10 products were found matching your search for disfarmer in 1 shops:

A fascinating collection of portraits of the townspeople of Heber Springs, Arkansas. Disfarmer was not well liked by the townfolk but they came to him to get their photos taken. He made no attempt to elicit a smile or adhere to any other other convention of commercial portraiture poses. So the photos tend to be of people as they were; not as they might have been "photographed." 135 pages; illustrated through out with b&w photographic plates; 10.25 x 11 inches.

A fascinating collection of portraits of the townspeople of Heber Springs, Arkansas. Disfarmer was not well liked by the townfolk but they came to him to get their photos taken. He made no attempt to elicit a smile or adhere to any other other convention of commercial portraiture poses. So the photos tend to be of people as they were; not as they might have been "photographed." 135 pages; illustrated through out with b&w photographic plates; 10.25 x 11 inches.

Mike Disfarmer is a true American eccentric. Born Mike Meyer, he changed his name to distance himself from both the surrounding farming community of his native Arkansas and from his own kinfolk—claiming that a tornado had accidentally blown him onto the Meyer family farm as a baby. The son of a German-born Union soldier in the heart of the South, Disfarmer was an agnostic from Lutheran stock among the church-going Baptists and Methodists, and remained a confirmed bachelor in a community of large families. Despite his outsider status, as the resident studio photographer in the tiny town of Heber Springs from 1917–1956, Disfarmer was the ultimate insider, privy to each family’s rites of passage—from first birthdays to high-school graduations, from engagements to anniversaries, from army furloughs to funerals. His studio portraits present the people of the heartland during the turbulent times of the early twentieth century. Disfarmer documented the farm families as they sent their sons to fight World War I, struggled through the Great Depression and returned to battle for World War II. His career concludes with the optimistic 1950s, as his previously somber camera joyfully captures the pairings of bobby-soxed young women and their James Dean–wannabe boyfriends. Previously, Disfarmer’s work was known only from a cache of glass-plate negatives that had been salvaged from his studio after his death and spanned a fifth of his forty-year career. The culmination of an unprecedented two-year historical reclamation project in which a dedicated team of researchers scoured every family album in every home along every dirt road in Cleburne Count, Disfarmer: The Vintage Prints presents the never-before-seen original vintage prints of the enigmatic photographer throughout his career.

Mike Disfarmer is a true American eccentric. Born Mike Meyer, he changed his name to distance himself from both the surrounding farming community of his native Arkansas and from his own kinfolk—claiming that a tornado had accidentally blown him onto the Meyer family farm as a baby. The son of a German-born Union soldier in the heart of the South, Disfarmer was an agnostic from Lutheran stock among the church-going Baptists and Methodists, and remained a confirmed bachelor in a community of large families. Despite his outsider status, as the resident studio photographer in the tiny town of Heber Springs from 1917–1956, Disfarmer was the ultimate insider, privy to each family’s rites of passage—from first birthdays to high-school graduations, from engagements to anniversaries, from army furloughs to funerals. His studio portraits present the people of the heartland during the turbulent times of the early twentieth century. Disfarmer documented the farm families as they sent their sons to fight World War I, struggled through the Great Depression and returned to battle for World War II. His career concludes with the optimistic 1950s, as his previously somber camera joyfully captures the pairings of bobby-soxed young women and their James Dean–wannabe boyfriends. Previously, Disfarmer’s work was known only from a cache of glass-plate negatives that had been salvaged from his studio after his death and spanned a fifth of his forty-year career. The culmination of an unprecedented two-year historical reclamation project in which a dedicated team of researchers scoured every family album in every home along every dirt road in Cleburne Count, Disfarmer: The Vintage Prints presents the never-before-seen original vintage prints of the enigmatic photographer throughout his career.

100% Satisfaction is Guaranteed! There are no problems in page content and in the paper. You will be the first to open the book cover. For Used condition books in our store; It shows signs of wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact , but may have aesthetic issues such as price clipping, nicks, scratches, and scuffs. Pages may include some notes and highlighting. For all our books; Cargo will be delivered in the required time.

100% Satisfaction is Guaranteed! There are no problems in page content and in the paper. You will be the first to open the book cover. For Used condition books in our store; It shows signs of wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact , but may have aesthetic issues such as price clipping, nicks, scratches, and scuffs. Pages may include some notes and highlighting. For all our books; Cargo will be delivered in the required time.

Last year, as The New York Times has reported, a young couple from Heber Springs, Arkansas offered a collector 50 family photographs, unassuming black-and-white studio portraits dating from the mid-twentieth century. That quiet sale, which raised the possibility that there were other vintage prints of Mike Disfarmer's work in area family albums, set off a competitive buying frenzy that had collectors going door to door through rural Arkansas, spending more than a million dollars on several thousand prints. Disfarmer's work had originally been discovered in crates of glass-plate negatives, found by the speculator who purchased his estate. It was brought to light decades later in a series of books and exhibitions that set off consistent, continuing critical acclaim, but known only in posthumous reprints. Original Disfarmer Photographs is the first publication to present these vintage prints, made by Disfarmer's own hand at the time the pictures were taken--at once family mementos and the original work of one of America's greatest portraitists. Disfarmer spent half a century making studio portraits at pennies a picture to satisfy his rural clients, and creating a style of portraiture all his own. As one subject describes its genesis, "There wasn't much of a greeting when you walked in, I'll tell you that. Instead of telling you to smile, he just took the picture. No cheese or anything."

Becoming Disfarmer uses a compelling sequence of over 100 images to tell the story of Mike Disfarmer's vernacular portraiture and its transformation into art. This monograph features his vintage prints along with a selection of enlargements made from his negatives in the 1970s, through which his work first became known. Disfarmer's postcard-size vintage photographs are reproduced in full color to accurately convey their varied surfaces, and most of the examples are shown in the condition in which they were found, rather than as restored images. This publication also reproduces the backs of selected vintage photographs and provides transcriptions of all handwritten notes that appear on the objects. In addition, the monograph contains high-quality reproductions of newspaper pages in which Disfarmer's images appeared, locally produced historical journals that include images by other photographers who worked at the same time and in the same region as Disfarmer and album pages like those for which Disfarmer's photographs were originally made. These fascinating additions to the scholarship were collected as primary research by the editor over a three-year period and provide historical context for Disfarmer's portraits. Complete with three scholarly essays, a bibliography and exhibition history, this monograph qualifies as the most comprehensive Disfarmer publication to date.Mike Disfarmer (1884–1959) was born Michael Meyer in Indiana, and began working as a photographer in Heber Springs, Arkansas in 1914. In addition to selling portraits made in his studio, he processed film, sold postcards and worked for hire. He was considered a mythical figure in his own lifetime for changing his surname to Disfarmer in 1939 and claiming to have originated from a tornado. His portraits--commonly considered as honest depictions of a rural population made by an eccentric outsider--have been compared with the work of masters such as August Sander and Irving Penn.

Last year, as The New York Times has reported, a young couple from Heber Springs, Arkansas offered a collector 50 family photographs, unassuming black-and-white studio portraits dating from the mid-twentieth century. That quiet sale, which raised the possibility that there were other vintage prints of Mike Disfarmer's work in area family albums, set off a competitive buying frenzy that had collectors going door to door through rural Arkansas, spending more than a million dollars on several thousand prints. Disfarmer's work had originally been discovered in crates of glass-plate negatives, found by the speculator who purchased his estate. It was brought to light decades later in a series of books and exhibitions that set off consistent, continuing critical acclaim, but known only in posthumous reprints. Original Disfarmer Photographs is the first publication to present these vintage prints, made by Disfarmer's own hand at the time the pictures were taken--at once family mementos and the original work of one of America's greatest portraitists. Disfarmer spent half a century making studio portraits at pennies a picture to satisfy his rural clients, and creating a style of portraiture all his own. As one subject describes its genesis, "There wasn't much of a greeting when you walked in, I'll tell you that. Instead of telling you to smile, he just took the picture. No cheese or anything."

Becoming Disfarmer uses a compelling sequence of over 100 images to tell the story of Mike Disfarmer's vernacular portraiture and its transformation into art. This monograph features his vintage prints along with a selection of enlargements made from his negatives in the 1970s, through which his work first became known. Disfarmer's postcard-size vintage photographs are reproduced in full color to accurately convey their varied surfaces, and most of the examples are shown in the condition in which they were found, rather than as restored images. This publication also reproduces the backs of selected vintage photographs and provides transcriptions of all handwritten notes that appear on the objects. In addition, the monograph contains high-quality reproductions of newspaper pages in which Disfarmer's images appeared, locally produced historical journals that include images by other photographers who worked at the same time and in the same region as Disfarmer and album pages like those for which Disfarmer's photographs were originally made. These fascinating additions to the scholarship were collected as primary research by the editor over a three-year period and provide historical context for Disfarmer's portraits. Complete with three scholarly essays, a bibliography and exhibition history, this monograph qualifies as the most comprehensive Disfarmer publication to date.Mike Disfarmer (1884–1959) was born Michael Meyer in Indiana, and began working as a photographer in Heber Springs, Arkansas in 1914. In addition to selling portraits made in his studio, he processed film, sold postcards and worked for hire. He was considered a mythical figure in his own lifetime for changing his surname to Disfarmer in 1939 and claiming to have originated from a tornado. His portraits--commonly considered as honest depictions of a rural population made by an eccentric outsider--have been compared with the work of masters such as August Sander and Irving Penn.