Exhibition dates: 21st October 2014 – 4th January 2015
Paul Strand (American, 1890-1976)
White Fence, Port Kent, New York
1916 (negative); 1945 (print)
Gelatin silver print
9 5/8 × 12 13/16 inches (24.5 × 32.5cm)
Philadelphia Museum of Art
The Paul Strand Retrospective Collection, 1915-1975
Gift of the estate of Paul Strand, 1980
© Paul Strand Archive/Aperture Foundation
Seeing clearly
What can you say about one of the greatest photographers in the history of the medium, a man with a social conscience, a man who’s fame “rests on his extraordinary artistic talent as well as his belief in the transformative power of the medium in which he chose to work.”
From a personal perspective, in my first year at university learning the history of the medium in the early 1990s, the image White Fence, Port Kent, New York (1916, below) was proposed as the first truly modernist photograph. I remember seeing this image for the first time, placing myself in that time (the First World War) and trying to understand what a shock that photograph must have been to the world of Pictorialism. Even now, the strength of that white picket fence is electrifying in its frontality and geometric solidity. In this image, “Strand deliberately destroyed perspective to build a powerful composition from tonal planes and rhythmic pattern.”1 A year earlier Strand had produced what is one of my favourite photographs of all time, a modernist image – Wall Street, New York (1915, below), with the dark maw of industry ready to swallow the rushing workers framed in streaming sunlight. We cannot underestimate the impact that Strand’s revolutionary photographs had on the history of photography.
You only have to look at the images. Look at the tonality and intense stare in Young Boy, Gondeville, Charente, France (1951, below), so haunting and beautiful. Observe the ensemble of figures so tightly choreographed in The Family, Luzzara (The Lusettis) (1953, below) or the darkness and weight of the cheese in Parmesan, Luzzara (1953, below) – an image I had never seen before – as it presses into the upturned hand. Magnificent. What seems so difficult to others and what is difficult in reality, is expressed simply and eloquently by Strand, whether it be portraits of tribal elders, market squares or oil refineries. That is the mark of a master craftsman, when the difficult appears simple and insightful at one and the same time. I vividly recall seeing a folio from The garden series (1957-67, printed in the year of his death 1976) – still lifes of his garden in Orgeval, outside Paris – at the National Gallery of Victoria and being awestruck by their tonality, their beauty, quietness and lyricism. No ego here… just a reflection of life on earth and “the beauty of myriad textures.” Several of these photographs are at the bottom of the posting.
An aphorism that I was taught when first starting out as a photographer was that Strand said it took ten years to become a photographer. Ten years of study to understand your equipment, your medium and what you are trying to say yourself as an artist – and to get rid of ego in the work, to let the work just speak for itself. Whether he actually said this I am not sure, but from my experience I would say that it is about right. Strand starting studying photography at the Ethical Culture School in 1907 under the tutelage of documentary photographer Lewis Hine and his first important images were produced in 1915. The timeline is there.
For Strand, “the camera was a machine – a modern machine,” says curator of the exhibition Peter Barberie. “He was preoccupied with the question of how modern art – whether it’s photography or not – could contain all of the humanity that you see in the western artistic traditions.”
A big ask but a great artist to produce such work.
Dr Marcus Bunyan
.
Many thankx to the Philadelphia Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Who can say what amalgam of memory, dreams, study, pain and discipline brought Paul Strand to photograph Mr. Bennett and to record him so perfectly? The picture is almost as unaccountable as the fact of Mr. Bennett, we are left with our little cosmologies and the certainty that we will never fully know. But we continue to speculate, as with all great art, because the picture is clearer than life and this is consoling.”
.
Robert Adams, Why People Photograph
“Treating the human condition in the modern urban context, Strand’s photographs are a subversive alternative to the studio portrait of glamour and power. A new kind of portrait akin to a social terrain, they are, as Sanford Schwartz put it, “cityscapes that have faces for subjects.””
.
Department of Photographs, The Metropolitan Museum of Art
“The portrait of a person is one of the most difficult things to do, because in order to do it it means that you must almost bring the presence of that person photographed to other people in such a way that they don’t have to know that person personally in any way, but they are still confronted with a human being that they won’t forget. The images of that person that they will never forget. That’s a portrait.”
.
Paul Strand
Paul Strand (American, 1890-1976)
Wall Street, New York
1915 (negative); 1915 (print)
Platinum print
9 3/4 × 12 11/16 inches (24.8 × 32.2cm)
Philadelphia Museum of Art
The Paul Strand Retrospective Collection, 1915-1975
Gift of the estate of Paul Strand, 1980
© Paul Strand Archive/Aperture Foundation
Paul Strand’s 1915 photograph of Wall Street workers passing in front of the monolithic Morgan Trust Company can be seen as the quintessential representation of the uneasy relationship between early twentieth-century Americans and their new cities. Here the people are seen not as individuals but as abstract silhouettes trailing long shadows down the chasms of commerce. The intuitive empathy that Strand demonstrates for these workers of New York’s financial district would be evident throughout the wide and varied career of this seminal American photographer and filmmaker, who increasingly became involved with the hardships of working people around the world. In this and his other early photographs of New York, Strand helped set a trend toward pure photography of subject and away from the Pictorialist imitation of painting. Wall Street is one of only two known vintage platinum prints of this image and one of the treasures of some five hundred photographs in the Museum’s Paul Strand Retrospective Collection.
Martha Chahroudi, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 230.
Manhatta (1921) | Paul Strand – Charles Sheeler
Paul Strand (American, 1890-1976)
Church, Ranchos de Taos, New Mexico
1931 (negative); 1931 (print)
Platinum print
5 7/8 x 4 5/8 inches (15 x 11.7cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Barbara B. and Theodore R. Aronson, 2013
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Women of Santa Ana, Lake Pátzcuaro, Mexico
1933
Platinum print
4 11/16 × 5 7/8 inches (11.9 × 14.9cm)
Philadelphia Museum Of Art
The Paul Strand Collection, purchased with Museum funds, 2010
© Paul Strand Archive/Aperture Foundation
Redes / The Wave (1936) Paul Strand
Paul Strand (American, 1890-1976)
Mr. Bennett, East Jamaica, Vermont
1944
From Portfolio Three. 1944
Gelatin silver print
7 1/4 × 9 3/16 inches (18.4 × 23.3cm)
Philadelphia Museum Of Art
The Paul Strand Collection, purchased with Museum funds, 2010
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
“Never Despair”
1963-1964
Gelatin silver print
7 5/8 × 9 5/8 inches (19.4 × 24.4cm)
Philadelphia Museum Of Art
Gift of Lynne and Harold Honickman
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Chief and Elders, Nayagnia, Ghana
1963-1964
Philadelphia Museum Of Art
The Paul Strand Retrospective Collection, 1915-1975
Gift of the estate of Paul Strand
© Paul Strand Archive/Aperture Foundation
The Philadelphia Museum of Art is presenting the first major retrospective in nearly fifty years to be devoted to Paul Strand (American, 1890-1976), one of the greatest photographers in the history of the medium. It explores the remarkable evolution of Strand’s work spanning six decades, from the breakthrough moment when he brought his art to the brink of abstraction to his broader vision of the place of photography in the modern world. This exhibition examines every aspect of Strand’s work, from his early efforts to establish photography as a major independent art form and his embrace of filmmaking as a powerful medium capable of broad public impact to his masterful extended portraits of people and places that would often take compelling shape in the form of printed books. Paul Strand: Master of Modern Photography celebrates the recent acquisition of more than 3,000 prints from the Paul Strand Archive, which has made the Philadelphia Museum of Art the world’s largest and most comprehensive repository of Strand’s work.
Timothy Rub, the George D. Widener Director, stated: “Strand’s achievement was remarkable. The distinctive place he holds in the history of modern photography rests on his extraordinary artistic talent as well as his belief in the transformative power of the medium in which he chose to work. From his early experiments with street photography in New York to his sensitive portrayal of daily life in New England, Italy, and Ghana, Strand came to believe that the most enduring function of photography and his work as an artist was to reveal the essential nature of the human experience in a changing world. He was also a master craftsman, a rare and exacting maker of pictures. We are delighted to be able to present in this exhibition a selection of works drawn almost exclusively from the Museum’s collection, and to share these with audiences in the United States and abroad. Paul Strand: Master of Modern Photography will introduce a new generation of visitors to a great modern artist.”
Paul Strand’s career spanned a period of revolutionary change both in the arts and in the wider world. Always motivated by a strong sense of social purpose, he came to believe that depicting the human struggle, both economic and political, was central to his responsibility as an artist. The exhibition begins with his rapid mastery of the prevailing Pictorialist style of the 1910s, reflected in serene landscapes such as The River Neckar, Germany (1911). On view also are his innovative photographs of 1915-1917 in which he explored new subject matter in the urban landscape of New York and innovative aesthetic ideas in works such as Abstraction, Porch Shadows, Twin Lakes, Connecticut (1916). These new directions in Strand’s photography demonstrated his growing interest both in contemporary painting – especially Cubism and the work of the American artists championed by Alfred Stieglitz – and in discovering for photography a unique means of expressing modernity. Strand’s work of this period includes candid, disarming portraits of people observed on the street – the first of their type – such as Blind Woman, New York (1916), and Wall Street, New York (1915), an arrangement of tiny figures passing before the enormous darkened windows of the Morgan Trust Company Building, which illustrates Strand’s fascination with the pace of life and changing scale of the modern city.
During the 1920s – a period often called “the Machine Age” – Strand became transfixed by the camera’s capacity to record mesmerising mechanical detail. At this time his ideas about the nature of portraiture began to expand significantly. These new and varied concerns can be seen in the sensuous beauty of close-up images of his wife, Rebecca Salsbury Strand, to cool, probing studies of his new motion picture camera, such as Akeley Camera with Butterfly Nut, New York (1922-23). His ideas about portraiture also extended to his growing preoccupation with photographic series devoted to places beyond New York, such as the southwest and Maine, where he would make seemingly ordinary subjects appear strikingly new. The exhibition looks at Strand’s widening engagement with his fellow artists of the Stieglitz circle, placing his works alongside a group of paintings by Georgia O’Keeffe, Marsden Hartley, Arthur Dove, and John Marin, as well as photographs by Stieglitz, who played an important role in launching Strand’s career. These juxtapositions reveal the rich interaction between Strand and his friends and peers during this time.
Over the next several decades Strand traveled widely, seeking always to establish a broader role for photography. The exhibition conveys his growing interest in the medium’s unique ability to record the passage of time and the specific qualities of place, as seen in Elizabethtown, New Mexico (1930), one of many photographs he made of abandoned buildings. It shows Strand returning to a core motif – the portraiture of anonymous subjects – during the time when he lived in Mexico, from 1932 to 1934. This period abroad had a profound influence on him, deepening his engagement with the politics of the left. Many of the works he created at this time, whether depicting individuals, groups of people, or even religious icons, show in their exceptional compositions a deep empathy. This can also be seen in his series devoted to Canada’s Gaspé Peninsula from the same decade.
By the 1940s, books would become Strand’s preferred form of presentation for his work, reflecting a synthesis of his aims both as a photographer and filmmaker, and offering him the opportunity to create multifaceted portraits of modern life. In his photographs of New England, Strand drew upon cultural history, conveying a sense of past and present in order to suggest an ongoing struggle for democracy and individual freedom. Images of public buildings, such as Town Hall, New Hampshire (1946), and portraits of people he met, including Mr. Bennett, East Jamaica, Vermont (1943), were reproduced in Time in New England. This book was published in 1950, the year Strand moved to France in response to a growing anti-Communist sentiment in the U.S., and reflected his political consciousness. Strand described New England as “a battleground where intolerance and tolerance faced each other over religious minorities, over trials for witchcraft, over the abolitionists … It was this concept of New England that led me to try to find … images of nature and architecture and faces of people that were either part of or related in feeling to its great tradition.”
The exhibition also highlights his project in Luzzara, Italy (1953), where he focused his attention on the everyday realities of a northern village recovering from the miseries of war and fascism. This series is centred on images of townspeople, as seen in The Family, Luzzara (The Lusettis) (1953), and fulfils his long-held ambition to create a major work of art about a single community. Strand’s photographs of Luzzara were published in Un Paese: Portrait of an Italian Village (1955).
In 1963, Strand was invited to Ghana at the invitation of Kwame Nkrumah, its first president following the end of British rule. Fascinated by Ghana’s democracy during these years, Strand was excited to photograph a place undergoing rapid political change and modernisation. He saw modernity in the efforts of a newly independent nation to chart its future unfolding simultaneously alongside traditional aspects of Ghanaian culture. Portraiture was central to the project, as seen in Anna Attinga Frafra, Accra, Ghana (1964), in which a young schoolgirl balances books on her head. The project led to the publication of Ghana: An African Portrait (1976).
In Strand’s later years, he would increasingly turn his attention close to his home in Orgeval, outside Paris, often addressing the countless discoveries he could make within his own garden. There he produced a remarkable series of still life. These were at times reflective of earlier work, but also forward-looking in their exceptional compositions that depict the beauty of myriad textures, free-flowing movement, and evoke a quiet lyricism.
In addition to Strand’s still photography, the exhibition features three of his most significant films. Manhatta (1921), his first film and an important collaboration with painter and photographer Charles Sheeler, will be shown in full. This brief non-narrative “scenic” is considered the first American avant-garde film. It portrays the vibrant energy of New York City, juxtaposing the human drama on the street with abstracted bird’s-eye perspectives taken from high buildings and scenes of the ferry and harbour, all punctuated by poetry from Walt Whitman. Two of the films are seen in excerpts. Redes (1936), Strand’s second film, reflects the artist’s growing social awareness during his time in Mexico. Released as The Wave in the U.S., the film is a fictional account of a fishing village struggling to overcome the exploitation of a corrupt boss. Native Land (1942) is Strand’s most ambitious film. Co-directed with Leo Hurwitz and narrated by Paul Robeson, it was created after his return to New York when Strand became a founder of Frontier Films and oversaw the production of leftist documentaries. Ahead of its time in its blending of fictional scenes and documentary footage, Native Land focuses on union-busting in the 1930s from Pennsylvania to the Deep South. When its release coincided with the Japanese attack on Pearl Harbor, it was criticised as out-of-step with the nation, leading Strand to return exclusively to still photography.
Paul Strand: Master of Modern Photography is curated by Peter Barberie, the Brodsky Curator of Photographs, Alfred Stieglitz Center at the Philadelphia Museum of Art, with the assistance of Amanda N. Bock, Project Assistant Curator of Photographs. Barberie said, “Whether he was printing in platinum, palladium, gelatin-silver, making films, or preparing books, Strand was ultimately more than a photographer. He was a great modern artist whose eloquent voice addressed the widest possible audience, and this voice continues to resonate today.
Press release from the Philadelphia Museum of Art
Paul Strand (American, 1890-1976)
Young Boy, Gondeville, Charente, France
1951 (negative); mid- to late 1960s (print)
Gelatin silver print
7 5/8 × 9 5/8 inches (19.4 × 24.4cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Tom Callan and Martin McNamara, 2012
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
The Family, Luzzara (The Lusettis)
1953 (negative); mid- to late 1960s (print)
Gelatin silver print
11 7/16 x 14 9/16 inches (29 x 37cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Mr. and Mrs. Robert A. Hauslohner, 1972
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Anna Attinga Frafra, Accra, Ghana
1964 (negative); 1964 (print)
Gelatin silver print
7 5/8 × 9 5/8 inches (19.4 × 24.4cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with The Henry McIlhenny Fund and other Museum funds, 2012
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Market, Accra, Ghana
1963-1964
Philadelphia Museum Of Art
The Paul Strand Collection
Partial and promised gift of Marguerite and Gerry Lenfest
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Market Day, Luzzara
1953
Gelatin silver print
4 5/8 × 5 7/8 in. (11.7 x 15cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Zoë and Dean Pappas
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Oil Refinery, Tema, Ghana
1963-1964
Philadelphia Museum Of Art
The Paul Strand Collection, purchased with funds contributed by Lynne and Harold Honickman
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Place to meet, Luzzara
1953
Gelatin silver print
4 5/8 × 5 7/8 in. (11.8 x 15cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Zoë and Dean Pappas
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Parmesan, Luzzara
1953
Gelatin silver print
4 5/8 × 5 7/8 in. (11.8 x 15cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Andrea M. Baldeck, MD, and William M. Hollis Jr.,
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
The Farm, Luzzara
1953
Gelatin silver print
4 11/16 × 5 7/8 in. (11.9 × 15cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Barbara B. and Theodore R. Aronson
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Worker at the Co-op, Luzzara
1953
Gelatin silver print
4 5/8 × 5 7/8 in. (11.8 × 14.9cm)
Philadelphia Museum of Art
The Paul Strand Retrospective Collection, 1915 - 1975
Gift of the estate of Paul Strand
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
The Couple, Luzzara
1953
Gelatin silver print
4 5/8 × 5 7/8 in. (11.8 × 14.9cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Ralph Citino and Lawrence Taylor
© Paul Strand Archive/Aperture Foundation
About Paul Strand
Born in New York City, Strand first studied with the social documentary photographer Lewis Hine at New York’s Ethical Culture School from 1907-1909, and subsequently became close to the pioneering photographer Alfred Stieglitz. Strand fused these powerful influences and explored the modernist possibilities of the camera more fully than any other photographer before 1920. In the 1920s, Strand tested the camera’s potential to exceed human vision, making intimate, detailed portraits, and recording the nuances of machine and natural forms. He also created portraits, landscapes, and architectural studies on various travels to the Southwest, Canada, and Mexico. The groups of pictures of these regions, in tandem with his documentary work as a filmmaker in the 1930s, convinced Strand that the medium’s great purpose lay in creating broad and richly detailed photographic records of specific places and communities. For the rest of his career he pursued such projects in New England, France, Italy, the Hebrides, Morocco, Romania, Ghana, and other locales, producing numerous celebrated books. Together, these later series form one of the great photographic statements about modern experience. The last major retrospective dedicated to Strand was organised by the Philadelphia Museum of Art in 1971.
The Paul Strand Collection at the Philadelphia Museum of Art
In 2010, the Philadelphia Museum of Art began to acquire the core collection of photographs by Paul Strand. Through the generosity of philanthropists Lynne and Harold Honickman, Marjorie and Jeffrey Honickman, and H.F. “Gerry” and Marguerite Lenfest, the Museum received as partial and promised gifts from The Paul Strand Archive at the Aperture Foundation, as well as master prints from Strand’s negatives by the artist Richard Benson.
The Paul Strand Collection permits the study of Strand’s career with prints from the majority of his negatives, including variants and croppings of individual images. Together with other photographs already owned by the Museum, the acquisition makes the Philadelphia Museum of Art the world’s most comprehensive repository for the study of his work.
Catalogue
The exhibition will be accompanied by a substantial scholarly catalogue, co-published by the Philadelphia Museum of Art and Yale University press in collaboration with MAPFRE. The accompanying publication is supported by Lynne and Harold Honickman and The Andrew W. Mellon Fund for Scholarly Publications at the Philadelphia Museum of Art.”
Press release from the Philadelphia Museum of Art
Paul Strand (American, 1890-1976)
Blind Woman, New York
1916 (negative); 1945 (print)
Gelatin silver print
12 3/4 × 9 3/4 inches (32.4 × 24.8cm)
The Paul Strand Collection, partial and promised gift of Marguerite and Gerry Lenfest, 2009
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Abstraction, Bowls, Twin Lakes, Connecticut
1916
Gelatin silver print
13 1/16 × 9 5/8 inches (33.1 × 24.4cm)
The Paul Strand Retrospective Collection, 1915-1975
Gift of the estate of Paul Strand, 1980
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Abstraction, Porch Shadows, Twin Lakes, Connecticut
1916 (negative); 1950s (print)
Gelatin silver print
12 15/16 × 8 15/16 inches (32.9 × 22.7cm)
The Paul Strand Retrospective Collection, 1915-1975
Gift of the estate of Paul Strand, 1980
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Elizabethtown, New Mexico
1930 (negative); 1930 (print)
Platinum print
9 5/8 x 7 5/8 inches (24.4 x 19.4cm)
The Paul Strand Collection, partial and promised gift of Marguerite and Gerry Lenfest, 2009
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Farmworker, Luzzara, Italy
1953 (negative); early to mid- 1980s (print)
Gelatin silver print
5 7/8 x 4 5/8 inches (14.9 x 11.8cm)
The Paul Strand Collection, partial and promised gift of Marguerite and Gerry Lenfest, 2009
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Asenah Wara, Leader of the Women’s Party, Wa, Ghana
1964
Gelatin silver print
12 1/8 x 9 7/8 inches (30.8 x 25.1cm)
The Paul Strand Retrospective Collection, 1915-1975
Gift of the estate of Paul Strand, 1980
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Mary Hammond, Winneba, Ghana
1963 (negative); 1964 (print)
9 1/4 × 7 1/4 inches (23.5 × 18.4cm)
The Paul Strand Collection, purchased with the Henry P. McIlhenny Fund in memory of Frances P. McIlhenny, 2012
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Cobweb in Rain, Georgetown, Maine
1927 (negative); 1927 (print)
Gelatin silver print
9 11/16 x 7 13/16 inches (24.6 x 19.8cm)
Philadelphia Museum of Art, 125th Anniversary Acquisition
The Paul Strand Collection, The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Church, Ranchos de Taos, New Mexico
1931 (negative); 1931 (print)
Platinum print
5 7/8 x 4 5/8 inches (15 x 11.7cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Barbara B. and Theodore R. Aronson, 2013
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Toward the Sugar House, Vermont
1944 (negative); 1944 (print)
Gelatin silver print
9 5/8 × 7 5/8 inches (24.4 × 19.4cm)
Philadelphia Museum of Art
The Paul Strand Collection, purchased with funds contributed by Barbara B. and Theodore R. Aronson, 2010
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Jungle, Ashanti Region, Ghana
1964
Gelatin silver print
9 5/8 × 7 11/16 inches (24.4 × 19.6cm)
The Paul Strand Collection, purchased with the Henry P. McIlhenny Fund in memory of Frances P. McIlhenny, 2012
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Woman and Boy, Tenancingo, Mexico
1933 (negative); c. 1940-1945 (print)
5 7/8 × 4 5/8 inches (15 × 11.8cm)
The Paul Strand Collection, partial and promised gift of Marguerite and Gerry Lenfest, 2009
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Rebecca, New York
1921 (negative); 1921 (print)
Platinum print
9 1/2 x 7 5/8 inches (24.1 x 19.4cm)
The Paul Strand Collection, partial and promised gift of Marguerite and Gerry Lenfest, 2009
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Mr. Bolster, Weston, Vermont
1943 (negative); 1943 (print)
Gelatin silver print
5 7/8 × 4 5/8 inches (14.9 × 11.7cm)
The Paul Strand Collection, partial and promised gift of Marguerite and Gerry Lenfest, 2009
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Fern, Georgetown, Maine
1928 (negative); 1940s (print)
Platinum print
9 5/8 x 7 5/8 inches (24.4 x 19.4cm)
The Paul Strand Collection, purchased with funds contributed by Barbara B. and Theodore R. Aronson, 2014
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Town Hall, New Hampshire
1946
Gelatin silver print
9 5/8 × 7 5/8 inches (24.4 × 19.4cm)
The Paul Strand Collection, gift of Lynne and Harold Honickman, 2013
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Cobbler, Luzzara
1953 (negative); 1953 (print)
Gelatin silver print
5 7/8 × 4 5/8 inches (15 × 11.8cm)
The Paul Strand Collection, gift of Marjorie and Jeffrey Honickman, 2012
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Young Man, Luzzaro (Ivo Lusetti)
1953
Gelatin silver print
5 7/8 × 4 5/8 in. (15 × 11.8cm)
Philadelphia Museum of Art
The Paul Strand Retrospective Collection, 1915 -1975
Gift of the estate of Paul Strand
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Virgin, San Felipe, Oaxaca, Mexico
1933
Platinum print
9 5/8 × 7 5/8 inches (24.4 × 19.3cm)
The Paul Strand Collection, partial and promised gift of Marguerite and Gerry Lenfest, 2009
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Bachelor Buttons, Orgeval
early 1960s
9 5/8 × 7 5/8 inches (24.4 × 19.4cm)
The Paul Strand Retrospective Collection, 1915-1975
Gift of the estate of Paul Strand, 1980
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Cabbages and Pinks, Orgeval
1957-1958
Gelatin silver print
9 5/8 × 7 5/8 inches (24.4 × 19.4cm)
The Paul Strand Collection, partial and promised gift of Marguerite and Gerry Lenfest, 2009
© Paul Strand Archive/Aperture Foundation
Paul Strand (American, 1890-1976)
Hoar Frosted Vines, Orgeval
1969 (negative); 1969 or early 1970s (print)
Gelatin silver print
7 13/16 × 7 13/16 inches (19.8 × 19.8cm)
The Paul Strand Collection, partial and promised gift of Marguerite and Gerry Lenfest, 2009
© Paul Strand Archive/Aperture Foundation
Philadelphia Museum of Art
26th Street and the Benjamin Franklin Parkway
Philadelphia, PA 19130
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Monday, 10.00am – 5.00pm
Tuesday, Closed
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Thursday, 10.00am – 5.00pm
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Saturday, 10.00am – 5.00pm
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