The First Art Movements of Photography Pictorialism ‘The New Photography’ FSA Group f64

1. The First Art Movements of PhotographyPictorialism‘The New Photography’FSAGroup f64

2. PICTORIALISM Pictorialism was an international movement of art photography during the later 19th and early 20th centuries. For the Pictorialist, a photograph should be like painting, printmaking or drawing. Pictorialists used elaborate printing techniques to make their photographs look like “art”

3. Pictorialism was part of the European trend of modern art Impressionism – Monet, Degas, Whistler Post-Impressionism – Van Gogh, Gauguin Art Nouveau –Beardsley, Klimt Pictorialist photographers were influenced by Impressionist painters like Whistler. Everyone was influenced by Japanase woddcut art … Whistler, Nocturne in Black and Gold 1873

4. Hiroshige, The 53 Stations of the Tokkaido Road, 1855 Whistler, Nocturne in Black and Gold 1873

5. Japanese art arrived in the West after Japan opened up its borders in the 1860s. Japanese woodcuts influenced Impressionist painters such as Monet, Van Gogh and Whistler. Japanese art was noted for its graphic compositions, flattened perspective and simple pure colours. Hiroshige, The 53 Stations of the Tokkaido Road, 1855

6. Hiroshige, The 53 Stations of the Tokkaido Road, 1855 Alvin Langdon Coburn, from London 1910

7. Alvin Langdon Coburn was a Pictorialist photographer influenced by Impressionism and Japanese woodcut art. He used a telephoto lens to flatten perspective and make his compositions more graphic. His photographs were printed using the photogravure printmaking process which gave them a soft quality like drawings. Alvin Langdon Coburn, from London 1910

8. Alvin Langdon Coburn, from London 1910 Alvin Langdon Coburn, from London 1910

9. Alvin Langdon Coburn, from London 1910 Alvin Langdon Coburn, from London 1910

10. Edward Steichen, The Flatiron 1904 “The Flatiron is a chromatic study of twilight. It is clearly indebted in its composition to the Japanese woodcuts that were in vogue at the turn of the century and, in its coloristic effect, to the Nocturnes of Whistler. This picture is a prime example of the conscious effort of photographers in the circle of Alfred Stieglitz to assert the artistic potential of their medium” www.metmuseum.org

11. Edward Steichen, The Flatiron 1904 Edward Steichen, The Big White Cloud, Lake George, 1903

12. Edward Steichen, The Big White Cloud, Lake George, 1903 Edward Steichen, Torso, Paris. 1902 photogravure

13. Gertrude Kasebier made highly symbolic pictures that were staged for the camera. This image depicts the Victorian ideals of motherhood and femininity. Gertrude Kasebier, Blessed Art Thou Among Women. Platinum print 1899

14. Gertrude Kasebier, Blessed Art Thou Among Women. Platinum print 1899 Gertrude Kasebier, Miss N. Portrait of the actress Evelyn Nesbit, 1902

15. Julia Margaret Cameron, The Echo 1868 Cameron was the inspiration for many Pictorialist artists. This image image was made 34 years before the Kasebier. Gertrude Kasebier, Miss N. Portrait of the actress Evelyn Nesbit, 1902

16. Harold Casneux, Steam and Sunshine, 1935 In Pictorialism, even an industrial subject is made into a soft, dreamy art image. Harold Casneaux was Australia’s leading Pictorialist, and one of our greatest photographers.

17. Harold Casneux, Steam and Sunshine, 1935 John Kaufmann, The Street Corner 1914

18. John Kaufmann, The Street Corner 1914 Jack Cato, Through a Collins Street Window

19. Alfred Stieglitz, The Steerage, 1907 The photograph has fascinated photographers for 100 years because it is so well designed and is so open to interpretation.

20. Alfred Stieglitz, The Steerage, 1907 The madonna figure amongst the poor passengers in the bottom section gives the picture a symbolic quality. She resembles depictions of Mary, the mother of Christ. The bright gangplank separates the poorer steerage passengers below from the better-off ones above. This suggests the class divisions of society.

21. Alfred Stieglitz, The Steerage, 1907 Its tight geometric structure and flattened depth predicts the coming of modernism and abstraction in photography.

22. THE NEW PHOTOGRAPHY • In the 1920s and '30s unconventional new forms and techniques suddenly appeared in photography. • unusual camera angles • moving cameras and subjects • the use of small cameras, especially the Leica • new techniques such as photomontage and photogram • This approach was promoted in the German Bauhaus school and in the Constructivist movement in Russia.

23. What is the subject of this photograph? Moholy-Nagy has photographed a park from a high angle, emphasizing its abstract qualities. Laszlo Moholy-Nagy, From the radio tower 1928

24. Laszlo Moholy-Nagy, untitled painting, 1922 His abstract photographs were part of his overall interest in abstraction and experimentation. Laszlo Moholy-Nagy, From the radio tower 1928

25. Laszlo Moholy-Nagy, From the radio tower 1928 Boris Ignatovich, Construction Site, 1929

26. Film and Foto, Exhibition poster 1929 Boris Ignatovich, Construction Site, 1929

27. Film and Foto, Exhibition poster 1929 Here Comes the New Photographer! Book cover, 1929

28. Film and Foto, Exhibition poster 1929 Here Comes the New Photographer! Inside page, 1929

29. Higher speed films were making faster shutter speeds possible. A high speed film in the 1920s was 100 ISO. Martin Munkacsi, Liberia, 1931

30. WilliRuge, The Photographer, 1931 Small portable cameras like the new 35mm Leica, took photography into new situations. This was taken by a parachutist!

31. WilliRuge, The Photographer, 1931 Leica advertisement, c1930

32. Moholy-Nagy pioneered the Photogram, a camera-less technique where objects are laid directly on the photographic paper in the darkroom. Laszlo Moholy-Nagy, photogram 1928

33. This image by Moholy-Nagy is a photomontage, a collage made from cutup photos. Laszlo Moholy-Nagy, Jealousy, photomontage 1928

34. This print is a combined enlargement plus photogram Jaroslav Rössler,1931

35. Portraiture changed from the romantic style of Pictorialism, to a more straight approach. August Sander photographed in a simple, factual style, creating a cross-section of the German population through portraits. August Sander, Bricklayer, c1928

36. One of the great portrait photographers was August Sander August Sander, Bricklayer, c1928 August Sander, Secretary, 1928

37. One of the great portrait photographers was August Sander August Sander, painter, 1928 August Sander, Secretary, 1928

38. August Sander, painter, 1928 August Sander, Soldier, 1936

39. Industrial and architectural photography also reflected the aesthetic of The New Photography: clear, factual and well-designed Albert Renger-Patszch, Iron and Steel

40. Albert Renger-Patszch, Iron and Steel Albert Renger-Patszch

41. Albert Renger-Patszch Albert Renger-Patszch

42. The New Photography in Australia Max Dupain, Silos through Windscreen, 1935

43. The New Photography in Australia Max Dupain, Silos through Windscreen, 1935

44. The New Photography in Australia Max Dupain, Silos through Windscreen, 1935

45. Max Dupain, Pyrmont, 1935 Max Dupain, Silos through Windscreen, 1935

46. Wolfgang Sievers continued the modernist aesthetic throughout his long career. He specialized in industrial photography Gears for Mining Industry, 1960

47. Sulphuric acid plant Hobart, 1959 Gears for Mining Industry, 1960

48. Contemporary Photographers

49. Rocky Schenk, Nine Trees, 1998

50. Rocky Schenk, Winter, Central Park, 2002