander (Sweden, 1813 - London 1875)
http://farm2.static.flickr.com/1432/1184969319_31bb656e0f.jpg
http://www.geh.org/fm/rejlander/m197202490027.jpg
http://www.geh.org/fm/rejlander/m198400810001.jpg
Henry Peach Robinson (1830 - 1901)
http://www.kiberpipa.org/gallery/album82/Henry_Peach_Robinson_Fading_Away_1858.jpg
http://www.edinphoto.org.uk/0_P/0_photographers_robinson_when_the_days_work_is_done.jpg
http://www.edinphoto.org.uk/0_p/0_photographs_in_exhibitions_robinson_-_somebody_coming.jpg
Photographers were often criticised in this period, however, they believed that photography was more than a 'mechanical form of imagemaking' (Wells 1997).
There have also been fights between painters and photographers because of the big competition amongst them. Photographers were making simple photographic portraits of people in the streets, who were not able to afford to pay for a painted one.
The advantages of photography were obvious. If somebody wanted a painted portrait, he would have to trust the uncertain skills of the painter. Photography on the contrary was quicker in execution and more accurate in details than a painting might have been (Wells 1997).
On the other hand, there also have been some photographers who were celebrating the features and qualities of the mechanical photography. The visual world could be recorded more accurately than ever.
Pictorialism:
This movement took place in the second half of the nineteenth century when photography became first popular. According to Leggat (1999) pictorialism meant focusing more on the finished picture than the subject itself. The key aspect was putting the attention on the created atmosphere or the point of view. Those photographers were trying to achieve a more artistic approach of the image taking. They were more interested in the aesthetics of the photograph and the emotional impact it would have on the viewer.
By the end of the nineteenth century, after the people got used to this new technical device, some of them started questionning the camera. They regarded it as too accurate and too detailed in its recordings. So they tried to reduce the signs of the technological process within the photographs which were often out of focus on purpose (Wells, 1997). This lead to the fact that photographers began to experiment with the camera and developed new techniques which brought the photographs closer to an art form which was called High-Art photography.
At this period photographers were also strongly influenced by current art movements, i.e. by the impressionism. Their works showed particular features similar to paintings.
New techniques (Leggat 1999):
- the use of focus
- manipulations of the negative or
- developping techniques such as 'gum bichromate', which diminished the sharpness of details and created a more artistic picture
Oscar Rejlander (Sweden, 1813 - London 1875)
http://farm2.static.flickr.com/1432/1184969319_31bb656e0f.jpg
http://www.geh.org/fm/rejlander/m197202490027.jpg
http://www.geh.org/fm/rejlander/m198400810001.jpg
Henry Peach Robinson (1830 - 1901)
http://www.kiberpipa.org/gallery/album82/Henry_Peach_Robinson_Fading_Away_1858.jpg
http://www.edinphoto.org.uk/0_P/0_photographers_robinson_when_the_days_work_is_done.jpg
http://www.edinphoto.org.uk/0_p/0_photographs_in_exhibitions_robinson_-_somebody_coming.jpg
Photographers were often criticised in this period, however, they believed that photography was more than a 'mechanical form of imagemaking' (Wells 1997).
There have also been fights between painters and photographers because of the big competition amongst them. Photographers were making simple photographic portraits of people in the streets, who were not able to afford to pay for a painted one.
The advantages of photography were obvious. If somebody wanted a painted portrait, he would have to trust the uncertain skills of the painter. Photography on the contrary was quicker in execution and more accurate in details than a painting might have been (Wells 1997).
On the other hand, there also have been some photographers who were celebrating the features and qualities of the mechanical photography. The visual world could be recorded more accurately than ever.
Sources:
Leggat, R 1999, Pictorialism, viewed 22. May 2010, http://www.rleggat.com/photohistory/. => Significant Processes => Pictorialism.
Wells, L 1997, Photography: A Critical Introduction, Routledge, London/ New York, pp. 21.
Sunday, May 9, 2010
Comment on "Re-View" Part 2
Continuing my comment on the exposition, I would like to express my interest in the photographs of Edward Steichen (1879-1973). His view on photography is inventive and experimental.
With his picture "The Pond-Moonrise", 1904, he captures a very mysterious twilight in the trees.
The most interesting about that picture is that we perceive it as a painting. Steichen's technique blurs the boundaries between a photograph and a painting. He succeeded in generating a spot of colour in the reflection of the water, before colour photography was even invented. That way the resulting picture is just closer to a painting.
He was creating this illusion of colour by applying layers of light-sensitive gum to the paper.
Source: http://www.andrewward.com/Photos/edward_steichen/edward_steichen_moonrise_mamaroneck.jpg
---------------------------------
I like the fact that all photographers discovered their own ways of interpreting photography and pursued what they thought would be the essence of photography.
For example, Paul Strand (1890-1976).
He was heading in the direction of realism and was trying to approach realism by taking photographs with a concealed camera.
There is no posing of the person in front of the camera. We only observe unique genuine expressions on the man's face.
"Strand's portrait also marks the beginnings of a shift from high aestheticism of pictorialism towards a grittier realism indicative of the modern era."
(NGV comment)
We can obviously see that photographers are very well capable to introduce changes in how photography is viewed by the contemporaries and lead the art of photography in a whole new direction.
"Man", Five Points Square, NY, 1916
Source: http://www.photogravure.com/photogravure_images/medium/Strand_03_06.jpg
----------------------------------
It also surprised me and made me happy to see a photograph of Man Ray (1890-1976).
This innovative artist worked all as a painter, sculptor, film-maker and photographer. What is interesting about him is that he strongly affiliated to the surrealist and Dada art movements which not only influenced his work, but also had a great impact on his oeuvres. Man Ray is the one who creates a connection between painting, photography and sculpturing. He tries to melt very different art procedures as a whole. We see an obvious expression of surrealism in his photographs by him creating bizzare effects often on purpose.
He is playing a lot with different shapes and shadows which generate a great contrast between bright and dark parts , putting seemingly unrelated objects to the setting like a sculpture of a hand standing on or coming out of a football alike object.
Man Ray, Untitled (Self-Portrait), 1933
----------------------------------
At the exposition there also was a photograph that requested a lot more of my attention than the others. "The Melancholic Tulip" by Andre Kertesz (1894-1985), 1939
It's a beautiful self-portrait. This to the ground sinking tulip reminds us of a sad, feeling down human being. The photograph is so emotional that we can identify ourselves with the sinking flower.
It's a great choice of lighting. The light source being on the right side makes the tulip appear in black and white, one side in the light and the other in the shadow.
But how did he do that? The vase is taken from 2 different angles. You see it from the one side, but you also gain insight into the vase from above. After some research I found out that the 'melancholic tulip' was a picture of the series 'Distortion'. Objects or still life were photographed in "funhouse" mirrors.
http://www.photographersgallery.com/i/full/melancholic_tulip.jpg
-------------------------------------------------------------
My favourite photograph is taken by Roger Mayne "Young smokers", Southam Street, North Kensington, 1956
It's amazing how he succeeded in capturing the bold and naughty look of the young boy on the right. I love this picture just for its simplicity and the catchy moment of young male bonding.
http://www.rogermayne.com/sstreet/DSC_0034.jpg
-----------------------------------
Robert Frank, "Caerau, Wales", 1953
Even if the photograph is blurry, the viewer gets the atmosphere among the soldiers. It's scary and realistic at the same time. There is a beautiful contrast between the dark, mud covered face in the foreground and the bright shining eyes looking very threatful at the observer.
This photograph creates a really intense feeling when your eye catches the soldier's gaze. This gaze and the looks of the other soldiers are desperate and wishfully hoping to get home soon. We literally feel with the soldiers.
I think war photographers are to be respected for what the do. They make things visible which are normally concealed to the great public.
http://www.christies.com/lotfinderimages/d49723/d4972309r.jpg
With his picture "The Pond-Moonrise", 1904, he captures a very mysterious twilight in the trees.
The most interesting about that picture is that we perceive it as a painting. Steichen's technique blurs the boundaries between a photograph and a painting. He succeeded in generating a spot of colour in the reflection of the water, before colour photography was even invented. That way the resulting picture is just closer to a painting.
He was creating this illusion of colour by applying layers of light-sensitive gum to the paper.
Source: http://www.andrewward.com/Photos/edward_steichen/edward_steichen_moonrise_mamaroneck.jpg
---------------------------------
I like the fact that all photographers discovered their own ways of interpreting photography and pursued what they thought would be the essence of photography.
For example, Paul Strand (1890-1976).
He was heading in the direction of realism and was trying to approach realism by taking photographs with a concealed camera.
There is no posing of the person in front of the camera. We only observe unique genuine expressions on the man's face.
"Strand's portrait also marks the beginnings of a shift from high aestheticism of pictorialism towards a grittier realism indicative of the modern era."
(NGV comment)
We can obviously see that photographers are very well capable to introduce changes in how photography is viewed by the contemporaries and lead the art of photography in a whole new direction.
"Man", Five Points Square, NY, 1916
 | |
Source: http://www.photogravure.com/photogravure_images/medium/Strand_03_06.jpg
----------------------------------
It also surprised me and made me happy to see a photograph of Man Ray (1890-1976).
This innovative artist worked all as a painter, sculptor, film-maker and photographer. What is interesting about him is that he strongly affiliated to the surrealist and Dada art movements which not only influenced his work, but also had a great impact on his oeuvres. Man Ray is the one who creates a connection between painting, photography and sculpturing. He tries to melt very different art procedures as a whole. We see an obvious expression of surrealism in his photographs by him creating bizzare effects often on purpose.
He is playing a lot with different shapes and shadows which generate a great contrast between bright and dark parts , putting seemingly unrelated objects to the setting like a sculpture of a hand standing on or coming out of a football alike object.
Man Ray, Untitled (Self-Portrait), 1933
----------------------------------
At the exposition there also was a photograph that requested a lot more of my attention than the others. "The Melancholic Tulip" by Andre Kertesz (1894-1985), 1939
It's a beautiful self-portrait. This to the ground sinking tulip reminds us of a sad, feeling down human being. The photograph is so emotional that we can identify ourselves with the sinking flower.
It's a great choice of lighting. The light source being on the right side makes the tulip appear in black and white, one side in the light and the other in the shadow.
But how did he do that? The vase is taken from 2 different angles. You see it from the one side, but you also gain insight into the vase from above. After some research I found out that the 'melancholic tulip' was a picture of the series 'Distortion'. Objects or still life were photographed in "funhouse" mirrors.
http://www.photographersgallery.com/i/full/melancholic_tulip.jpg
-------------------------------------------------------------
My favourite photograph is taken by Roger Mayne "Young smokers", Southam Street, North Kensington, 1956
It's amazing how he succeeded in capturing the bold and naughty look of the young boy on the right. I love this picture just for its simplicity and the catchy moment of young male bonding.
http://www.rogermayne.com/sstreet/DSC_0034.jpg
-----------------------------------
Robert Frank, "Caerau, Wales", 1953
Even if the photograph is blurry, the viewer gets the atmosphere among the soldiers. It's scary and realistic at the same time. There is a beautiful contrast between the dark, mud covered face in the foreground and the bright shining eyes looking very threatful at the observer.
This photograph creates a really intense feeling when your eye catches the soldier's gaze. This gaze and the looks of the other soldiers are desperate and wishfully hoping to get home soon. We literally feel with the soldiers.
I think war photographers are to be respected for what the do. They make things visible which are normally concealed to the great public.
http://www.christies.com/lotfinderimages/d49723/d4972309r.jpg
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