Posts Tagged ‘Frank Hurley

15
Jun
14

Exhibition: ‘Garden of the East: Photography in Indonesia 1850s-1940s’ at the National Gallery of Australia, Canberra

Exhibition dates: 21st February – 22nd June 2014

 

Woodbury & Page. 'Batavia roadstead' c. 1865

 

Woodbury & Page
established Jakarta 1857-1900
Batavia roadstead
c. 1865
Albumen silver photograph
19.4 x 24.5cm
Collection National Gallery of Australia

 

 

Dutch East Indies and Indonesian photography, and more broadly Asia-Pacific photography, has been a burgeoning area of interest, research and collecting for some time now. Although this is far from my area of expertise, with the quality of the work shown in this posting, you can understand why. Since 2005, “the National Gallery of Australia’s Asian photographs collection has grown to nearly 8000 and in excess of 6500 prints are from Indonesia.”

Absolutely beautiful tonality to the prints. They seem to have a wonderful stillness to them as well.

On a personal note, Gael Newton, Senior Curator, Photography at the National Gallery of Australia is retiring. I would like to thank her for promoting, researching and writing about all forms of photography over the years and to congratulate her on significantly extending the NGA’s photography collection. A job well done.

Dr Marcus Bunyan

.
Many thankx to Gael Newton and the National Gallery of Australia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Dirk Huppe Indonesia 1867-1931 O Kurkdjian & Co Established Surabaya, Java 1903-1935 'Mature canes, fertilized with artificial guano Java Fertilizer Co.,' Semarang 1914

 

Dirk Huppe
Indonesia 1867-1931
O Kurkdjian & Co 
Established Surabaya, Java 1903-1935
Mature canes, fertilized with artificial guano, Java Fertilizer Co.,
Semarang 1914
Carbon print photograph
74.6 x 99.6cm
Collection National Gallery of Australia

 

S. Satake Japanese, working Indonesia 1902 - c. 1937 'Eruption' Java c. 1930

 

S. Satake
Japanese, working Indonesia 1902 – c. 1937
Eruption
Java c. 1930
Gelatin silver photograph
16.2 x 21.8cm
Collection National Gallery of Australia

 

 

While Indonesia might be the second most popular destination for outbound Aussies, the history of the Indonesian archipelago’s diverse peoples and the colonial era Dutch East Indies, remains unfamiliar. In particular the rich heritage of photographic images made by the nearly 500 listed photographers at work across the archipelago in the mid 19th – mid 20th century, is poorly known, both in the region and internationally.

The Gallery began building its Indonesian photographic collection in 2006. It is unique in the region: the largest and most comprehensive collection excluding the archives of the Dutch East Indies in the Netherlands. It was not until the late 1850s with the arrival of photographs printed on paper from a master glass negative, that images of Indonesia – the origin of nutmeg, pepper and cloves, much desired in the West – began circulating worldwide.

Australia had a minor role in the history of photography in Indonesia. A pair of young British photographers, Walter Woodbury and James Page (operators of the Woodbury & Page studios located in the Victorian goldfields and Melbourne) arrived in Jakarta in 1857. From around 1900 a trend toward more picturesque views and sympathetic portrayals of indigenous people appeared. Old images were given new life as souvenir prints and sold through hotels and resorts or used for cruise ship brochures.

A particular feature of Garden of the East is the display of family albums. Both amateur and professional images in the Indies were bound in distinctive Japanese or Batik-patterned cloth boards as records of a colonial lifestyle. Hundreds of these once-treasured narratives of now lost people ended up in the Netherlands in the 1970s and 80s in estate sales of former Dutch colonial and Indo (mixed race) family members who had returned or immigrated after the establishment of the Republic of Indonesia in 1945.

Text from the National Gallery of Australia website

 

S. Satake Japanese, working Indonesia 1902 - c. 1937 'Women on road to Buleleng Bali' c. 1928

 

S. Satake
Japanese, working Indonesia 1902 – c. 1937
Women on road to Buleleng
Bali c. 1928
Gelatin silver photograph
16.2 x 22.0cm
Collection National Gallery of Australia

 

Woodbury & Page established Jakarta 1857-1900 'Gusti Ngurah Ketut Jelantik, Prince of Buleleng with his entourage in Jakarta in 1864 on the visit of Governor-General LAJW Sloet van de Beele' 1864

 

Woodbury & Page
established Jakarta 1857-1900
Gusti Ngurah Ketut Jelantik, Prince of Buleleng with his entourage in Jakarta in 1864 on the visit of Governor-General LAJW Sloet van de Beele
1864
Albumen silver photograph
Collection National Gallery of Australia

 

 

Garden of the East: Photography in Indonesia 1850s-1940s is the first major survey in the southern hemisphere of the photographic art from the period spanning the last century of colonial rule until just prior to the establishment of the Republic of Indonesia in 1945. The exhibition provides the opportunity to view over two hundred and fifty photographs, albums and illustrated books of the photography of this era and provides a unique insight into the people, life and culture of Indonesia. The exhibition and accompanying catalogue reveals much new research and information regarding the rich photographic history of Indonesia. Garden of the East is on display in Canberra only.

The exhibition is comprised of images created by more than one hundred photographers and the majority have never been exhibited publicly before. The works were captured by photographers of all races, making images of the beauty, bounty, antiquities and elaborate cultures of the diverse lands and peoples of the former Dutch East Indies. Among these photographers is the Javanese artist Kassian Céphas, whose genius as a photographer is not widely known at this time, a situation which the National Gallery of Australia hopes to address by growing the collection of holdings from this period and by continuing to stage focused exhibitions such as Garden of the East.

As was the case in other Southeast Asian ports, the most prominent professional photographers at work in colonial Indonesia came from a wide range of European backgrounds until the 1890s, when Chinese photography studios began to dominate. The exhibition focuses on the leading foreign studios of the time, in particular Walter B Woodbury, one of the earliest photographers at work in Australia in the 1850s as well as the Dutch East Indies. However Garden of the East also includes images created by lesser known figures whose work embraced the new art photography styles of the early twentieth century including: George Lewis, the British chief photographer at the Surabaya studio founded by Armenian Ohannes Kurkdjian, the remarkable German amateur photographer Dr Gregor Krause; American adventurer and filmmaker André Roosevelt; and the only woman professional known to have  worked in the period, Thilly Weissenborn, whose works were intertwined with the tourist promotion of Java and Bali in the 1930s. Chinese studios are well-represented, although little is known of their founders and many employed foreign photographers.

Frank Hurley is the sole Australian photographer represented in the exhibition. Hurley is noted as the only Australian known to have worked in Indonesia before the Second World War and toured Java in mid-1913, on commission to promote tourist cruises from Australia to the Indies for the Royal Packet Navigation Company.

“We are delighted to host this exhibition and believe that Australia’s geographic, political and cultural position in the Asia-Pacific region makes it very appropriate that the National Gallery of Australia should celebrate the rich and diverse arts of our region,” said Ron Radford AM, Director, National Gallery of Australia. “A dedicated Asia-Pacific focused policy has been long-held by the Gallery, but it was not until 2005 that we focused on early photographic art of the region. Progress, however, has been rapid and all the photographs in Garden of the East have been recently acquired for the National Gallery’s permanent collection,” he said.

“From a small holding in 2005 of less than two hundred photographs from anywhere in Asia, of which only half a dozen were by any Asian-born photographers, the National Gallery of Australia’s Asian photographs collection has grown to nearly 8000 and in excess of 6500 prints are from Indonesia,” Ron Radford said.

Garden of the East presents images, both historic and homely and is a ‘time travel’ opportunity to visit the Indies through more than two hundred and fifty works on show, made by both professional and amateur family photographers. Images as diverse as the Indonesian archipelago itself, which was once described by nineteenth century travel writers as the Garden of the East,” said Gael Newton, Senior Curator of Photography, National Gallery of Australia and exhibition Curator.

Garden of the East: Photography in Indonesia 1850s-1940s follows the large 2008 survey exhibition Picture Paradise: Asia-Pacific photography 1840s-1940s [the website includes an excellent essay – Marcus]. This was the first of the new Asia-Pacific collection focus exhibitions. In 2010, the Gallery staged an early photographic portrait exhibition to coincide with a conference hosted in partnership with the Australian National University entitled Facing Asia. A number of other small Asian collection shows have also been held since 2011.

The National Gallery of Australia is delighted to stage this exhibition to coincide with the Focus Country Program, an initiative organised by the Australian Government’s key cultural diplomacy body, the Australia International Cultural Council. The AICC has chosen Indonesia as its Focus Country for 2014 and will organise a series of events across the Indonesian archipelago to promote Australian arts and culture, as well as our credentials in sport, science, education and industry. This exhibition will also mark the 40th anniversary of dialogue relations between Australia and the Association of South East Asian Nations. The National Gallery of Australia is proud to be presenting an exhibition of Indonesian photography in celebration of Australia’s close cultural relations with Indonesia and the Asia-Pacific region.

Press release from the National Gallery of Australia website

 

Kassian Céphas Indonesia 1845-1912 'Man climbing the front entrance to Borobudur' Central Java 1872

 

Kassian Céphas
Indonesia 1845-1912
Man climbing the front entrance to Borobudur
Central Java 1872
Albumen silver photograph
22.2 x 16.1cm
Collection National Gallery of Australia

 

Kassian Céphas Indonesia 1845-1912 'Young Javanese woman' c. 1885

 

Kassian Céphas
Indonesia 1845-1912
Young Javanese woman
c. 1885
Albumen silver photograph
13.7 x 9.8cm
Collection National Gallery of Australia

 

 

Garden of the East: photography in Indonesia 1850s-1940s offers the chance to see images from the last century of colonial rule in the former Dutch East Indies. It includes over two hundred photographs, albums and illustrated books from the Gallery’s extensive collection of photographic art from our nearest Asian neighbour.

Most of the daguerreotype images from the 1840s, the first decade of photography in Indonesia, are lost and can only be glimpsed in reproductions in books and magazines of the mid nineteenth century. It was not until the late 1850s that photographic images of Indonesia – famed origin of exotic spices much desired in the West – began circulating worldwide. British photographers Walter Woodbury and James Page, who arrived in Batavia (Jakarta) from Australia in 1857, established the first studio to disseminate large numbers of views of the country’s lush tropical landscapes and fruits, bustling port cities, indigenous people, exotic dancers, sultans and the then still poorly known Buddhist and Hindu Javanese antiquities of Central Java.

The studios established in the 1870s tended to offer a similar inventory of products, mostly for the resident Europeans, tourists and international markets. The only Javanese photographer of note was Kassian Céphas who began work for the Sultan in Yogyakarta in the early 1870s. In late life, Céphas was widely honoured for his record of Javanese antiquities and Kraton performances, and his full genius can be seen in Garden of the East.

Most of the best known studios at the turn of the century, including those of Armenian O Kurkdjian and German CJ Kleingrothe, were owned and run by Europeans. Chinese-run studios appeared in the 1890s but concentrated on portraiture. Curiously, relatively few photographers in Indonesia were Dutch. From the 1890s onward, the largest studios increasingly served corporate customers in documenting the massive scale of agribusiness, particularly in the golden economic years of the Indies in the early to mid twentieth century. From around 1900, a trend toward more picturesque views and sympathetic portrayals of indigenous people appeared. This was intimately linked to a government sponsored tourist bureau and to styles of pictorialist art photography that had just emerged as an international movement in Europe and America. As photographic studios passed from owner to owner, old images were given new life as souvenir prints sold at hotels and resorts and as reproductions in cruise-ship brochures.

Amateur camera clubs and pictorialist photography salons common in Western countries by the 1920s were slower to develop in Asia and largely date to the postwar era. Locals, however, took up elements of art photography. Professionals George Lewis and Thilly Weissenborn (the only woman known from the period) and amateurs Dr Gregor Krause and Arthur de Carvalho put their names on their prints and employed the moody effects and storytelling scenarios of pictorialist photography. Krause was one of the most influential photographers. He extensively published his 1912 Bali and Borneo images in magazines and in two books in the 1920s and 1930s, inspiring interest in the indigenous life and landscape as well as the sensuous physical beauty of the Balinese people.

Postwar artists and celebrities – including American André Roosevelt, who used smaller handheld cameras – flocked to the country to capture spontaneity and daily life around them, to affirm their view of Bali as a ‘last paradise’ , where art and life were one. In 1941, Gotthard Schuh published Inseln der Götter (Islands of the gods), the first modern large-format photo-essay on Indonesia. While romantic, the collage of images and text in Schuh’s book presented a vital image of the diverse islands, peoples and cultures that were to be united under the flag of the Republic of Indonesia in 1949.

A particular feature of Garden of the East is a selection of family albums bound in distinctive Japanese or Batik patterned cloth boards as records of a colonial lifestyle (for the affluent) in the Indies. Hundreds of these once treasured narratives of now lost people ended up in the Netherlands in the 1970s and 1980s in estate sales of former Dutch colonial and Indo (mixed race) family members who had returned or immigrated after the establishment of the Republic of Indonesia.

Text from the National Gallery of Australia Artonview 76 Summer 2013

 

Sem Céphas (Indonesia 1870 - 1918) 'Portrait of a Javanese woman' c. 1900

 

Sem Céphas (Indonesia 1870 – 1918)
Portrait of a Javanese woman
c. 1900
Gelatin silver photograph, colour pigment hand painted photograph
image
38.5 x 23.8cm
Purchased 2007
National Gallery of Australia, Canberra

 

Gotthard Schuh. 'Inseln der Götter' (Islands of the gods) [book cover] 1941

 

Gotthard Schuh
Inseln der Götter (Islands of the gods) [book cover]
1941
Hardcover w/dust jacket
154pp, text in German
Plates in photogravure
28.5 x 22.5cm

 

Thilly Weissenborn Indonesia 1902 - Netherlands 1964 'A dancing-girl of Bali, resting' c. 1925

 

Thilly Weissenborn
Indonesia 1902 – Netherlands 1964
A dancing-girl of Bali, resting
c. 1925
Photogravure
21.1 x 15.9cm
Collection National Gallery of Australia

 

Unknown photographer Working Bali 1930s 'I Goesti Agoeng Bagoes Djelantik, Anakagoeng Agoeng Negara, Karang Asem' Bali 1931

 

Unknown photographer
Working Bali 1930s
I Goesti Agoeng Bagoes Djelantik, Anakagoeng Agoeng Negara, Karang Asem
Bali 1931
Gelatin silver photograph
14.0 x 9.7cm
Collection National Gallery of Australia

 

 

National Gallery of Australia
Parkes Place, Canberra
Australian Capital Territory 2600
Phone: (02) 6240 6411

Opening hours:
Open daily 10.00 am – 5.00 pm
(closed Christmas day)

National Gallery of Australia website

LIKE ART BLART ON FACEBOOK

Back to top

09
Dec
12

Exhibition: ‘WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath’ at the Museum of Fine Arts, Houston, Part 1

Exhibition dates: 11th November 2012 – 3rd February 2013

Curators: Anne Tucker, Natalie Zelt and Will Michels

 

Roger Fenton. 'The Valley of the Shadow of Death' 1855

 

Roger Fenton (British, 1819-1869)
The Valley of the Shadow of Death
1855

 

 

This is the biggest posting on one exhibition that I have ever undertaken on Art Blart!

As befits the gravity of the subject matter this posting is so humongous that I have had to split it into 4 separate postings. This is how to research and stage a contemporary photography exhibition that fully explores its theme (NGV please note!). The curators reviewed more than one million photographs in 17 countries, locating pictures in archives, military libraries, museums, private collections, historical societies and news agencies; in the personal files of photographers and service personnel; and at two annual photojournalism festivals producing an exhibition that features 26 sections (an inspired and thoughtful selection) that includes nearly 500 objects that illuminate all aspects of WAR/PHOTOGRAPHY.

I have spent hours researching and finding photographs on the Internet to support the posting. It has been a great learning experience and my admiration for photographers of all types has increased. I have discovered the photographs and stories of new image makers that I did not know and some hidden treasures along the way. I hope you enjoy this monster posting on a subject matter that should be consigned to the history books of human evolution.

**Please be aware that there are graphic photographs in all of these postings.** Part 2Part 3Part 4

Dr Marcus Bunyan

.
Many thankx to the Museum of Fine Arts, Houston for allowing me to publish some of the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

On November 11, 2012, the Museum of Fine Arts, Houston, debuts an unprecedented exhibition exploring the experience of war through the eyes of photographers. WAR / PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath features nearly 500 objects, including photographs, books, magazines, albums and photographic equipment. The photographs were made by more than 280 photographers, from 28 nations, who have covered conflict on six continents over 165 years, from the Mexican-American War of 1846 through present-day conflicts. The exhibition takes a critical look at the relationship between war and photography, exploring what types of photographs are, and are not, made, and by whom and for whom. Rather than a chronological survey of wartime photographs or a survey of “greatest hits,” the exhibition presents types of photographs repeatedly made during the many phases of war – regardless of the size or cause of the conflict, the photographers’ or subjects’ culture or the era in which the pictures were recorded. The images in the exhibition are organised according to the progression of war: from the acts that instigate armed conflict, to “the fight,” to victory and defeat, and images that memorialise a war, its combatants and its victims. Both iconic images and previously unknown images are on view, taken by military photographers, commercial photographers (portrait and photojournalist), amateurs and artists.

“‘WAR/PHOTOGRAPHY’ promises to be another pioneering exhibition, following other landmark MFAH photography exhibitions such as ‘Czech Modernism: 1900-1945’ (1989) and ‘The History of Japanese Photography’ (2003),” said Gary Tinterow, MFAH director. “Anne Tucker, along with her co-curators, Natalie Zelt and Will Michels, has spent a decade preparing this unprecedented exploration of the complex and profound relationship between war and photography.” “Photographs serve the public as a collective memory of the experience of war, yet most presentations that deal with the material are organised chronologically,” commented Tucker. “We believe ‘WAR / PHOTOGRAPHY’ is unique in its scope, exploring conflict and its consequences across the globe and over time, analysing this complex and unrelenting phenomenon.”

The earliest work in the exhibition is from 1847, taken from the first photographed conflict: the Mexican-American War. Other early examples include photographs from the Crimean War, such as Roger Fenton’s iconic The Valley of the Shadow of Death (1855) and Felice Beato’s photograph of the devastated interior of Fort Taku in China during the Second Opium War (1860). Among the most recent images is a 2008 photograph of the Battle Company of the 173rd Airborne Brigade in the remote Korengal Valley of Eastern Afghanistan by Tim Hetherington, who was killed in April 2011 while covering the civil war in Libya. Also represented with two photographs in the exhibition is Chris Hondros, who was killed with Hetherington. While the exhibition is organised according to the phases of war, portraits of servicemen, military and political leaders and civilians are a consistent presence throughout, including Yousuf Karsh’s classic 1941 image of Winston Churchill, and the Marlboro Marine (2004), taken by embedded Los Angeles Times photographer Luis Sinco of soldier James Blake Miller after an assault in Fallujah, Iraq. Sinco’s image was published worldwide on the cover of 150 publications and became a 2005 Pulitzer Prize finalist.

The exhibition was initiated in 2002, when the MFAH acquired what is purported to be the first print made from Joe Rosenthal’s negative of Old Glory Goes Up on Mount Suribachi, Iwo Jima (1945). From this initial acquisition, the curators decided to organise an exhibition that would focus on war photography as a genre. During the evolution of the project, the museum acquired more than a third of the prints in the exhibition. The curators reviewed more than one million photographs in 17 countries, locating pictures in archives, military libraries, museums, private collections, historical societies and news agencies; in the personal files of photographers and service personnel; and at two annual photojournalism festivals: World Press Photo (Amsterdam) and Visa pour l’Image (Perpignan, France). The curators based their appraisals on the clarity of the photographers’ observation and capacity to make memorable and striking pictures that have lasting relevance. The pictures were recorded by some of the most celebrated conflict photographers, as well as by many who remain anonymous. Almost every photographic process is included, ranging from daguerreotypes to inkjet prints, digital captures and cell-phone shots.

Press release from the Museum of Fine Arts, Houston

 

Yousuf Karsh. 'Winston Churchill' 1941

 

Yousuf Karsh (Armenian-Canadian, 1908-2002)
Winston Churchill
1941
Gelatin silver print

 

 

WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath is organised into 26 sections, which unfold in the sequence that typifies the stages of war, from the advent of conflict through the fight, aftermath and remembrance. Each section showcases images appropriate to that category while cutting across cultures, time and place. Outside of this chronological approach are focused galleries for “Media Coverage and Dissemination” (with an emphasis on technology); “Iwo Jima” (a case study); and “Photographic Essays” (excerpts from two landmark photojournalism essays, by Larry Burrows and Todd Heisler).

 

Media Coverage and Dissemination

1. Media Coverage and Dissemination provides an overview of how technology has profoundly affected the ways that pictures from the front reach the public: from Roger Fenton and his horse-drawn photography van (commissioned by the British government to document the Crimean War), to Joe Rosenthal’s 1940s Anniversary Speed Graphic (4 x 5) camera, to pictures taken with the Hipstamatic app of an iPhone by photojournalist Michael Christopher Brown in Egypt during the protests and clashes of the Arab Spring. (22 images / objects)

 

Roger Fenton (English, 1819-1869) 'The artist's van [Marcus Sparling, full-length portrait, seated on Roger Fenton's photographic van]' 1855

 

Roger Fenton (British, 1819-1869)
The artist’s van [Marcus Sparling, full-length portrait, seated on Roger Fenton’s photographic van]
1855
Salted paper print
17.5 × 16.5cm
Library of Congress, Prints & Photographs Division

 

Manufactured by Graflex, active 1912-1973. 'Anniversary Speed Graphic (4 x 5), "Scott S. Wigle camera" (First American-made D-Day picture)' c. 1940

 

Manufactured by Graflex, active 1912-1973
Anniversary Speed Graphic (4 x 5), “Scott S. Wigle camera” (First American-made D-Day picture)
c. 1940
Camera
Collection of George Eastman House (Gift of Graflex, Inc.)

 

 

An Advent of War

2. The photographs in An Advent of War depict the catalytic events of war. These moments of instigation are rarely captured, as photographers are not always present at the initial attack or provocation. Photographs that Robert Clark took on the morning of September 11, 2001, and the aerial view of torpedoes approaching Battleship Row during the Pearl Harbor attack, taken by an unknown Japanese airman on December 7, 1941, both convey with clarity the concept of war’s advent. (11 images).

 

Unknown photographer, Japanese. 'War in Hawaiian Water. Japanese Torpedoes Attack Battleship Row, Pearl Harbor' December 7, 1941

 

Unknown photographer (Japanese)
War in Hawaiian Water. Japanese Torpedoes Attack Battleship Row, Pearl Harbor
December 7, 1941
Gelatin silver print
The Museum of Fine Arts, Houston, gift of Will Michels

 

 

Recruitment & Embarkation

3. Recruitment & Embarkation shows mobilisation: the movement toward the front. Mikhail Trakhman captures a Russian mother kissing her son goodbye in Kolkhoz farmer M. Nikolaïeva bids her son Ivan goodbye before he joins the partisans (1942), while a 1916 photograph by Josiah Barnes, known as the “Embarkation Photographer,” shows an archetypal moment: young Australian soldiers waving goodbye from a ship as they depart their home country to fight in World War I. (7 images)

 

Josiah Barnes (Australian, 1858-1921) 'Embarkation of HMAT Ajana, Melbourne' July 8, 1916

 

Josiah Barnes (Australian, 1858-1921)
Embarkation of HMAT Ajana, Melbourne
July 8, 1916
Gelatin silver print (printed 2012)
On loan from the Australian War Memorial

 

 

Known as “the embarkation photographer”, the Kew, Melbourne photographer Josiah Barnes took an interest in photographing Australian troopships as they departed for war from Melbourne. He had two sons, “Norm and Victor, who left for war in 1916 (both returned to Australia after their service),” which may have fuelled his interest.

 

Mikhail Trakhman. 'Kolkhoz farmer M. Nikolaïeva bids her son Ivan goodbye before he joins the partisans' 1942

 

Mikhail Trakhman (Russian, 1918-1976)
Kolkhoz farmer M. Nikolaïeva bids her son Ivan goodbye before he joins the partisans
1942
Gelatin silver print

 

 

Mikhail Trakhman

Mikhail Trakhman was born in Moscow in 1918. After graduating from school, he began working at the newsreel studio and at the same time studying for courses in the field of assistant operator. From 1938 he became the photo reporter of the Uchitelskaya Gazeta, and in 1939 he was drafted into the army and participated in the Soviet-Finnish war. During the Great Patriotic War, Mikhail Trakhman worked as a press photographer for the Soviet Information Bureau. His main instrument was the famous “Leica” camera, but often military weapons fell into his hands. He shot in besieged Leningrad, in Pskov and in Belarus, participated in the liberation of Poland and Hungary. The most famous are his photographs from the partisan series taken in the rear of the German troops. In his diaries, he wrote: “I take a lot of things, although I know that 80% of the shot will go to the basket, but I need to shoot it, since such things happen once in a lifetime.” Thanks to these photos, he entered the history of war reporting. Mikhail Trakhman was awarded the Order of the Red Star and the medal “For the Defense of Leningrad” and “Partisan Medal”, which he especially valued.

Anonymous. “Mikhail Trakhman,” on the Lumiere Brothers Gallery website [Online] Cited 06/09/2020

 

 

Training

4. Training explores photographs of soldiers in boot camp or more-advanced phases of instruction and exercise. World War II Royal Navy officers gather around a desk to study different types of aircraft in a photograph by Sir Cecil Beaton. Also included is the iconic Vietnam-era photograph of a U.S. Marine drill sergeant reprimanding a recruit in South Carolina, from Thomas Hoepker’s series US Marine Corps boot camp, 1970. In one photograph, shot by a Japanese soldier and published in 1938 by Look magazine, Japanese soldiers use living Chinese prisoners in bayonet practice. (13 images) 

 

Thomas Hoepker (German, b. 1936) 'A US Marine drill sergeant delivers a severe reprimand to a recruit, Parris Island, South Carolina' 1970

 

Thomas Hoepker (German, b. 1936)
A US Marine drill sergeant delivers a severe reprimand to a recruit, Parris Island, South Carolina
1970
From the series US Marine Corps boot camp, 1970
Inkjet print
Thomas Hoepker / Magnum Photos
© Thomas Hoepker / Magnum Photos

 

 

Daily Routine

5. Daily Routine features moments of boredom, routine and playfulness. A member of the U.S. Army Signal Corps wears a gas mask as he peels onions. A 1942 photograph by Sir Cecil Beaton catches the off-guard expression of a Royal Navy man at a sewing machine, mending a signal flag. (13 images)

 

Anonymous photographer. 'Soldiers trying out their gas masks in every possible way. Putting the respirator to good use while peeling onions. 40th Division, Camp Kearny, San Diego, California' 1918

 

Anonymous photographer
Soldiers trying out their gas masks in every possible way. Putting the respirator to good use while peeling onions. 40th Division, Camp Kearny, San Diego, California
1918
National Archives and Records Administration

 

Cecil Beaton (English, 1904-1980) 'A Royal Navy sailor on board HMS Alcantara uses a portable sewing machine to repair a signal flag during a voyage to Sierra Leone' March 1942

 

Cecil Beaton (English, 1904-1980)
A Royal Navy sailor on board HMS Alcantara uses a portable sewing machine to repair a signal flag during a voyage to Sierra Leone
March 1942
Gelatin silver print, printed 2012
The Museum of Fine Arts, Houston, gift of the Phillip and Edith Leonian Foundation
© The Imperial War Museums (neg. #CBM 1049)

 

 

HMS Alcantara

HMS Alcatara was an RML passenger liner of 22,209 tons and 19 knots launched in 1926, and taken up by the Royal Navy for conversion to an armed merchant cruiser to counter the threat posed by German surface raiders against shipping. When Jim Hingston joined her as an ordinary seaman at Freetown she was still largely in merchant dress, with wood panelling throughout. Much to the regret of her crew this was removed during their stay at Simonstown – the wisdom of that was apparent to them only too soon.

There were some 53 such ships in all, poorly armed, in Alcantara’s case with eight 6 inch and two 3 inch guns, the former having a range of some 14,200 yards (13,000 metres). Such armament could not be much more than defensive, the intention being that the AMCs should radio the position of the German ship and not only give merchant shipping a chance to escape but delay the commerce raider long enough to allow regular RN warships to get to the scene.

Alcantara’s opponent, the Thor, was laid down in 1938 as a freighter of 9,200 tons displacement and a speed of 18 knots, but commissioned as a commerce raider on 14 March 1940. Though she had only 6 150 mm guns they had a much greater range, at 20,000 yards, than Alcantara and other British AMCs. She also carried a scout floatplane. During the engagement with Alcantara on 28 July 1940 the Thor inflicted significant damage but the Alcantara successfully closed, and after being hit the Thor withdrew in order to avoid the risk of being crippled or being forced to abort her mission. In later encounters with AMCs the Thor severely damaged the Carnarvon Castle and sank Voltaire.

HMS Alcantara later had her 6 in armament upgraded and was equipped with a seaplane, but as the threat of surface raiders receded she was converted to her more natural role of troopship in 1943.

 

 

Reconnaissance, Resistance and Sabotage

6. Images of Reconnaissance, Resistance and Sabotage are scarce by nature, as they reveal spies in the act and could be used against those depicted or their families. A U.S. soldier on night watch sits atop a mountain in Afghanistan, wrapped in a blanket and peering into night-vision equipment, in a photograph by Adam Ferguson. A photograph by T. E. Lawrence (known as Lawrence of Arabia) documents the bombing of the Hejaz Railway during the Arab Revolt. Cas Oorthuys’ photograph Under German Occupation (Dutch Worker’s Front), Amsterdam (c. 1940-45), taken with a camera hidden in his jacket, shows the back of a fellow countryman who is helping to conceal the photographer, with German troops in the distance. Also included is Arkady Shaikhet’s 1942 photograph Partisan Girl depicting Olga Mekheda, who was renowned for her ability to get through German roadblocks – even while pregnant. (10 images)

.

T.E. Lawrence. 'Untitled [A Tulip bomb explodes on the railway Hejaz Railway, near Deraa, Hejaz, Ottoman Empire]' 1918

 

T.E. Lawrence (British, 1888-1935)
Untitled [A Tulip bomb explodes on the railway Hejaz Railway, near Deraa, Hejaz, Ottoman Empire]
1918
Collection of the MFA Houston

 

Adam Ferguson. 'September 4, Tangi valley, Wardak province, Afghanistan, a soldier of the U.S. Army 10th Mountain Division was attentively monitoring a highway' September 4, 2009

 

Adam Ferguson (Australian, b. 1978)
September 4, Tangi valley, Wardak province, Afghanistan, a soldier of the U.S. Army 10th Mountain Division was  attentively monitoring a highway
September 4, 2009

 

 

“To me, this picture epitomises the abstract idea of the ‘enemy’ that exists within the U.S. led war in Afghanistan: a young infantryman watches a road with a long-range acquisition sight surveying for insurgents planting Improvised Explosive Devices. U.S. Army Infantrymen rarely knowingly come face to face with their enemy, combat is fleeting and fought like cat and mouse, and the most decisive blows are determined by intelligence gathering, and then delivered through technology that maintains a safe distance, just like a video game.” ~ Adam Ferguson

 

Arkady Shaikhet (Russian, 1898-1959) 'Partisan Girl' 1942

 

Arkady Shaikhet (Russian, 1898-1959)
Partisan Girl
1942
Gelatin silver print
The Museum of Fine Arts, Houston, gift of Marion Mundy
© Arkady Shaikhet Estate, Moscow, courtesy Nailya Alexander Gallery, NYC

 

 

Patrol & Troop Movement

7. Patrol & Troop Movement conveys the mass movements of peoples and personnel by land, sea and air, from the movement of troops and supplies to patrols by all five divisions of military service: Army, Navy, Marine Corps, Coast Guard and Air Force. Combat patrols are detachments of forces sent into hostile terrain for a range of missions, and they – as well as the photographers accompanying them – face considerable danger. João Silva’s three sequenced frames show, through his eyes, the tilted earth just after he was felled by an IED while on patrol in Afghanistan in 2010; he lost both legs in the incident. A tranquil, 1917 image by Australian James Frank Hurley depicts silhouetted soldiers walking in a line, their reflections captured in a body of water. A 1943 photograph by American Warrant Photographer Jess W. January USCGR shows members of the U.S. Coast Guard observing a depth-charge explosion hitting a German submarine that stalked their convoy. (14 images)

.

João Silva. 'Soldiers of Charlie Company, 1st Battalion, 66th Armored Regiment, 4th Infantry Division react to photographer Joao Silva stepping on a mine in the Arghandab district of Kandahar Province, Afghanistan, on Oct. 23, 2010'

 

João Silva (Portuguese-born South African, b. 1966)
Soldiers of Charlie Company, 1st Battalion, 66th Armored Regiment, 4th Infantry Division react to photographer Joao Silva stepping on a mine in the Arghandab district of Kandahar Province, Afghanistan, on Oct. 23, 2010, in a three-photo combination. For American troops in heavily-mined Afghan villages, steering clear of improvised explosive devices is the most difficult task
October 23, 2010
© João Silva / The New York Times via Redux

 

Frank Hurley (Australian, 1885-1962) 'Supporting troops of the 1st Australian Division walking on a duckboard track' 1917

 

Frank Hurley (Australian, 1885-1962)
Supporting troops of the 1st Australian Division walking on a duckboard track
1917

 

Warrant Photographer Jess W. January USCGR, American USCG. 'Cutter Spencer destroys Nazi sub' April 17, 1943

 

Warrant Photographer Jess W. January USCGR, American
USCG Cutter Spencer destroys Nazi sub
April 17, 1943
Gelatin silver print
The Museum of Fine Arts, Houston

 

 

The Wait

8. The Wait depicts a common situation of wartime. Susan Meiselas captures a tense moment during a 1978 street fight in Nicaragua, when muchachos with Molotov cocktails line up in an alleyway, ready to initiate an attack on the National Guard. Robert Capa shows two female French ambulance drivers in Italy during World War II, leaning against their vehicle, knitting, as they wait to be called. (8 images)

 

Robert Capa (1913-1954) 'Drivers from the French ambulance corps near the front, waiting to be called' Italy, 1944

 

Robert Capa (American-Hungarian, 1913-1954)
Drivers from the French ambulance corps near the front, waiting to be called
Italy, 1944
Original album – Italy. Cassino Campaign. W.W.II.
© 2001 By Cornell Capa, Agentur Magnum

 

Susan Meiselas. 'Muchachos Await Counter Attack by The National Guard, Matagalpa, Nicaragua' 1978

 

Susan Meiselas (American, b. 1948)
Muchachos Await Counter Attack by The National Guard, Matagalpa, Nicaragua
1978
Chromogenic print (printed 2006)
The Museum of Fine Arts, Houston, museum purchase with funds provided by Photo Forum 2006
© Susan Meiselas / Magnum Photos

 

 

The Fight

9. The Fight is one of the most extensive sections in the exhibition. Dmitri Baltermants shot Attack – Eastern Front WWII (cover image of the exhibition catalogue) in 1941 from the trench, as men charged over him. Sky Over Sevastopol (1944), by Evgeny Khaldey, is an aerial photograph of planes on their way to a bombing raid of the strategically important naval point. Joe Rosenthal’s Over the Top – American Troops Move onto the Beach at Iwo Jima (1945) pictures infantrymen emerging from the protection of their landing craft into enemy fire. Staged photographs, presented as authentic documents, tend to proliferate during wartime, and several examples are included here. In 1942 the Public Relations Department of the War issued an assignment to photographers to create “representative” images of combat in North Africa for more dynamic images; official British photographer Len Chetwyn staged an Australian officer leading the charging line in the battle of El Alamein, using smoke in the background from the cookhouse to create a lively image. (21 images)

 

Len Chetwyn, English, (1909-1980) 'Australians approached the strong point, ready to rush in from different sides' November 3, 1942

 

Len Chetwyn (English, 1909-1980)
Australians approached the strong point, ready to rush in from different sides
November 3, 1942
Silver gelatin photograph

 

Joe Rosenthal (American, 1911-2006) 'Over the Top - American Troops Move onto the Beach at Iwo Jima' 1945

Joe Rosenthal, American (1911-2006) 'Over the Top - American Troops Move onto the Beach at Iwo Jima' February 19, 1945

 

Joe Rosenthal American (1911-2006)
Over the Top – American Troops Move onto the Beach at Iwo Jima
February 19, 1945
Gelatin silver print with applied ink (printed February 23, 1945)
The Museum of Fine Arts, Houston, gift of Richard S. and Dodie Otey Jackson in honor of Ira J. Jackson, M.D., and his service in the Pacific Theater during World War II
© AP / Wide World Photos

 

Dmitri Baltermants. 'Attack - Eastern Front WWII' 1941

 

Dmitri Baltermants (Russian, 1912-1990)
Attack – Eastern Front WWII
1941
Silver gelatin photograph

 

 

The Wait and Rescue

10. The Wait and Rescue bookend The Fight. Among the photographs in Rescue are Ambush of the 173rd AB, South Vietnam (1965), by Tim Page, showing soldiers immediately combing through a battleground to assist the wounded; American Lt. Wayne Miller’s image of a wounded gunner being lifted from the turret of a torpedo bomber; and Life magazine photographer W. Eugene Smith’s 1944 photograph of an American soldier rescuing a dying Japanese infant. Smith wrote about that moment, stating “hands trained for killing gently… extricated the infant” to be transported to medical care. (8 images) 

 

Lt. Wayne Miller. 'Crewmen lifting Kenneth Bratton out of turret of TBF on the USS SARATOGA after raid on Rabaul' November 1943

 

Lt. Wayne Miller
Crewmen lifting Kenneth Bratton out of turret of TBF on the USS SARATOGA after raid on Rabaul
November 1943
Silver gelatin photograph

 

More information: Kenneth C. Bratton – Mississippi (WWII vet). He was born in Pontotoc, MS, December 17, 1918. He passed away April 15, 1982. Lt. Bratton won a purple heart for his bravery during the attack on Rabaul November 11, 1943.

 

W. Eugene Smith, American (1918-1978) 'Dying Infant Found by American Soldiers in Saipan' June 1944

 

W. Eugene Smith (American, 1918-1978)
Dying Infant Found by American Soldiers in Saipan
June 1944
Gelatin silver print
The Museum of Fine Arts, Houston, gift of Will Michels in honor of Anne Wilkes Tucker
© Estate of W. Eugene Smith / Black Star

 

 

Aftermath

11. Aftermath, with four subsections, features photographs taken after the battle has ended. “Death on the battlefield is one of the earliest types of war images: Felice Beato photographed the dead in the interior of Fort Taku in the Second Opium War (1860). George Strock’s Dead GIs on Buna Beach, New Guinea (1943), which ran in Life magazine with personal details about the casualties, was the first published photograph from any conflict of American dead in World War II. In 1966, Associated Press photographer Henri Huet documented an American paratrooper, who was killed in action, being raised to an evacuation helicopter. Incinerated Iraqi, Gulf War, Iraq, taken by Kenneth Jarecke, was published in Europe, but the American Associated Press editors withheld it in the United States. Shell Shock and Exhaustion shows impenetrable exhaustion after battle. In Don McCullin’s Shell-shocked soldier awaiting transportation away from the front line, Hué, Vietnam (1968), the man looks forward with the “thousand-yard stare.” Robert Attebury photographed Marines so exhausted after a 2005 battle in Iraq that lasted 17 hours that they fell asleep where they had been standing, amid the rubble of a destroyed building. Grief and Battlefield Burials were taken at the site of the conflict, including David Turnley’s 1991 picture of a weeping soldier who has just learned that the remains in a nearby body bag are those of a close friend. Destruction of Property shows collateral damage from war. Christophe Agou, for instance, photographed the smouldering steel remains of the twin towers of the World Trade Center in 2001. (39 images)

 

George Strock. 'Dead GIs on Buna Beach, New Guinea' January 1943

 

George Strock (American, 1911-1977)
Dead GIs on Buna Beach, New Guinea
January 1943
© George Strock / LIFE

 

Henri Huet, French (1927-1971) 'The body of an American paratrooper killed in action in the jungle near the Cambodian border is raised up to an evacuation helicopter, Vietnam' 1966

 

Henri Huet (French, 1927-1971)
The body of an American paratrooper killed in action in the jungle near the Cambodian border is raised up to an evacuation helicopter, Vietnam
1966
Gelatin silver print (printed 2004)
The Museum of Fine Arts, Houston, museum purchase
© AP / Wide World Photos

 

Kenneth Jarecke. 'Gulf War: Incinerated Iraqi soldier in personnel carrier' Nasiriyah, Iraq, March1991

 

Kenneth Jarecke (American, b. 1963)
Gulf War: Incinerated Iraqi soldier in personnel carrier
Nasiriyah, Iraq, March1991

 

Felice Beato. 'Angle of North Taku Fort at which the French entered' August 21-22, 1860

 

Felice Beato (Italian-British, 1832-1909)
Angle of North Taku Fort at which the French entered
August 21-22, 1860

 

Don McCullin. 'Shell-shocked US soldier awaiting transportation away from the front line' Hue, Vietnam, 1968

 

Don McCullin (British, b. 1935)
Shell-shocked US soldier awaiting transportation away from the front line
Hue, Vietnam, 1968
© Don McCullin

 

David Turnley. 'American Soldier Grieving for Comrade' Iraq, 1991

 

David Turnley (American, b. 1955)
American Soldier Grieving for Comrade
Iraq, 1991

 

Ken Kozakiewicz (left) breaks down in an evacuation helicopter after hearing that his friend, the driver of his Bradley Fighting Vehicle, was killed in a “friendly fire” incident that he himself survived. Michael Tsangarakis (centre) suffers severe burns from ammunition rounds that blew up inside the vehicle during the incident. All of the soldiers were exposed to depleted uranium as a result of the explosion. They and the body of the dead man are on their way to a MASH (Mobile Army Surgical Hospital).

 

 

Prisoners of War (Civilian and Military)/Interrogation

12. Prisoners of War (Civilian and Military)/Interrogation is a frequently photographed subject because such pictures can be made outside an area of conflict. Moreover, the people in control often documented their prisoners as a show of power. The photographs in this section include the official recording of a prisoner of war before his execution by the Khmer Rouge, taken by Nhem Ein. (14 images)

 

Nhem Ein, Cambodian (born 1959) 'Untitled (prisoner #389 of the Khmer Rouge; man)' 1975-79

 

Nhem Ein (Cambodian , born 1959)
Untitled (prisoner #389 of the Khmer Rouge; man)
1975-79
Gelatin silver print (printed 1994)
Courtesy of Museum of Modern Art; Arthur M. Bullowa Fund and Geraldine Murphy Fund. Digital image
© The Museum of Modern Art / Licensed by SCALA Art Resource, NY. Used with permission of Photo Archive Group

 

 

Iwo Jima

13. Iwo Jima is a case study within the exhibition that presents the complete thematic narrative in photographs from a specific battle. Included in this section is the inspiration for the exhibition: Joe Rosenthal’s iconic, Pulitzer Prize-winning Old Glory Goes Up on Mount Suribachi, Iwo Jima, a photograph he took as an Associated Press photographer in World War II showing U.S. Marines and one Navy medic raising the American flag on the remote Pacific island. (25 images)

 

Joe Rosenthal, American (1911-2006) 'Old Glory Goes Up on Mount Suribachi, Iwo Jima' February 23, 1945

 

Joe Rosenthal (American, 1911-2006)
Old Glory Goes Up on Mount Suribachi, Iwo Jima
February 23, 1945
Gelatin silver print
The Museum of Fine Arts, Houston, The Manfred Heiting Collection, gift of the Kevin and Lesley Lilly Family
© AP / Wide World Photos

 

Exhibition posting continued in Part 2…

 

 

Museum of Fine Arts, Houston
1001 Bissonnet Street
Houston, TX 77005

Opening hours:
Wednesday 11.00 am – 5.00 pm
Thursday 11.00 am – 9.00pm
Friday, Saturday 11.00am – 6.00pm
Sunday 12.30 – 6.00pm
Closed Monday and Tuesday

Museum of Fine Arts, Boston website

LIKE ART BLART ON FACEBOOK

Back to top

11
Apr
12

Exhibition: ‘The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography’ at The Queen’s Gallery, Buckingham Palace, London

Exhibition dates: 21st October 2011 – 15th April 2012

 

Herbert Ponting. 'Captain Lawrence Oates and Siberian ponies on board 'Terra Nova'' 1910

 

Herbert Ponting (British, 1870-1935)
Captain Lawrence Oates and Siberian ponies on board ‘Terra Nova’
1910
© 2011 Her Majesty Queen Elizabeth II

 

 

Continuing my fascination with all things Antarctic, here are more photographs from the Scott and Shackleton expeditions. The photograph Captain Lawrence Oates and Siberian ponies on board ‘Terra Nova’ by Herbert Ponting (1910, above) is simply breathtaking.

Marcus

.
Many thankx to The Royal Collection for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Frank Hurley. 'Sir Ernest Shackleton arrives at Elephant Island to take off marooned men' 30 August 1916

 

Herbert Ponting (British, 1870-1935)
Sir Ernest Shackleton arrives at Elephant Island to take off marooned men
30 August 1916
© 2011 Her Majesty Queen Elizabeth II

 

 

This photograph was actually taken at the time of the ‘James Caird’s’ departure on 24 April. Hurley has altered it to represent the moment of rescue, with the arrival of Shackleton on the ‘Yelcho’. The actual rescue was not photographed.

 

Union Jack taken by Scott to the South Pole 1911-12

 

Union Jack taken by Scott to the South Pole
1911-12
© 2011 Her Majesty Queen Elizabeth II

 

This Union Jack was given to Scott by the recently widowed Queen Alexandra on 25 June 1910 for him to plant at the South Pole. The flag was recovered with Scott’s body and returned to the queen by his wife, Kathleen, on 12 July 1913.

 

 

The photographs of Herbert Ponting and Frank Hurley may be stencilled into the collective memory after nearly a century of over-exposure. But it’s not often you get to see them away from the printed page, and they certainly bring out fresh depths and new perspectives…

It turns out to be highly instructive seeing Hurley and Ponting hung in neighbouring rooms. I’ve always taken Ponting to be somehow the lesser snapper. Hurley had the greatest photostory ever captured land in his lap when Shackleton’s ship the Endurance was trapped in ice floes and held fast for months before pressure ridges eventually crushed it like a dry autumn leaf. Like a good journalist Hurley recorded these traumas and more while also taking the chance to experiment with the strange light and baroque shapes supplied by his surroundings.

Ponting’s story was different. Four or so years earlier, and on the other side of the Antarctic land mass, he didn’t stray far from the expedition base, and indeed was left on the Terra Nova while Scott’s polar party were still out on the ice, trudging balefully towards immortality. There’s something about Ponting’s floridly unmodern moustache which sets him apart from the clean-shaven younger men in either expedition, as if he never quite left the studio behind.

But the photographs are astonishing… The story here is the unequal battle between man and ice, the castellations and ramparts of bergs dwarfing explorers with dogs and sledges placed at their foot to give a sense of scale. Ponting also has a beautiful eye for filigree detail, never more than in one picture of long spindly icicles echoing the adjacent rigging of the Terra Nova.

One of the revelations is that the originals play up the drama of Ponting’s work much more than Hurley’s, which are printed at half the size. For all the astonishing pictures – a field of ice flowers, the masts of the Endurance all but shrouded by Brobdingnagian ice clumps – the final impact of Hurley’s collection lies in the fact that they exist at all… That is partly why Ponting trumps Hurley in this show. His pictures of Scott’s men have never felt more immediate.

Rees, Jasper. Review of “The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography, Queen’s Gallery” on the Arts Desk website. Thursday, 27 October 2011 [Online] Cited 06/04/2012.

 

Herbert Ponting. 'The ramparts of Mount Erebus' 1911

 

Herbert Ponting (British, 1870-1935)
The ramparts of Mount Erebus
1911
© 2011 Her Majesty Queen Elizabeth II

 

 

Mount Erebus, an active volcano on Ross Island which last erupted in 2008, was first climbed in 1908 by members of Shackleton’s Nimrod expedition. Ponting has contrasted the overwhelming size of the natural world against the tiny human figure pulling a sledge, in the lower left corner of the photograph.

 

 

It is a story of heroism and bravery, and ultimately of tragedy, that has mesmerised generations. One hundred years on from their epic voyages to the very limits of the Earth, and of man’s endurance, the legends of Scott and Shackleton live on.

To mark the centenary of Captain Robert Falcon Scott’s expedition to the South Pole, the Royal Collection brings together, for the first time, a collection of the photographs presented to King George V by the official photographers from Scott’s Terra Nova expedition of 1910-13 and Shackleton’s expedition on Endurance in 1914-16, and unique artefacts, such as the flag given to Scott by Queen Alexandra (widow of King Edward VII) and taken to the Pole.

The exhibition documents the dramatic landscapes and harsh conditions the men experienced, through the work of expedition photographers Herbert Ponting and Frank Hurley. These sets of photographs are among the finest examples of the artists’ work in existence – and the men who took them play a vital part in the explorers’ stories. Highlights from Scott’s voyage include Ponting’s The ramparts of Mount Erebus, which presents the vast scale of the icescape, and the ethereal The freezing of the sea. Among the most arresting images from Hurley’s work on Shackleton’s expedition are those of the ship Endurance listing in the frozen depths and then crushed between floes.

The photographs also give insights into the men themselves. For instance, at the start of the journey Scott appears confident and relaxed, with his goggles off for the camera. In contrast, a photograph taken at the Pole shows him and his team devastated and unsmiling, knowing they had been beaten. The exhibition also records the lighter moments of expedition life, essential for teams cut off from the outside world for years at a time. On Shackleton’s expedition, a derby for the dogs was organised – with bets laid in cigarettes and chocolate. A menu for Midwinter’s Day, on 22 June 1911, shown in the accompanying exhibition publication, includes roast beef and Yorkshire pudding, ‘caviare Antarctic’ and crystallised fruits.

Antarctic adventurer David Hempleman ­Adams has been closely involved in the exhibition and has written an introduction to the catalogue. First given the taste for adventure by The Duke of Edinburgh’s Award scheme, he was inspired, like generations of school children, by the tales of discovery. As a South Pole veteran, the first Briton to reach the Pole solo and unsupported, he is still in awe of Scott and Shackleton’s achievements – and will return with his daughter this year to mark the centenary. David Hempleman­ Adams said: “We have a big psychological advantage today: We know it is possible to reach the South Pole. Nowadays you can go on Google Earth and see what’s there. Back then, it was just a big white piece of paper. Scott and Shackleton had no TVs, radios or satellite phones – they were cut off from the outside world – and in terms of equipment, the tents, skis and sledges, today, we carry about one tenth of what they carried, over the same mileage. What they achieved, with what they had, is really magnificent. This is the 100th anniversary and the legend has stood the test of time. Even in this modern world, there’s still just as much interest.”

As the photographs show, animals played an important part in the expeditions. There are portraits of the ponies and of individual sledge dogs. In his diaries, Scott describes the relationship he struck up with the bad­ tempered husky Vida: “He became a bad wreck with his poor coat… and… I used to massage him; at first the operation was mistrusted and only continued to the accompaniment of much growling, but later he evidently grew to like the warming effect and sidled up to me whenever I came out of the hut… He is a strange beast – I imagine so unused to kindness that it took him time to appreciate it.”

Ponting also photographed wildlife, including seals, gulls and penguins. Scott writes of the moment Ponting tried to photograph killer whales and how the creatures crashed through the ice to catch him. Scott, watching but unable to help, observes, “It was possible to see their tawny head markings, their small glistening eyes, and their terrible array of teeth – by far the largest and most terrifying in the world.”

The inspirational qualities of the explorers were recognised by King George V. In his book, The Great White South, Ponting records what the Monarch said to him when he went to Buckingham Palace to show his Antarctic film: “His Majesty King George expressed to me the hope that it might be possible for every British boy to see the pictures – as the story of the Scott Expedition could not be known too widely among the youth of the nation, for it would help to promote the spirit of adventure that had made the Empire.”

Royal interest in polar exploration began with Queen Victoria and Prince Albert, who followed the fortunes of the early adventurers, such as Sir John Franklin and William Bradford, and it continues to this day. The Duke of Edinburgh, who has written a foreword to the exhibition catalogue, has been the patron of many of David Hempleman­Adams’s expeditions and has himself crossed the Antarctic Circle. HRH The Princess Royal is Patron of the UK Antarctic Heritage Trust.

Press release from The Royal Collection website

 

Herbert Ponting. 'Grotto in an iceberg' 5 January 1911

 

Herbert Ponting (British, 1870-1935)
Grotto in an iceberg
5 January 1911
© 2011 Her Majesty Queen Elizabeth II

 

Herbert Ponting. 'Captain Scott' February 1911

 

Herbert Ponting (British, 1870-1935)
Captain Scott
February 1911
© 2011 Her Majesty Queen Elizabeth II

 

 

This photograph of Scott, with Mount Erebus in the background, was taken at the start of the expedition. He is wearing fur gloves with an attached cord, leather boots, gaiters and thick socks.

 

 

The Royal Collection
The Queen’s Gallery, Buckingham Palace
London SW1A 1AA

Opening hours:
Open daily, 10.00 – 17.30

The Queen’s Gallery website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Enter your email address to subscribe to this blog and receive notifications of new posts by email. If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,788 other followers

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

Follow Art_Blart on Twitter
Art Blart on Pinterest

Blog Stats

  • 11,380,254 hits

Recent Posts

Lastest tweets

December 2021
M T W T F S S
 12345
6789101112
13141516171819
20212223242526
2728293031  

Archives

Categories

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,788 other followers