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Photographic Pictorialism was an early twentieth-century movement that had its goal the romantic expression of forms of beauty. In California, Pictorialism took forms as varied as landscape photographs, Hollywood portraits, and moody evocations of modern dance. This book contains one hundred photographs that illustrate the full range of the Pictorialist movement in Northern and in Southern California. It includes images by such well-known Pictorialists as Ansel Adams, Imogene Cunningham, and Edward Weston.

Accompanies an exhibition exploring the design, composition, and technique characteristic of the school

Photographic Pictorialism was an early twentieth-century movement that had its goal the romantic expression of forms of beauty. In California, Pictorialism took forms as varied as landscape photographs, Hollywood portraits, and moody evocations of modern dance. This book contains one hundred photographs that illustrate the full range of the Pictorialist movement in Northern and in Southern California. It includes images by such well-known Pictorialists as Ansel Adams, Imogene Cunningham, and Edward Weston.

Marianna Torgovnick maintains that it is worthwhile to think about novels in terms of the visual arts--in part because major novelists like James, Lawrence, and Woolf did so, and did so fruitfully, as they were influenced by their perceptions of artistic movements.Originally published in 1985.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The photographs of the Pictorialist movement are among the most spectacular works of art in the medium's history. Showcasing soft focus, dramatic effects of light, unusual camera angles, and bold technical experimentation, the Pictorialists created highly atmospheric works that expanded photography's visual vocabulary and remain influential today. TruthBeauty celebrates this 100-year movement with stunning examples and an engaging history of its rise, scope, and impact on other branches of photography and on art. The 121 vintage photographs have been culled from collections worldwide, including 70 from the prestigious George Eastman House, North America's largest museum of photography. The book includes masterpieces by such luminaries as Julia Margaret Cameron, Edward Steichen, Ansel Adams, and Alfred Stieglitz. TruthBeauty expands readers' understanding of Pictorialism's international scope by featuring examples from the Czech Republic, Japan, and Australia. Essays by curator Alison Nordström, Luca Ackerman, Ryuchi Kaneko, Gael Newton, and David Wooters offer illuminating background, history, and context.

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Marianna Torgovnick maintains that it is worthwhile to think about novels in terms of the visual arts--in part because major novelists like James, Lawrence, and Woolf did so, and did so fruitfully, as they were influenced by their perceptions of artistic movements.Originally published in 1985.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Modernist Photography re-examines the classic period of twentieth-century photography using new critical approaches to consider five recurrent visual themes during the years 1915 to 1945. These themes cut across such stylistic movements as Pictorialism, Surrealism and the New Vision, and include the transformation of objects, experimental images of the body, visions of the city, the industrialization of the countryside and experimental directions in poster design and typography. This thematic approach fosters new perspectives on such key photographers as Bernice Abbott, Brassaï, Walker Evans, Raoul Hausmann, Dorothea Lange, Gordon Parks and Man Ray and emphasizes the interactions between European and American practitioners. The catalogue will include chapters on each of the five themes by ICP Curators Christopher Phillips and Vanessa Rocco. It is based on a selection of 70 works from the Daniel Cowin Collection. The collection of about 1,600 images dates from 1860 to 1960 and includes a range of processes and formats--postcards, stereographs, carte-de-vistes, tintypes, albumen prints and gelatin silver prints.

From its earliest days, photography could not escape the pictorial traditions that had gone before it. This book, the first comprehensive study of Pictorialism in Europe, analyses the remarkable diversity of approaches taken by photographers across the continent whose practice was infused with contemporary debate about photography's relationship to art. Written by an international team of art and photography historians, Impressionist Camera examines the ways in which practitioners realized their pictorial vision, from the re-creation of Academic painting in photography to the use of soft focus to lend images an impressionistic quality. Also explored are the cross-currents with photography in America - where Pictorialism went on to flourish - including the seminal work of Alfred Stieglitz.

Modernist Photography re-examines the classic period of twentieth-century photography using new critical approaches to consider five recurrent visual themes during the years 1915 to 1945. These themes cut across such stylistic movements as Pictorialism, Surrealism and the New Vision, and include the transformation of objects, experimental images of the body, visions of the city, the industrialization of the countryside and experimental directions in poster design and typography. This thematic approach fosters new perspectives on such key photographers as Bernice Abbott, Brassaï, Walker Evans, Raoul Hausmann, Dorothea Lange, Gordon Parks and Man Ray and emphasizes the interactions between European and American practitioners. The catalogue will include chapters on each of the five themes by ICP Curators Christopher Phillips and Vanessa Rocco. It is based on a selection of 70 works from the Daniel Cowin Collection. The collection of about 1,600 images dates from 1860 to 1960 and includes a range of processes and formats--postcards, stereographs, carte-de-vistes, tintypes, albumen prints and gelatin silver prints.

Pictorialism emerged in the early twentieth century as a prominent style of fine art photography. Artists engaged in this style were interested in the effects of transient light and Japanese compositional elements. They developed innovative darkroom techniques to create unique soft-focus photographs that reflected contemporary painting styles. Historically, pictorial photography was narrowly defined by certain characteristics that gave an inaccurate assessment of its important contributions to the medium. Recent rediscoveries from American regional camera clubs, including the Seattle Camera Club (SCC), reveal that the movement was broader and more individualist than previously thought.Shadows of a Fleeting World provides a rare glimpse into the regional Pictorialist movement. It documents the lives and artistic accomplishments of the SCC photographers. The SCC was one of the most active and successful in the United States, and, fortunately, preservation of its works and history allow for a rich interpretation of its art. Japanese immigrants formed the club's core, and their work routinely blended Pictorialist methods with Japanese aesthetic traditions. The Japanese-influenced Pictorialist works of the SCC made a unique contribution to the international art movement.The book is generously illustrated with images and prints from SCC artists, many of which have never been published before.

Karl Struss (1886-1981) was a master of both still and motion picture photography. A native of New York City, he first studied photography with Clarence White and soon mastered the tenets of Pictorialism. Alfred Stieglitz featured his work in a 1910 exhibition and a 1912 issue of Camera Work. Struss was also a pioneering commercial photographer, one of the first to produce photographs for magazine illustration. After enlisting in the army during World War I, he decided not to return to New York but instead headed west, to Hollywood, where he began a new career in film, making movie stills and publicity portraits and then doing motion picture photography. His pictorial talents earned him the first Academy Award for cinematography for Sunrise (1927). New York to Hollywood surveys this consummate artist's long career with the camera. John and Susan Edwards Harvith, who rediscovered Struss's pictorialist work in the 1970s and interviewed him at length in his later years, round out the portrait of both the man and the artist.

Naked Women explores the subject of the female nude in photography in all its beauty and variety, with selections from ninety of the world's most renowned photographers, dating from 1850 to the present day. The reader is taken through a wide range of artistic styles from pictorialism to realism, from surrealism to postmodernism; viewing and understanding the historic images of Edward Muybridge and Bill Brandt; the established sexiness of Herb Ritts; and the quirkiness of emerging stars of the contemporary scene such as Angel Baccassino. While maintaining their individual style and interpretation of the female form, each photographer has been chosen for the impact they have made on the genre and on photography as an art, as well as for the beauty of their images, and the technical prowess with which they are achieved. Printed four-color throughout, the photographs are glorious and irresistibly eye-catching. Includes work from well-known photographers and artists such as Araki, Eve Arnold, Eugene Atget, Richard Avedon, Cecil Beaton, Brassai, Henri Cartier-Bresson, Larry Clarke, Lucien Clergue Peter Lindbergh, Irving Penn, Steven Meisel, Herb Ritts, Jan Saudek, Mario Testino, and Dorothy Wilding.

Pictorialism emerged in the early twentieth century as a prominent style of fine art photography. Artists engaged in this style were interested in the effects of transient light and Japanese compositional elements. They developed innovative darkroom techniques to create unique soft-focus photographs that reflected contemporary painting styles. Historically, pictorial photography was narrowly defined by certain characteristics that gave an inaccurate assessment of its important contributions to the medium. Recent rediscoveries from American regional camera clubs, including the Seattle Camera Club (SCC), reveal that the movement was broader and more individualist than previously thought.Shadows of a Fleeting World provides a rare glimpse into the regional Pictorialist movement. It documents the lives and artistic accomplishments of the SCC photographers. The SCC was one of the most active and successful in the United States, and, fortunately, preservation of its works and history allow for a rich interpretation of its art. Japanese immigrants formed the club's core, and their work routinely blended Pictorialist methods with Japanese aesthetic traditions. The Japanese-influenced Pictorialist works of the SCC made a unique contribution to the international art movement.The book is generously illustrated with images and prints from SCC artists, many of which have never been published before.