Imogen Cunningham Phoenix Recumbent – Art Blart

Exhibition: ‘Imogen Cunningham: A Retrospective’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 8th March – 12th June 2022

Imogen Cunningham (American, 1883-1976)
On Mount Rainer
1915
Platinum print
18.4 × 23.4cm (7 1/4 × 9 3/16 in.)
Getty Museum
© Imogen Cunningham Trust

This is the second posting on this magnificent exhibition on the work of the American photographer Imogen Cunningham (1883-1976), this time its iteration at the J. Paul Getty Museum, Los Angeles. Cunningham, whose broad expanse of work stretches from Pictorialism through avant-garde to Group f/64 modernism, has for too long been underrated in the pantheon of 20th century photographic stars.

In this posting there are 20 or so new images from the exhibition, including contributions from luminaries and friends such as Minor White, Edward Weston, Lisette Model and Dorothea Lange. Of interest is the close framing of the portraits (for example see Sonya Noskowiak 1928, below) and, with these media images, the ability to see the placement and size of the photographic print on the supporting backing card.

I particularly respond to the tonality and texture of the plant photographs and Imogen’s sensitivity to their form and structure.

My favourite photograph in the posting is an image of Cunningham’s I have never seen before – the wonderful late work, Aiko’s Hands (1971, below). The Stieglitz hands, the suspended leaf like Minor White, the message in the water…

There are parts of this image that are a quiet metaphor, but the overall impression is not. It talks directly and immediately to the viewer.

Dr Marcus Bunyan

Many thanks to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. See the posting on this exhibition when it was at the Seattle Art Museum.

In a career that spanned seventy years, Imogen Cunningham created a large and diverse body of work – from portraits, to nudes, to florals, and to street photographs. In a field dominated by men, she was one of a handful of women who helped to shape early modernist photography in America. This exhibition seeks to acknowledge her stature as equivalent to that of her male peers and to reevaluate her enormous contribution to twentieth century photographic history.

Imogen Cunningham (American, 1883-1976)
Mrs. Walsh and Middie at the Window
1907-1908
Platinum print
10.6 × 15.7cm (4 3/16 × 6 3/16 in.)
© The Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
The Dream / New-san-Koburi
about 1910
Platinum print
22.7 × 16.2cm (8 15/16 × 6 3/8 in.)
© The Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Roi Partridge, Etcher
1915
Platinum print
20.6 × 15.5cm (8 1/8 × 6 1/8 in.)
Getty Museum
© Imogen Cunningham Trust

The Wood Beyond the World

After her graduation from the University of Washington, Cunningham took a job in the studio of photographer and ethnologist Edward S. Curtis. She learned the platinum printing process there, and received a grant that allowed her to continue her studies in Dresden, Germany. On her return to Seattle, she began making soft-focus platinum prints with an ethereal dreamlike quality. Her work in this period was influenced by the Pre-Raphaelite movement in art and literature, which called for renewal within the Victorian art establishment through spiritualism and an enhanced connection with nature. An epic tale set in a medieval forest, The Wood Beyond the World (1894) by William Morris, a leading figure in the movement, particularly sparked her imagination.

Imogen Cunningham (American, 1883-1976)
Wood Beyond the World 1
1910
Platinum print
Getty Museum
© The Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
In the Wood / Voice of the Wood
1910
Platinum print
19.8 × 19.1cm (7 13/16 × 7 1/2 in.)
© The Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Amaryllis
1933
Gelatin silver print
Getty Museum
© The Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Aloe
1925
Gelatin silver print
20.8 × 16.5cm (8 3/16 × 6 1/2 in.)
Getty Museum
© Imogen Cunningham Trust

In Her Garden

After Cunningham moved her family to San Francisco in 1917, she turned away from soft-focus images and began to make sharply delineated pictures. She cultivated a garden, growing plants and flowers for a series of botanical studies, all while taking care of her three young sons. In 1929 the prominent photographer Edward Weston recommended that ten of Cunningham’s photographs be included in the seminal exhibition Film und Foto in Stuttgart, Germany. Although the show did not bring her financial success, it garnered international recognition for her as a leading American modernist photographer.

Imogen Cunningham (American, 1883-1976)
Hen and Chickens
1929
Gelatin silver print
25.2 × 24.6cm (9 15/16 × 9 11/16 in.)
Getty Museum
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Flax
1926
Gelatin silver print
23.5 × 16.1cm (9 1/4 × 6 5/16 in.)
Getty Museum
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Banana Plant
1925-1929
Gelatin silver print
29.5 × 22.2cm (11 5/8 × 8 3/4 in.)
The Art Institute of Chicago, Julien Levy Collection
Gift of Jean Levy and the estate of Julien Levy
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Triangles
1928
Gelatin silver print
9.7 × 7.1cm (3 13/16 × 2 13/16 in.)
Getty Museum
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Two Callas
1925-1929
Gelatin silver print
30 × 22.6cm (11 13/16 × 8 7/8 in.)
The Art Institute of Chicago, Julien Levy Collection
Gift of Jean Levy and the estate of Julien Levy
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Calla Lily (Black and White Lily)
1925-1933
Gelatin silver print
30 × 23.5 cm (11 13/16 × 9 1/4 in.)
© The Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Tower of Jewels
1925
Gelatin silver print
30.5 × 23.8cm
UC Berkeley Art Museum and Pacific Film Archive

Ansel Adams (American, 1902-1984)
[Dogwood Blossoms, Yosemite National Park]
Negative about 1938; print 1941
Gelatin silver print
16.8 × 11.4cm (6 5/8 × 4 1/2 in.)
© 2014 The Ansel Adams Publishing Rights Trust

Imogen Cunningham (American, 1883-1976)
[Sonya Noskowiak]
1928
Gelatin silver print
8.9 × 7.6cm (3 1/2 × 3 in.)
© The Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Martha Graham, Dancer
1931
Gelatin silver print
18.5 × 25.2cm (7 5/16 × 9 15/16 in.)
Getty Museum
Gift of Daniel Greenberg and Susan Steinhauser
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Frida Kahlo Rivera, Painter
1931
Gelatin silver print
Getty Museum, Gift of Daniel Greenberg and Susan Steinhauser
© The Imogen Cunningham Trust

On the Portrait

When asked to describe the requirements for a successful portrait photographer, Cunningham replied, “You must be able to gain an understanding at short notice and at close range of the beauties of character, intellect, and spirit, so you can draw out the best qualities and make them show in the face of the sitter.” She would often engage her sitters in conversation until they relaxed, or ask them to think of the nicest thing they could imagine. She resisted indulging their vanity, however, and “face-lifting” was her word for the type of portrait work that required beautification – in her estimation an obstacle to a good likeness.

Imogen Cunningham (American, 1883-1976)
Self-Portrait with Korona View
1933
Gelatin silver print
10.2 × 8.4cm (4 × 3 5/16 in.)
© Imogen Cunningham Trust

Dorothea Lange (American, 1895-1965)
Waiting for Work on Edge of the Pea Field, Holtville, Imperial Valley, California
February 1937
Gelatin silver print
20.5 × 19.2 cm (8 1/16 × 7 9/16 in.)
The J. Paul Getty Museum, Los Angeles

“HUMAN EROSION [all underlined] / Erosion of the soil has its counterpart in erosion / of our society. / The one wastes natural resources; / the other human resources / Employment is intermittent. Jobs are precarious and / annual income is low. / Waited weeks for the maturity of 1937 winter pea / crop, which froze; then more weeks until maturity / of second crop. / Near Hollville,California / February 1937.”

Lisette Model (American born Austria, 1901-1983)
Woman with Veil, San Francisco
1949
Gelatin silver print
34.9 x 27cm
The J. Paul Getty Museum, Los Angeles

Imogen Cunningham (American, 1883-1976)
Angel Island
1952
Gelatin silver print
19.3 x 19.3cm
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Stan, San Francisco
1959
Gelatin silver print
24.2 × 17.9cm (9 1/2 × 7 1/16 in.)
© Imogen Cunningham Trust

Edward Weston (American, 1886-1958)
Armco Steel
1922
Palladium print
24.4 × 19.4cm (9 5/8 × 7 5/8 in.)
© 1981 Arizona Board of Regents, Center for Creative Photography

West Coast Photography

In 1932 Imogen Cunningham, along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston – all San Francisco Bay Area photographers – helped found Group f/64. (They adopted the name from the aperture setting on a large-format camera that would yield the greatest depth of field, making a photograph equally sharp from foreground to background.) The goal of this loosely formed association was to promote a modernist style through sharply focused images created with a West Coast perspective or sense of place. The works presented in this gallery, created by Cunningham’s closest colleagues – all contributors to the Group f/64 legacy – demonstrate how the influence they had on one another defined the future of West Coast photography.

Edward Weston (American, 1886-1958)
Bananas and Orange
1927
Gelatin silver print
Getty Museum
© 1981 Arizona Board of Regents, Center for Creative Photography

Imogen Cunningham (American, 1883-1976)
Aiko’s Hands
1971
Gelatin silver print
27.2 × 34.7cm (10 11/16 × 13 11/16 in.)
Getty Museum
Gift of Daniel Greenberg and Susan Steinhauser
© Imogen Cunningham Trust

Minor White (American, 1908-1976)
Nude Foot, San Francisco
Negative 1947; print 1975
Gelatin silver print
21.2 × 27cm (8 3/8 × 10 5/8 in.)
Reproduced with permission of the Minor White Archive, Princeton University Art Museum. © Trustees of Princeton University
Gift of Daniel Greenberg and Susan Steinhauser

Imogen Cunningham (American, 1883-1976)
Dancer, Mills College
1929
Gelatin silver print
21.7 × 18.7cm (8 9/16 × 7 3/8 in.)
Getty Museum
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Snake
1929
Gelatin silver print
19.7 × 16.5cm (7 3/4 × 6 1/2 in.)
The Art Institute of Chicago
Julien Levy Collection, Gift of Jean and Julien Levy
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Gertrude Stein, Writer
1934
Gelatin silver print
Getty Museum
© The Imogen Cunningham Trust

A Parting of Ways

In 1934 Cunningham’s marriage to Roi Partridge ended in divorce. Their three teenage boys, Gryffyd, Rondal, and Padraic, remained in the family home with their mother until they finished high school. Cunningham never remarried, and although she received the house as part of her settlement, the divorce was the beginning of three decades of financial difficulties. Without Partridge, Cunningham had to pick up the pace of her work to stay afloat. She took more commissions, made more portraits, and began teaching portrait photography to students in her home. Despite the added stress, Cunningham sought out ways to challenge herself.

Imogen Cunningham (American, 1883-1976)
Cornish School Trio 2
1935
Gelatin silver print
22.9 × 19.1cm (9 × 7 1/2 in.)
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Pentimento
1973
Gelatin silver print
18.3 × 22.4cm (7 3/16 × 8 13/16 in.)
Getty Museum
Gift of Daniel Greenberg and Susan Steinhauser
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
A Man Ray Version of Man Ray
1961
Gelatin silver print
23.5 × 16.3cm (9 1/4 × 6 7/16 in.)
Getty Museum
Gift of Daniel Greenberg and Susan Steinhauser
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Double Image, Sutter St. and Fillmore
c. 1947
Gelatin silver print
Collection of the Oakland Museum of California, Gift of the Junior League of Oakland
© The Imogen Cunningham Trust

Into the Street

In 1934, while in New York, Cunningham made what she called her first “stolen pictures,” documentary street photographs that she took while trying to hide herself and her camera from view. Her interest in street photography was renewed in 1946 when she met Lisette Model while they were both teaching at the California School of Fine Arts (now the San Francisco Art Institute). Cunningham’s candid depictions of her subjects have often been described as gentler and more sympathetic than those by many of her contemporaries. Her “stolen pictures” capture people as they are and not how they look when they know they are being photographed.

Imogen Cunningham (American, 1883-1976)
Tea at Foster’s, San Francisco
1940s
Gelatin silver print
19.1 × 18.7cm (7 1/2 × 7 3/8 in.)
Seattle Art Museum
Gift of John H. Hauberg
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Self-Portrait with Grandchildren in Funhouse
1955
Gelatin silver print
22.2 × 18.5cm (8 3/4 × 7 5/16 in.)
Getty Museum
© Imogen Cunningham Trust

One of the greatest photographers of the 20th century, Imogen Cunningham (American, 1883-1976) enjoyed a career that spanned three-quarters of a century, creating a large and diverse body of work that underscored her vision, versatility, and commitment to the medium.

The first major retrospective in the United States in more than 35 years, Imogen Cunningham: A Retrospective brings together her insightful portraits, elegant flower and plant studies, poignant street pictures, and groundbreaking nudes in a visual celebration of Cunningham’s enormous contributions to the history of photography.

“Despite Cunningham’s exceptional achievements as a photographic artist, her work has not received the attention accorded her male counterparts,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the J. Paul Getty Museum. “Though struggling to meet the demands of family and career, she emerged by the second half of the 1920s as one of the most important and innovative modernist photographers in America, collaborating with leading practitioners, mentoring novices, and actively engaging with contemporary controversies in modern art. This exhibition and publication will provide the spotlight on her contribution to 20th-century photography that she so richly deserves.”

Cunningham was initially self-taught, learning the fundamentals of photography from the instructions that came with her first camera. After graduating from the University of Washington, she established a portrait studio in Seattle and began making soft-focus photographs. Her work in this period was influenced by the Pre-Raphaelite movement in art and literature. In 1915, Cunningham married and started a family. After she moved her family to San Francisco in 1917, she turned away from soft-focus images and began making a series of sharply delineated botanical studies.

In 1932 Cunningham, along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston – all San Francisco Bay Area photographers – helped found Group f/64. This loosely formed association promoted a modernist style through sharply focused images created with a West Coast perspective and sense of place.

From the mid-1940s forward, Cunningham could often be seen roaming the streets of San Francisco with her Rolleiflex, making environmental portraits of the city’s inhabitants. Her enlightened attitude about her place in the world extended to her relationships with people of different racial backgrounds and sexual orientations, which broke down social barriers while enriching and diversifying her oeuvre. Cunningham’s last major project, a series of portraits of older people, was started at age 92 and published posthumously in the book After Ninety: Imogen Cunningham in 1977. The project reflected her determination to keep active and provided a way to come to grips with being a nonagenarian herself.

Cunningham was a woman of exceptional intelligence and talent, yet competing in a male-dominated profession posed a formidable challenge. She felt disparaged by some of her male colleagues, who occasionally downplayed her talent and influence. As a bulwark against the stress, she joined San Francisco Women Artists, a group organised to promote, support, and expand the representation of women in the arts. Over the years Cunningham served as a resource for female artists such as Laura Andreson, Ruth Asawa, Alma Lavenson, Laura Gilpin, Dorothea Lange, Consuelo Kanaga, and Merry Renk, among others, providing advice, moral support, and essential connections throughout the art and business worlds.

“Cunningham continually sought out new opportunities to grow, learn, and change as an artist and a person” says Paul Martineau, curator of photographs at the Getty Museum, and curator of the exhibition. “She readily admitted that she was never fully satisfied with anything and considered self-improvement, in all its forms, her life’s work.”

Imogen Cunningham: A Retrospective is organised by the Getty Museum, Los Angeles and curated by Paul Martineau, associate curator of Photographs. Major support from Jordan Schnitzer and the Harold & Arlene Schnitzer CARE Foundation. Accompanying the exhibition is a lavishly illustrated companion book, Imogen Cunningham: A Retrospective.

Press release from the J. Paul Getty Museum website

Imogen Cunningham (American, 1883-1976)
Ruth Asawa, Sculptor
1952
Gelatin silver print
Fine Arts Museums of San Francisco, Gift of Ruth Asawa and Albert Lanier
© The Imogen Cunningham Trust

A Network of Women

Cunningham was a woman of exceptional intelligence and talent, yet competing in a male-dominated profession posed a formidable challenge, particularly after Partridge divorced her in 1934 and she struggled to support herself. To make matters worse, Cunningham felt disparaged by some of her male colleagues, who occasionally downplayed her talent and influence. As a bulwark against the stress, Cunningham joined San Francisco Women Artists, a group organised to promote, support, and expand the role of women in the arts. Over the years Cunningham served as a resource for female artists such as Laura Andresen, Ruth Asawa, Alma Lavenson, Laura Gilpin, Dorothea Lange, Consuelo Kanaga, and Merry Renk, among others, providing advice, moral support, and essential connections throughout the art and business worlds.

Imogen Cunningham (American, 1883-1976)
The Unmade Bed
1957
Gelatin silver print
27.1 × 34.3cm (10 11/16 × 13 1/2 in.)
Getty Museum
Gift of Daniel Greenberg and Susan Steinhauser
© Imogen Cunningham Trust

Minor White (American, 1908-1976)
Sandblaster, San Francisco
Negative 1949; print 1975
Gelatin silver print
21.6 × 25.1cm (8 1/2 × 9 7/8 in.)
Reproduced with permission of the Minor White Archive, Princeton University Art Museum. © Trustees of Princeton University
Gift of Daniel Greenberg and Susan Steinhauser

The Light Within

In 1964 the photographer and editor Minor White devoted an issue of the influential magazine Aperture to Cunningham. In an elegant tribute, he described his own experience of the spell she cast over her subjects as a kind of inner light. The first publication dedicated entirely to Cunningham’s work, this issue of Aperture contained a selection of forty-four images dating from 1912 to 1963, representing her wide range of genres and styles.

Between 1965 and 1973 Cunningham served as a visiting photography instructor at the California College of Arts and Crafts, Oakland; Humboldt State College, Arcata; the San Francisco Art Institute; and San Francisco State College. In 1970 she was awarded a Guggenheim Foundation grant of $5,000 to make prints from her old negatives. This prestigious prize marked a turning point in her long career, an acknowledgment that coincided with a rising interest among museums and enthusiasts in collecting photographs, both historical and contemporary.

Imogen Cunningham (American, 1883-1976)
Minor White, Photographer
1963
Gelatin silver print
Getty Museum
© The Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Phoenix Recumbent
1968
Gelatin silver print
19.1 × 22.2cm (7 1/2 × 8 3/4 in.)
Collection of Rudi Bianchi
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
My Father at Ninety
1936
Gelatin silver print
Getty Museum
© The Imogen Cunningham Trust

After Ninety

When she was ninety-two, Cunningham started a new project, photographing people of advanced age. She estimated that this would take two years to complete, and she planned to publish the photographs in a volume to be called After Ninety. She began to seek out subjects, visiting them in their homes, in hospitals, and in convents. The project provided an outlet for her determination to keep active as well as a way to come to grips with being a nonagenarian herself. Cunningham died on June 24, 1976, and the book was published the following year.

Imogen Cunningham (American, 1883-1976)
After Ninety
1977
Closed: 31.1 x 23.5 x 1.3cm
Private collection

Imogen Cunningham (American, 1883-1976)
The Coffee Gallery
1960
Gelatin silver print
19.5 x 22.4cm
Getty Museum
Gift of Daniel Greenberg and Susan Steinhauser
© Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Another Arm
1973
Gelatin silver print
23.2 × 19cm (9 1/8 × 7 1/2 in.)
© Imogen Cunningham Trust

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Exhibition: ‘Imogen Cunningham’ at Fundación Mapfre, Madrid

Exhibition dates: 18th September 18 2012 – 20th January 2013

Imogen Cunningham exhibition poster

This is the first posting on one of my favourite photographers of all time: Imogen Cunningham. The sensuality of this artist, from the early Pictorialist studies (including her ground breaking depiction of the male nude, her husband artist Roi Partridge) to the later Modernist nudes, portraits, industrial landscapes and botanical photographs is of the highest order. Cunningham reminds me of a photographic version of Georgia O’Keeffe without the undoubted darkness that inhabits some of O’Keeffe’s work.

The portrait of Frida Kahlo Rivera (1931, below) is a magnificent study of a proud woman with delicate use of natural light framing the face and gently clasped hands. Note the textures within the photograph – the dress, the shawl, the wicker chair and the wall – and also notice the reflective light falling behind the sitter upper left to balance the frontal light coming from bottom right. Masterful. Cunningham’s famous Two Callas (1929, below) is an glorious study of form, light and texture, a sensual symphony for the eyes, the background a kind of mutable black that allows the viewer’s gaze to be immersed in the subject. The viewer’s voyeuristic gaze is further engaged by the voluptuous suggestiveness of the copious hair and out of focus breast of Phoenix Recumbent (1968, below) where, “the object of the gaze is not aware of the current viewer (though they may originally have been aware of being filmed, photographed, painted etc. and may sometimes have been aware that strangers could subsequently gaze at their image).” (Daniel Chandler “Notes on ‘The Gaze'” on the Aberystwyth University website [Online] Cited 12/01/2013 no longer available online)

Finally, the photograph of Imogen Cunningham and Twinka Thiebaud by Judy Dater (1974, below) seems to me to capture the spirit of the human being Imogen Cunningham with indelible grace. Youth, beauty, age, wisdom. A constantly inquisitive mind, wanting to know, wanting to see things more clearly, taking photographs right up until her final years. There she is with her twin-lens Rollei dressed as if from another century, the quizzical nature of her left hand and the look that passes between Imogen and Twinka, the space between them seeming to shimmer with possibility. That space seems to wash away the years of Imogen’s life to when she was young, lying naked near some trees (Self-Portrait (1906, below). It is a truly memorable image. In the sensitivity of this image, Dater embodies everything that I admire in Cunningham’s work: light, texture, sensitivity to subject, an understanding of beauty and an irrepressible, joyous sensuality. A fitting tribute to one of the world’s great photographers.

Dr Marcus Bunyan

.
Many thankx to the Fundación Mapfre, Madrid for allowing me to publish the photographs in the posting. Please click on the photographs for a a larger version of the image.

Imogen Cunningham (American, 1883-1976)
Magnolia Blossom
1925
Gelatin silver print
© The Imogen Cunningham Trust, 2012

Imogen Cunningham (American, 1883-1976)
Roi on the Dipsea trail 3
1918
Gelatin sliver print
© The Imogen Cunningham Trust, 2012

Imogen Cunningham (American, 1883-1976)
Three Dancers, Mills College
1929
Gelatin silver print
© The Imogen Cunningham Trust, 2012

Imogen Cunningham (American, 1883-1976)
The Wood Beyond the World
c. 1912
Gelatin silver print
© The Imogen Cunningham Trust

Imogen Cunningham (American, 1883-1976)
Frida Kahlo Rivera, Painter and Wife of Diego Rivera
1931
Gelatin silver print
© The Imogen Cunningham Trust, 2012

Imogen Cunningham (American, 1883-1976)
Cary Grant, Actor
1932
Gelatin silver print
© The Imogen Cunningham Trust, 2012

Imogen Cunningham (American, 1883-1976)
Edward Weston and Margrethe Mather, Photographers I-II
1922
Gelatin silver print
© The Imogen Cunningham Trust, 2011