Posts Tagged ‘Julia Margaret Cameron The Mountain Nymph

07
Nov
21

Exhibition: ‘In Lady Barclay’s Salon – Art and Photography around 1900’ at Moderna Museet, Stockholm

Exhibition dates: 19th June 2021 – 9th January 2022

Curator: Anna Tellgren

Artists represented in the exhibition: Anna Boberg, Helmer Bäckström, Julia Margaret Cameron, Uno Falkengren, Gustaf Fjæstad, Ferdinand Flodin, Henry B. Goodwin, John Hertzberg, Gösta Hübinette, Eugène Jansson, Nicola Perscheid and Ture Sellman.

 

 

Otto. 'Girl in Chair' c. 1892

 

Otto
Girl in Chair
c. 1892
Reproduction photo: Prallan Allsten/Moderna Museet

 

 

Apologies, a short text today… my lower back is not very good and I am not feeling that well.

Another “niche” exhibition that Art Blart likes to promote, one that fills a gap in our greater knowledge of world art and artists. But why the distinction in the title of the exhibition between art and photography? That old chestnut rears its ugly head again… why not just ‘art around 1900’?

My particular favourites in the posting are the muscular yet translucent Anna Boberg painting A Quiet Evening. Study from North Norway (Nd); the gossamer wispiness and beauty of Ferdinand Flodin’s Portrait of a young lady (1922); and the velvety softness and light of Ture Sellman’s Untitled landscape (c. 1915).

I have added detail of the artists and sitters where possible and information on early photographic processes.

Enjoy!

Dr Marcus Bunyan

.
Many thankx to the Moderna Museet for allowing me to publish the photographs and the text in the posting. Please click on the photographs for a larger version of the image.

 

Moderna Museet highlights Pictorialism – a movement in photography that arose around 1900. The exhibition In Lady Barclay’s Salon – Art and Photography Around 1900 also includes paintings from the same period, treating visitors to a selection of nearly 300 works from the collections of Moderna Museet and Nationalmuseum.

This exhibition is based on the rich collections of Moderna Museet and Nationalmuseum, with art and photography dating from the late 1800s to the First World War. During this period, pictorialism was a style that many prominent photographers worked in; it was inspired by impressionism, symbolism and naturalism.

Pictorialism was the first international art photography movement, with many active practitioners throughout Europe and the USA. Sweden was on the periphery of this movement, but the style became popular here too among several influential amateur and professional photographers. This was a pivotal period in painting, where the younger artists who went abroad and were inspired by a freer approach broke with the more conservative academic painters. This exhibition will highlight works by famous photographers and painters from the years around the turn of the century.

Dark haired, almond eyed, and irresistibly charming, Lady Sarita Enriqueta Barclay was an influential figure of Stockholm’s Pictorialism movement. Captivated by the experimental nature of Swedish art during the fin de siècle, she hosted elaborate viewings and events, and was photographed often. Known for diffused light, sepia tones, and romanticism, the impressionistic photographs of the era capture a cultural moment in Swedish history.

 

 

 

 

Look into Lady Barclays Salon: Live curator talk

Look into Lady Barclay’s salon and discover Pictorialism, the first art photo stream. Many prominent photographers worked in the style that prevailed from the 1890s and a few decades onwards. Anna Tellgren, curator and Karin Malmquist, program curator, talk about Pictorialism and some of the approximately 300 paintings and photographs that you can see in the exhibition “In Lady Barclays Salon”.

 

August Strindberg. 'Underlandet' (The Wonderland) 1894

 

August Strindberg (Swedish, 1849-1912)
Underlandet (The Wonderland)
1894
Oil on cardboard
72.5cm (28.5 in) x 52cm (20.4 in)
Nationalmuseum (Stockholm)

 

 

Johan August Strindberg

Johan August Strindberg (22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg’s career spanned four decades, during which time he wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the “father” of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. …

Strindberg, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process.

Strindberg’s paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art.

Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis.

Text from the Wikipedia website

 

Joseph Mallard William Turner (British, 1775-1851) 'A View of Deal' Nd

 

Joseph Mallard William Turner (British, 1775-1851)
A View of Deal
Nd
Oil on paper on panel
32 x 24cm (12.6 x 9.6 inches)
Nationalmuseum (Stockholm)

 

 

The years from 1890 to the first World War were a golden era for the arts in Sweden. This exhibition presents beautiful Pictorialist photographs and selected paintings from this period. The more than 300 works from the rich collections of Moderna Museet and Nationalmuseum give us an insight into art at the time.
In Lady Barclay’s Salon, we imagine a meeting between photographers and painters, their friends and the public. Lady Sarita Enriqueta Barclay (1891-1985) was married to a British diplomat, and they both lived in Stockholm for a few years around 1921. She was portrayed several times in the studio of the photographer Henry B. Goodwin. We can assume that she was prominent in the city’s social life and went to previews, dinners and other events.

This exhibition is an opportunity to see a selection of some 300 works by famous photographers and painters in the Moderna Museet and Nationalmuseum collections, including Anna Boberg, Helmer Bäckström, Julia Margaret Cameron, Uno Falkengren, Gustaf Fjæstad, Ferdinand Flodin, Henry B. Goodwin, John Hertzberg, Gösta Hübinette, Eugène Jansson, Nicola Perscheid and Ture Sellman.

 

Around the end of the previous century

In the years around 1900, a number of colourful personalities emerged in literature, music, art and architecture, and patrons such as Prince Eugen and Ernest Thiel were building major art collections. The Art and Industry Exhibition in Stockholm in 1897 and the Baltic Exhibition in Malmö in 1914 had sections for art and photography.

The exhibition “In Lady Barclay’s Salon” gives a picture of the visual culture at the time. It features mainly Swedish material, with a few international highlights. The works date from the late-19th century to 1930, a period when Pictorialism was emerging in photography. The style was inspired by impressionism, symbolism and naturalism, and there were lively debates on how to make photography more artistic.

Unlike the increasing number of amateur and professional photographers – who had gained access to the medium thanks to technological progress – the Pictorialists emphasised craftsmanship. Their images are characterised by soft focus and with colours ranging from brown, earthy tones to strong reds and blues. They worked with a variety of processes with the purpose of creating or “painting” on light-sensitive paper. This was the first international art photography movement, and it had many prominent practitioners throughout Europe and the USA.

 

A pivotal time for painting

This was a pivotal period in painting, when the younger artists who travelled abroad and were inspired by a freer approach broke with the more conservative academic painters. The French painter Paul Gauguin and the Pont-Aven school had a strong influence on Swedish artists who adopted symbolist or synthetist approaches. Images were reproduced and distributed more widely in books, posters and magazines, making it easier to share ideas. No longer was it necessary to visit other countries to see the latest art, but Paris was still a mecca for art students. Towards the end of the century, however, Paris was rivalled by Berlin, Munich, Dresden and Hamburg. Copenhagen, with its international relations and exhibitions, also offered a natural meeting place for Swedes.

Text from the Moderna Museet website

 

Ferdinand Flodin (Swedish, 1863-1935) 'View from My Window over Skeppsholmen, Stockholm' 1929

 

Ferdinand Flodin (Swedish, 1863-1935)
View from My Window over Skeppsholmen, Stockholm
1929
Bromoil print mounted on board
Moderna Museet
Reproduction photo: Prallan Allsten/Moderna Museet

 

Eugène Jansson (Swedish, 1862-1915) 'Hornsgatan nattetid' (Hornsgatan at night) 1902

 

Eugène Jansson (Swedish, 1862-1915)
Hornsgatan nattetid (Hornsgatan at night)
1902
Oil on canvas
152cm (59.8 in) x 182cm (71.6 in)
National Museum (Stockholm)

 

 

Moderna Museet highlights Pictorialism – a movement in photography that arose around 1900. The exhibition In Lady Barclay’s Salon – Art and Photography Around 1900 also includes paintings from the same period, treating visitors to a selection of nearly 300 works from the collections of Moderna Museet and Nationalmuseum.

Lady Sarita Enriqueta Barclay (1891-1985) became a prominent figure on the Stockholm arts scene after her husband, a British diplomat, had been posted to Stockholm. Lady Barclay frequently hosted cultural gatherings and events in the five years following the end of the First World War when she lived here. The photographer Henry B. Goodwin (1878-1931) portrayed Lady Barclay on several occasions, and his pictures show her as a stylish woman with a cosmopolitan air – an emblem of Sweden’s flourishing arts scene at the time.

In the years around 1900, a number of colourful personalities emerged in literature, music, art and architecture, and patrons such as Prince Eugen and Ernest Thiel were building major art collections. The Art and Industry Exhibition in Stockholm in 1897, and the Baltic Exhibition in Malmö in 1914, included separate sections for art and photography.

The exhibition In Lady Barclay’s Salon gives a picture of the visual culture at the time, and consists mainly of Swedish material, with a few international highlights. The works date from the late-19th century to 1930, a period when Pictorialism was emerging in photography. The style embraced inspiration from impressionist, symbolist and naturalism, and there was a lively debate on how to make photography more artistic. Unlike the increasing number of amateur and professional photographers – who had gained access to the medium thanks to technological progress – the Pictorialists emphasised craftsmanship. Their images are characterised by soft focus and with colours ranging from brown, earthy tones to strong reds and blues. They worked with a variety of processes with the purpose of creating or “painting” on light-sensitive paper.

Painting also moved into a new phase around 1900. While the older members of the artist federation Konstnärsförbundet, founded in 1886, maintained their dominance, a younger generation was beginning to step in at the turn of the century. The French artist Paul Gauguin and the Pont-Aven school had a strong influence on Swedish artists who adopted symbolist or synthetist approaches. Ideas could be shared more easily with mass-produced images in books, posters and magazines.

In Lady Barclay’s Salon presents a fictive encounter between photographers and painters, their friends and the audience. The exhibition features some 300 works from the collections of Moderna Museet and Nationalmuseum, including works by Anna Boberg, Helmer Bäckström, Julia Margaret Cameron, Uno Falkengren, Gustaf Fjæstad, Ferdinand Flodin, Henry B. Goodwin, John Hertzberg, Gösta Hübinette, Eugène Jansson, Nicola Perscheid and Ture Sellman.

“This is an opportunity to discover a less well-known part in the history of photography, where the artistic aspects of the medium were discussed fervently, and where there are many intriguing links to painting at the time,” says the exhibition’s curator, Anna Tellgren. “The exhibition highlights both famous and unknown photographers and artists who were practising around 1900, and reveals some fantastic visual treasures from our collection.”

Press release from Moderna Museet

 

Prince Eugen, Duke of Närke (Swedish, 1865-1947) 'Tidig vintermorgon' (Early winter morning) 1906-1907

 

Prince Eugen, Duke of Närke (Swedish, 1865-1947)
Tidig vintermorgon (Early winter morning)
1906-1907
Oil on canvas
77cm (30.3 in) x 89cm (35 in)
Nationalmuseum (Stockholm)

 

 

Prince Eugen

After finishing high school, Prince Eugen studied art history at Uppsala University. Although supported by his parents, Prince Eugen did not make the decision to pursue a career in painting easily, not least because of his royal status. He was very open-minded and interested in the radical tendencies of the 1880s. The Duke became one of the era’s most prominent landscape painters. He was first trained in painting by Hans Gude and Wilhelm von Gegerfelt.

Between 1887 and 1889, he studied in Paris under Léon Bonnat, Alfred Philippe Roll, Henri Gervex and Pierre Puvis de Chavannes. Puvis de Chavannes’s classical simplicity had the greatest influence on Prince Eugen’s work. The Duke devoted himself entirely to landscape painting. He was mainly interested in the lake Mälaren, the countryside of Stockholm (such as Tyresö, where he spent his summers), Västergötland (most notably Örgården, another summer residence) and Skåne (especially Österlen).

Text from the Wikipedia website

 

Henry B. Goodwin (Swedish born Germany, 1878-1931) 'Bragevägen Stockholm's loveliest street' 1917

 

Henry B. Goodwin (Swedish born Germany, 1878-1931)
Bragevägen Stockholm’s loveliest street
1917
Reproduction photo: Prallan Allsten/Moderna Museet

 

 

About the exhibition In Lady Barclay’s Salon

The exhibition “In Lady Barclay’s Salon – Art and Photography around 1900” highlights the period from 1890 and up to the First World War. It was a golden age for the arts in Sweden. A number of noteworthy figures appear within the fields of literature, music, art and architecture. Among them are Verner von Heidenstam, Ellen Key, Selma Lagerlöf and August Strindberg.

Art patrons Prince Eugen and Ernest Thiel acquired large art collections, that can still be admired in their respective homes: Waldermarsudde and Thielska Galleriet on Djurgården. Both buildings were designed by the architect Ferdinand Boberg, who included Renaissance, oriental and late Jugend style elements.

The renowned artist Eva Bonnier was another important figure. Better communications in the form of railways and telephone networks contributed to the development of cities, and a growing, export-oriented industry in Sweden. The 1897 Art and Industry Exposition in Stockholm and, a few years later, the 1914 Baltic Exhibition in Malmö, were manifestations of this progressive outlook. Both included sections that showed art and photography.

It was a time of Scandinavianism, and many Nordic collaborations and groups were formed. The women’s movement gained momentum, and in 1919 women were finally given the right to vote. For the first time, after a long struggle, they were able to cast their vote in the 1921 lower house election – exactly one hundred years ago.

 

Pictorialism developed as a photographic movement

This exhibition offers a glimpse of visual culture from this period by means of some 300 works from the rich collections of Moderna Museet and National museum. While most of these are Swedish in origin, there are some international examples.

The works span a period from the late 19th century to 1930. During this period, Pictorialism developed as a distinct movement that took a different direction from amateur and professional photography. Technical advances, the arrival of roll film for example, made photography accessible to a wider circle of practitioners. The Pictorialists, however, were interested in the craft of photography.

The style was inspired by impressionism, symbolism and naturalism, and there was a heated debate on how to develop photography as an art form. The monochrome portrait paintings of the symbolist Eugène Carrière, for example, clearly influenced art photography around 1900.

The Pictorialists’ images are characterised by soft focus and a palette that ranges from brown, earthy tones to strong reds and blues. They worked with a variety of processes such as gum bichromate, platinum and bromoil printing with the purpose of creating or “painting” on light-sensitive paper.

This was the first international art photography movement to have a large number of prominent practitioners across Europe and the United States. Clubs were formed to promote this new art photography, among them were the Wiener Camera-Club, the Photo-Club de Paris and the Photo-Secession in New York, with famous members such as Alfred Stieglitz and Edward Steichen. The works were judged in competitions and shown in galleries and museums and at international salons. The style thus spread to Belgium, Holland, Italy, Poland, Russia, Spain and the Nordic countries.

 

The artistic period

Sweden was on the periphery of this movement, but it found a following here too, with a number of talented photographers. This period is known as the “artistic period” (konstnärstiden), a term coined in an article by the keen Pictorialist Professor Helmer Bäckström. Bäckström was also an active member of Fotografiska Föreningen (the Photographic Association), a Swedish version of the clubs abroad. The association was established in 1888. Its purpose was to organise meetings and dinners where photography was discussed.

In the 1890s, the professional photographer Herman Hamnqvist was an important introducer of Pictorialism. He promoted artistic photography in his many articles and lectures. Other colourful representatives were Uno Falkengren, Ferdinand Flodin, John Hertzberg, Gösta Hübinette and Ture Sellman.

In Sweden, these new ideas were first picked up by the older generation. They were followed by a younger generation of photographers who introduced and disseminated Pictorialism. This second wave includes Henry B. Goodwin, a major figure in Sweden and the Nordic countries. Goodwin was renowned for his expressive, subdued portraits and his many Stockholm cityscapes.

He also kept up with what went on abroad; among his contacts was the well-known portrait photographer Nicola Persheid, who was active in Berlin for many years. Women photographers disappeared from the history of photography during this period. The networking that took place in clubs and associations seems to have excluded many women, even if they had their own successful studios.

 

Atmospheric style typical of the period

Around 1900, painters entered a new, exciting era. The older members of Konstnärsförbundet (the Artists’ Association), established in 1886, continued to dominate, but a new generation came to the fore around the turn of the century. The French artist Paul Gaugin and the Pont-Aven school were important influences among the Swedish artists.

Helmer Osslund was able to visit Gauguin’s studio, and he later put this experience to practice in his northern landscapes. Carl Wilhelmson was known for his many portraits with motifs from his native West Coast. He taught at the Valand art school in Gothenburg and had a major influence on many artists. Maja and Gustaf Fjæstad founded an artists’ colony by Lake Racken in Värmland where a style in line with current national romanticism tendencies developed. Several local circles or schools in a similar vein were formed across Sweden.

Other important artists at the time were Richard Bergh, Eugène Jansson, Nils Kreuger and Karl Nordström, who all represented and developed an atmospheric style typical of the period. New ideas were now rapidly disseminated via mass-produced pictures in books, volumes of prints and magazines. The artists did not always have to travel abroad in order to find inspiration. However, study trips to Paris, the current art hub, were still important, although Berlin, Munich, Dresden and Hamburg were taking over that role at the end of the 1800s. To Swedish artists, Copenhagen, with its international outlook and exhibitions, became a natural place to gather.

 

New ways of framing and cropping

Japanese art, especially colour woodcuts, which reached Europe via the impressionists were fashionable and encouraged painters and photographers to try new ways of cropping and framing their motifs. The ornamental details and undulating lines that are typical of the Jugend (Art Noveau) period also inspired many painters. Eccentrics such as Ivar Arosenius and Olof Sager-Nelson (see below) were renowned for their sensitive, almost fairy tale-like portraits.

The author August Strindberg (see above) experimented with both painting and photography, which has been studied closely in recent years. Around the turn of the last century, an intermediary generation were overshadowed by great national artists such as Bruno Liljefors, Carl Larsson and Anders Zorn. However, they became an important link to the emerging expressionism and other modernist movements that came to the fore in the first decades of the 20th century.

 

Lady Barclay’s Salon

In Lady Barclay’s Salon we have created a fictional encounter between photographers, painters, their friends and audiences. Sarita Barclay was married to a British diplomat, and the couple lived in Stockholm for a few years around 1921. During these years she attended several portrait sittings with Henry B. Goodwin. We can assume she visited exhibition openings, dinners and other society events.

Social circles do not seem to have mixed a great deal, but there is clear evidence of links between painting and photography. Portraits are a common motif, but the many landscapes, cityscapes, dancers and nudes also offer us information about and a glimpse of the past.

Text from the Moderna Museet website

 

Ferdinand Flodin (Swedish, 1863-1935) 'Greta Gustavsson Garbo' 1923

 

Ferdinand Flodin (Swedish, 1863-1935)
Greta Gustavsson Garbo
1923
Reproduction photo: Prallan Allsten/Moderna Museet

 

 

Greta Garbo

Greta Garbo (born Greta Lovisa Gustafsson 18 September 1905 – 15 April 1990) was a Swedish-American actress. She was known for her melancholic, somber persona due to her many portrayals of tragic characters in her films and for her subtle and understated performances. In 1999, the American Film Institute ranked Garbo fifth on its list of the greatest female stars of classic Hollywood cinema. She was nicknamed “The Divine” because of her whimsical attitude and her willingness to avoid the press. Garbo launched her career with a secondary role in the 1924 Swedish film The Saga of Gösta Berling.

 

James Bourn (Swedish) 'No title' 1905 

 

James Bourn (Swedish, Gothenburg)
No title
1905

 

Herrman Sylwander (Swedish, 1883-1948) 'Tora Teje in 'Inom lagens gränser'' (Tora Teje in 'Within the Limits of the Law') 1914 

 

Herrman Sylwander (Swedish, 1883-1948)
Tora Teje in ‘Inom lagens gränser’ (Tora Teje in ‘Within the Limits of the Law’)
1914

 

 

Tora Teje (17 January 1893 – 30 April 1970) was a Swedish theatre and silent film actress. She appeared in ten films between 1920 and 1939.

 

 

Photographic Processes and Materials around 1900

In 1888, Kodak launched the first roll-film hand camera. It revolutionised the market and turned photography into something everyone could enjoy. The specially constructed cameras were sent back to the factory where the pictures were processed. In 1900, Kodak introduced the popular Brownie, a classic box camera.
Another aspect of the increased interest in and use of photographs was that mass produced pictures were now easy to publish in books, volumes of prints and magazines. One example is photogravure, but there were many other processes. The Pictorialists used various processing methods and materials, some of which were closer to printmaking and painting, and they avoided regular photographic materials. The craft of making photographs was important, which was in line with an interest in and revival of older techniques as industrialism gained momentum during the Jugend period.

Professional photographers engaged in portrait photography and took on other commissions for their customers. Among the most prominent Pictorialists, many had second jobs. The tension between, or the different preconditions for photographers who embraced a more artistic form of expression and those who were forced to earn a living from selling their photographs is relevant to this day. There were many conflicts between members of Fotografiska Föreningen (the Photographers’ Association) – which to begin with only accepted amateurs – and the industry association Svenska Fotografers Förbund (the Association of Professional Photographers). At the same time, there are many examples of contacts and collaborations between different types of photographers around the turn of the last century.

Terminology was often translated from German and English, and in older literature you often find processes described in Swedish as gummitryck (gum print), pigmenttryck (pigment print) or oljetryck (oil print). However, the process is not strictly “printing”; the images were developed on light-sensitive paper. Instead of using the most common type of photographic paper with light-sensitive coating of silver salts in gelatine or albumin, the Pictorialists worked with other light-sensitive solutions. The image was often contact printed under a negative, which resulted in a picture with the same dimensions as the negative. The Pictorialists’ images are characterised by soft focus and often a grainy, print-like texture in hues that go from earthy browns to strong reds and blues.

 

Carbon print

A pigment, potassium bichromate and gelatine emulsion on thin paper is subjected to natural light in contact with a negative. The image is formed with the help of pigment in the desired colour. After exposure, the image is transferred to a new paper. This is the original. The image stands out in clear relief and is reversed, which can be corrected by repeating the transfer process onto a new paper. The tone is often dark brown or black, but it varies depending on the type of pigment used. Factory-made paper by Bühler and Höchheimer were sensitised in alcohol. This process is called carbon print, especially when it features black pigment. It was in use between 1864 until the end of the 1930s.

 

John Hertzberg (Swedish, 1871-1935) 'No title' 1903

 

John Hertzberg (Swedish, 1871-1935)
No title
1903
Gum Bichromate Print

 

 

Gum Bichromate print

The gum bichromate process was invented in 1894. It is achieved by applying a solution of pigment, potassium bicharbonate and gum arabic to paper. The components are mixed in water and brushed on. When the coat has dried, it is light-sensitive, and the areas under the negative that are not exposed to light is stabilised. The rest is rinsed off in water. The colour range is very limited. The motif is often built up through multiple coats, erasures and applications of colour. The images are generally monochrome, reminiscent of charcoal or pastels. It is necessary to use a coarse-grained or uneven paper for the emulsion to adhere, which enhances the graphic qualities of the image. Custom-made paper for this method was marketed by Höchheimer, Bühler and Fresson.

 

Ture Sellman (Swedish, 1888-1969) 'Landskap' (Landscape) c. 1913

 

Ture Sellman (Swedish, 1888-1969)
Landskap (Landscape)
c. 1913
Pigment print mounted on board
27.5 × 21.4​cm

 

 

Oil print

An emulsion consisting of potassium bichromate and gelatine is applied to paper and exposed to light. It results in an almost invisible gelatine image in relief. The gelatine absorbs and repels greasy pigments, which can be fixed by means of a rubber roller or brush. This method gives a grainy image that resembles art prints and drawings.

 

Olof Sager-Nelson (Swedish, 1868–1896) 'Flickhuvud II' (A Girl's Head II) 1902

 

Olof Sager-Nelson (Swedish, 1868–1896)
Flickhuvud II (A Girl’s Head II)
1902
Oil on canvas
41 cm (16.1 in) x 33 cm (12.9 in)
Nationalmuseum (Stockholm)

 

Ebba-Lisa Roberg (Swedish, 1904-1993) 'No title' 1927

 

Ebba-Lisa Roberg (Swedish, 1904-1993)
No title
1927
Bromoil print

 

 

Bromoil print

Colour pigments on a silver, potassium bichromate and gelatine emulsion on paper. A silver bromide image on paper is sensitized by means of potassium bichromate with an addition of copper sulphate and potassium bromide, then fixer is added. The image is soaked in water, and a gelatine relief is produced, which can be coloured multiple times by brushing or rolling on greasy ink. The tone is determined by the pigments in the ink. A variation is achieved when the wet, tinted gelatine relief is pressed against a paper and the ink is transferred. The image is reversed with a matt finish and pressure marks from the original print. This method was used between 1907 and the 1940s.

 

Uno Falkengren (Swedish, 1889-1964) 'Nöd'. Arranged dance group with Anna Behle in the middle, Stockholm 1917

 

Uno Falkengren (Swedish, 1889-1964)
Nöd. Arranged dance group with Anna Behle in the middle, Stockholm
1917
Sepia platinum type mounted on paper
23.7 x 24.2cm

 

 

Platinum print

A paper is given a coat of a potassium chloropatinate and iron oxalate. It is then exposed to daylight through a negative. The image is developed as potassium oxalate dissolves the iron salts and transform the platinum salts to metallic platinum embedded in the paper fibres. This process offers few opportunities for manual manipulation. Platinum prints are characterised by a smooth, neutral greyscale. Platinum was relatively inexpensive before the First World War, and prepared papers were readily available. Today, platinum is used in combination with palladium. The method was used as far back as in 1873.

 

Photogravure

Colour pigment on paper. A paper base coated in potassium bichromates in gelatine are exposed to UV light in contact with a transparent positive. The gelatine coating is thereby stabilised and is then transferred face down to a copper plate. When ink is applied to the plate, it adheres to the etched areas after which the image is printed on paper in a printing press. Photogravures have a clearly defined depression from the edges of the plate, and each print is an original. Shadows are similar to charcoal pigment and highlights match the colour of the paper. This method is classified as a photomechanical print and is not in fact a true photograph. It has been used since the 1880s.

 

Nils Kreuger (Swedish, 1838-1930) 'Vårafton' (Spring evening) 1896

 

Nils Kreuger (Swedish, 1838-1930)
Vårafton (Spring evening)
1896
Oil on mahogany panel
48.5cm (19 inches) x 60.1cm (23.6 inches)
Nationalmuseum (Stockholm)

 

 

Nils Edvard Kreuger

Nils Edvard Kreuger (11 October 1858 – 11 May 1930) was a Swedish painter. He specialised in landscapes and rural scenes.

In 1874, he began his studies at the Royal Swedish Academy of Fine Arts, but was forced to discontinue them due to illness. In 1878, he was able to resume studying at the private painting school of Edvard Perséus. He then went to Paris, in 1881, and studied with Jean-Paul Laurens at the Académie Colarossi. Much of his time was spent painting en plein air in Grez-sur-Loing. As his style progressed, he showed a preference for painting at dawn or dusk, in haze or rain. His first exhibition at the Salon came in 1882.

After 1885, he was a supporter of the “Opponenterna [sv]”, a group that was opposed to the outmoded teaching methods at the Royal Academy. He was also active in creating the Konstnärsförbundet [sv] (Artists’ Union). At this time, he abandoned painting en plein air in favour of Romantic nationalism. In 1886, he married Bertha Elisabeth von Essen (1857-1932), the daughter of an army officer, and settled in Bourg-la-Reine.

In 1887, he returned to Sweden, looking for a quiet place to paint, and chose Varberg, where he worked with Richard Bergh and Karl Nordstrom to establish what came to be known as the Varbergsskolan [sv]; a term coined by Prince Eugen, himself an amateur artist. It was a reaction to the prevailing realistic style of landscape painting and may have been inspired by Bergh’s attraction to the works of Paul Gauguin. He was also influenced by Van Gogh, whose paintings were exhibited in Copenhagen in 1893.

In 1896, he moved to Stockholm, but visited Öland in the summers, where he painted cows and horses. After 1900, his palette lightened and he began adding dots to his work. He also did illustrations, designed furniture and produced some humorous paintings called the “historiska baksidor” (historic backs), showing famous rulers from behind. Between 1904 and 1905, he executed some large wall paintings at the Engelbrektsskolan [sv]. In his final years, he had problems with his eyesight, but was able to continue painting.

Text from the Wikipedia website

 

Gösta Hübinette (Swedish, 1897-1980) 'Forntida' (Ancient) 1928

 

Gösta Hübinette (Swedish, 1897-1980)
Forntida (Ancient)
1928
Gelatine Silver Print

 

 

Gelatine silver print

The most common form of black and white photography in the 20th century. A photo paper with a coating of light-sensitive silver halogens in gelatine are exposed and developed. There are many varieties of this process with different texture and glossiness, dynamic range and contrast. The result depends on the types of paper, developer and additive tones that are used.

 

Bibliography

Håkan Petersson, “Photographic materials”, Another Story. Photography from the Moderna Museet Collection, ed. Anna Tellgren, Stockholm: Moderna Museet and Göttingen: Steidl, 2011, pp. lxi-lxiii.

Pär Rittsel and Rolf Söderberg, “Konstnärstidens metoder”, Den svenska fotografins historia 1840–1940, Stockholm: Bonnier Fakta Bokförlag AB, 1983, p. 240-241.

Lena Johannesson, Den massproducerade bilden. Ur bildindustrialismens historia, Stockholm: Almqvist & Wiksell Förlag AB, 1978.

Impressionist Camera. Pictorial Photography in Europe, 1889-1918, ed. Philip Prodger, London/New York: Merrell Publishers Limited, 2006, pp. 322-324.

Text from the Moderna Museet website

 

Henry B. Goodwin (Swedish born Germany, 1878-1931) 'Carin' 1920

 

Henry B. Goodwin (Swedish born Germany, 1878-1931)
Carin
1920
Reproduction photo: Prallan Allsten/Moderna Museet

 

 

Henry B. Goodwin (Swedish born Germany, 1878-1931)

Henry B. Goodwin, born in Munich as Henry Buergel, was the most successful representative of Pictorialism. He arrived in Sweden in 1905 in order to teach German at Uppsala University. Some ten years later, in 1914, he moved to Stockholm where he opened a studio, Kamerabilder, which was popular with painters and artists.

His many superb portraits were achieved with small means: the subject is captured against a dark, neutral backdrop. His soft, smoky Stockholm cityscapes have been collected in a series of special editions, and Goodwin’s keen interest in gardening was expressed through meticulously arranged close-ups of plants.

Goodwin enjoyed a large, international network and launched the term bildmässig (pictorial) photography as an alternative to artistic photography. It was a term that came to be used frequently in the photographic debate.

Text from the Moderna Museet website

 

Julia Margaret Cameron (British, 1815-1879) 'The Mountain Nymph, Sweet Liberty' 1866

 

Julia Margaret Cameron (British, 1815-1879)
The Mountain Nymph, Sweet Liberty
1866

 

 

Julia Margaret Cameron (British, 1815-1879)

A small pioneering group of photographers in Victorian England were the first to experiment with, and who attempted to formulate, an aesthetic around artistic photography. Julia Margaret Cameron was part of this group. She left behind a wonderful collection of intimate portraits of members of her family and large circle of friends. She was an amateur, predominantly active during the 1860s and 1870s.

Cameron specialised in expressive soft-focus photographs of staged motifs borrowed from mythology, the Bible or English literature, as in her rendering of Alfred Tennyson’s famous poem “Maud” from 1855.

Cameron’s photographs evoke the Pre-Raphaelites with their penchant for the Middle Ages and Renaissance painting. She was a precursor of the photographers that a few decades later formed part of the pictorial movement.

Text from the Moderna Museet website

 

Helmer Bäckström (Swedish, 1891-1964) 'Segel till tork' (Drying sails) 1923

 

Helmer Bäckström (Swedish, 1891-1964)
Segel till tork (Drying sails)
1923

 

 

Helmer Bäckström (Swedish, 1891-1964)

Helmer Bäckström was an important member of Fotografiska Föreningen (the Photographic Association). The association, which was formed in 1888, organised meetings where photography was discussed. A library of books on photography was accumulated, but most important were the photo competitions. Bäckström was a researcher, collector, historian and photographer. In 1948, he was appointed professor of photography at the Royal Institute of Technology. Throughout his career, he wrote about early photography and technical innovations in a series of articles entitled “Samlingar till kamerans och fotografins svenska historia” (Collections of the Swedish History of Cameras and Photography). They were published in the association’s journal, “Nordisk Tidskrift för Fotografi”.

Bäckström was also a Pictorialist; studies of flora and fauna were his favourite motifs. His large collection of photographs was acquired by the Swedish state in 1965. It has been part of the Moderna Museet collection since 1971.

Text from the Moderna Museet website

 

Anna Boberg (Swedish, 1864-1935) 'Stilla afton. Studie från Nordlandet' (A Quiet Evening. Study from North Norway) Nd

 

Anna Boberg (Swedish, 1864-1935)
Stilla afton. Studie från Nordlandet (A Quiet Evening. Study from North Norway)
Nd
40.5 x 70.5cm
Nationalmuseum (Stockholm)

 

 

Anna Boberg (Swedish, 1864-1935)

Anna Scholander’s family was part of the Stockholm elite. She was well educated and moved with ease in the salons of Paris and other cities. In Paris she met Ferdinand Boberg, who was to become one of Sweden’s leading architects. They were married in 1888. The couple dedicated their lives to work and travel.

Anna Boberg was highly versatile. She designed textiles, glass and Jugend pottery – one example is the elegant peacock vase from around 1897 for Rörstrand. In 1901, she made a life-changing trip to northern Norway where she fell in love with the rocky landscape around Lofoten, which seemed to rise out of the sea. It woke in her an irresistible urge to paint.

Anna Boberg returned to this location over a period of thirty years. Contrary to her life as a society lady, she embarked on strenuous expeditions on foot and by sea, and she made oil sketches of what she saw which she later used as inspiration in her studio.

Text from the Moderna Museet website

 

Ferdinand Flodin (Swedish, 1863-1935) 'Portrait of a young lady' 1922

 

Ferdinand Flodin (Swedish, 1863-1935)
Portrait of a young lady
1922

 

 

Ferdinand Flodin (Swedish, 1863-1935)

One of the foremost portrait photographers of the period was Ferdinand Flodin. During his long career he tried all the different processes that were typical of Pictorialism, and he became a highly skilled photographer. As a young man, he travelled to the United States, and for a number of years he worked in Worcester near Boston. After his return in 1889, he opened a studio in Stockholm where he received celebrities associated with the theatre, art, politics and science.

Besides portraits, his large body of work includes a number of beautiful cityscapes in different colour tones. Flodin continued to travel; he was interested in the international scene and he knew a great deal about early photography. He went on to build a collection of historical photographs, later acquired by Helmer Bäckström. Flodin was active in Svenska Fotografers Förbund (the Swedish Association of Professional Photographers) for many years, and he regularly wrote about technical and financial matters in the association’s journal.

Text from the Moderna Museet website

 

Gösta Hübinette (Swedish, 1897-1980) 'Japanskt' c. 1925

 

Gösta Hübinette (Swedish, 1897-1980)
Japanskt
c. 1925

 

 

Gösta Hübinette (Swedish, 1897-1980)

With their more independent position and experimental approach, amateur photographers were fundamental to the development of the pictorial movement in Sweden and internationally. Gösta Hübinette was interested in art from an early age, but on his family’s advice he studied business administration, and he worked at the carpet business, Myrstedts Matthörna, until he retired. He practiced several disciplines, including painting, but he was most successful as a photographer. Hübinette was part of the circle around Henry B. Goodwin, and in the 1920s he often took part in exhibitions and the important photo competitions.

Hübinette’s photographs are testament to his proficiency in painting, drawing and printmaking. With delicate works such as “Japanskt” (c. 1925) he is also one of the Swedish photographers for whom Japanese woodcuts served as inspiration.

Text from the Moderna Museet website

 

Ture Sellman (Swedish, 1888-1969) 'No title' c. 1915

 

Ture Sellman (Swedish, 1888-1969)
No title
c. 1915

 

 

Ture Sellman (Swedish, 1888-1969)

As an architect, Ture Sellman had his own approach to photography. He was well acquainted with the compositional and technical aspects and was therefore an important figure who also gave lectures. He later became an astute critic. Sellman was among the most vociferous advocates of photography as an artistic medium. His early Bromoil prints are some of the most graphic examples of Swedish Pictorialism.

After having experimented with different artisan processes, Sellman did a complete U-turn in 1920 and became a supporter of the straight photography expression, but his interest in tonality and composition are still visible in his soft-focus photographs from the 1920s.

Sellman designed some seventy buildings, and many of his photographs are testament to his eye for architecture.

Text from the Moderna Museet website

 

Nicola Perscheid (German, 1864-1930) 'No title' c. 1920

 

Nicola Perscheid (German, 1864-1930)
No title
c. 1920

 

 

Nicola Perscheid (German, 1864-1930)

Nicola Perscheid was one of the international figures that came to have a major influence on Pictorialism in Sweden. In the autumn of 1913, he arrived in Stockholm in order to conduct what we would today call a workshop. It was enormously popular. His fame had reached Sweden partly via his former pupil, Henry B. Goodwin.

Perscheid was against retouching, which meant he spend a great deal of time on preparations. Among his portraits are many full-length and half-length photographs of distinguished men and nameless women. Especially his expansive, pared down photographs of women with their soft lines and ornamental jewellery and flowers evoke the pictorial language of symbolism, but also older painting practices.

The Perscheid lens was launched in 1920. This soft-focus lens became especially popular in Europe and Japan.

Text from the Moderna Museet website

 

Uno Falkengren (Swedish, 1889-1964) 'Nöd'. Arranged dance group with Anna Behle in the middle, Stockholm 1917

 

Uno Falkengren (Swedish, 1889-1964)
Nöd. Arranged dance group with Anna Behle in the middle, Stockholm
1917
Sepia platinum type mounted on paper
23.7 x 24.2cm

 

 

Uno Falkengren (Swedish, 1889-1964)

Uno Falkengren belonged to the inner circle around Henry B. Goodwin. Goodwin was also instrumental in allowing Falkengren to study under the distinguished German photographer Nicola Perscheid in Berlin. It was a formative period during which Falkengren developed a minimalistic, elegant style. Among his works are a number of interesting portraits of famous dancers in expressive scenes and groups.

In 1916, he was appointed head of the Nordiska Kompaniet studio. He then worked at his own studio for a few years until he moved to Berlin in 1924. Only a year later, he returned to Stockholm and gave up photography completely. On account of his homosexuality, Falkengren lived an itinerant, partly secret, life. There are elements of queer culture within Pictorialism, as practitioners were often attracted to alternative settings or artists’ communities.

Text from the Moderna Museet website

 

Anna Behle (Swedish, 1876-1966)

Anna Charlotta Behle (Stockholm, August 9, 1876 – Gothenburg, October 2, 1966) was a Swedish dancer and dance teacher. Considered a pioneer of modern dance in Sweden, she first became interested in the art after watching Isadora Duncan perform. She was born to unwed parents, and was adopted, along with her brother August, by the Granbäck family, who ensured that she had a full education. After initial studies in singing with Eugène Crosti and Emile Wartel in Paris, she studied dance with Duncan and with Emile Jacques-Dalcroze; later she would open her own school in Stockholm.

Text from the Wikipedia website

 

John Hertzberg (Swedish, 1871-1935) 'No title' 1903

 

John Hertzberg (Swedish, 1871-1935)
No title
1903
Gum Bichromate Print

 

 

John Hertzberg (1871-1935)

John Hertzberg was a technically accomplished photographer. He developed colour photography in Sweden. He was educated in Vienna and was later offered to teach at the Royal Institute of Technology where he was later senior lecturer in photography. He was thereby a key figure in photographic circles.

When Nils Strindberg’s rolls of film were discovered on Kvitøya in the Svalbard archipelago thirty years after S. A. Andrée’s failed balloon Arctic Expedition in 1897, Hertzberg was given the prestigious task of developing the exposed films. He was also editor of the journal “Nordisk Tidskrift för Fotografi” for many years and chairman of Fotografiska Föreningen.

He experimented with different techniques and groups of motifs in a style typical of the time. These include pictures of Stockholm from the water as well as compositions of clouds and shadows.

Text from the Moderna Museet website

 

Eugène Jansson (Swedish, 1862-1915) 'Hornsgatan nattetid' (Hornsgatan at night) 1902

 

Eugène Jansson (Swedish, 1862-1915)
Hornsgatan nattetid (Hornsgatan at night)
1902
Oil on canvas
152cm (59.8 in) x 182cm (71.6 in)
National Museum (Stockholm)

 

 

Eugène Jansson (Swedish, 1862-1915)

Eugène Jansson became a member of the Konstnärsförbundet association of artists in 1886. Inspired by periods spent in France, they painted plein air, impressionist landscapes. Jansson was influenced by these movements from early on. However, he soon progressed to depicting moods rather than the concrete objects he observed.

Many know him from his blue, early evening panoramas of south Stockholm, where he moved in the mid-1890s. In “Hornsgatan nattetid” (1902), everything seems to merge into a blue vision where houses, gas lights and sky form a synthesis.

When Eugène Jansson embarked on a new phase a few years into the 20th century, his motifs were athletic, sun-lit, bathing men. Many found these paintings offensive. Eugène Jansson was a homosexual man at a time when sexual activity between men was against the law.

Text from the Moderna Museet website

 

Gustaf Fjæstad (Swedish, 1868-1948) 'Vinterafton vid en älv' (Winter evening by a river) 1907

 

Gustaf Fjæstad (Swedish, 1868-1948)
Vinterafton vid en älv (Winter evening by a river)
1907
Oil on canvas
150cm (59 in) x 185cm (72.8 in)
Nationalmuseum (Stockholm)

 

 

Gustaf Fjæstad (Swedish, 1868-1948)

After having attended art school in Stockholm, Gustaf Fjæstad settled by Lake Racken in Värmland where he founded an artists’ colony. The collective had no common programme, but they supported each other and exhibited their work together. There was also an idea of not distinguishing art from craft.

Fjæstad was not only a painter, he also designed furniture and textiles. “Vinterafton vid en älv” (Winter Evening at the River Bank, 1907) is testament to Fjæstad’s interest in Japanese woodcuts. The painting communicates a strong sense of nature and existential intensity. The surface is accentuated by fields of colour and a Jugend-inspired linear pattern. The motif is a seemingly random section of the river. The trees are cropped at the top of the canvas but touch the water where the eddies evoke the growth rings of the wood.

Text from the Moderna Museet website

 

Henry B. Goodwin (Swedish born Germany, 1878-1931) 'Lady Barclay' 1921

 

Henry B. Goodwin (Swedish born Germany, 1878-1931)
Lady Barclay
1921

 

 

Lady Sarita Enriqueta Barclay (British, 1891-1985)

The portraits that Henry B. Goodwin took of Lady Barclay between 1920 and 1922 show a fashion-conscious society woman. Sarita Barclay moved to Stockholm just after the end of the First World War with her husband, Sir Colville Barclay, and their three children. Her husband was Minister to Sweden, a high-ranking British diplomat.

During the five years that Lady Barclay lived in Stockholm she hosted various events, including a dinner in conjunction with an exhibition of French art at the Liljevalchs art gallery at the initiative of Prince Eugen in 1923. Sarita was the daughter of the British sculptor Herbert Ward.

After the death of her first husband, she married Robert Vansittart, a diplomat who spoke out against Nazism before and during the Second World War.

Text from the Moderna Museet website

 

 

Moderna Museet, Stockholm

Moderna Museet is ten minutes away from Kungsträdgården, and twenty minutes from T-Centralen or Gamla Stan. Walk past Grand Hotel and Nationalmuseum on Blasieholmen, opposite the Royal Palace. After crossing the bridge to Skeppsholmen, continue up the hill. The entrance to Moderna Museet and Arkitekturmuseet is on the left-hand side.

Opening hours:
Tuesday – Sunday 11 – 18
Monday closed

Moderna Museet website

LIKE ART BLART ON FACEBOOK

Back to top

05
Jul
15

Exhibition: ‘In Light of the Past’ at the National Gallery of Art, Washington

Exhibition dates: 3rd May – 26th July 2015

Curators: The curators of In Light of the Past: Celebrating 25 Years of Photography at the National Gallery of Art are Sarah Greenough, senior curator and head of the department of photographs, and Diane Waggoner, associate curator, department of photographs, National Gallery of Art.

 

 

Charles Nègre. 'Market Scene at the Port of the Hotel de Ville, Paris' before February 1852

 

Charles Nègre (French, 1820-1880)
Market Scene at the Port of the Hotel de Ville, Paris
before February 1852
Salted paper print
14.7 x 19.9cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 2003

 

 

What a great title for an exhibition. Photography always evidences light of the past, we live in light of the past (the light of the Sun takes just over 8 minutes to reach Earth) and, for whatever reason, human beings never seem to learn from mistakes, in light of the past history of the human race.

My favourites in this postings are the 19th century photographs, to which I am becoming further attuned the more I look at them. There is almost a point when you become psychologically enmeshed with their light, with the serenity of the images, a quality that most contemporary photographs seem to have lost. There is a quietness to their presence, a contemplation on the nature of the world through the pencil of nature that is captivating. You only have to look at Gustave Le Gray’s The Pont du Carrousel, Paris: View to the West from the Pont des Arts (1856-1858, below) to understand the everlasting, transcendent charisma of these images. Light, space, time, eternity.

Marcus

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

The Collection of Photographs at the National Gallery of Art, Washington (110kb Word doc)

 

 

William Henry Fox Talbot. 'A Scene in York: York Minster from Lop Lane' 1845

 

William Henry Fox Talbot (English, 1800-1877)
A Scene in York: York Minster from Lop Lane
1845
Salted paper print
16.2 x 20.4cm
National Gallery of Art, Washington, Edward J. Lenkin Fund, Melvin and Thelma Lenkin Fund and Stephen G. Stein Fund, 2011

 

 

A British polymath equally adept in astronomy, chemistry, Egyptology, physics, and philosophy, Talbot spent years inventing a photographic process that created paper negatives, which were then used to make positive prints – the conceptual basis of nearly all photography until the digital age. Calotypes, as he came to call them, are softer in effect than daguerreotypes, the other process announced in 1839. Though steeped in the sciences, Talbot understood the ability of his invention to make striking works of art. Here the partially obstructed view of the cathedral rising from the confines of the city gives a sense of discovery, of having just turned the corner and encountered this scene.

 

Carleton E. Watkins. 'Piwac, Vernal Falls, 300 feet, Yosemite' 1861

 

Carleton E. Watkins (American, 1829-1916)
Piwac, Vernal Falls, 300 feet, Yosemite
1861
Albumen print
39.9 x 52.3cm
National Gallery of Art, Washington, Gift of Mary and David Robinson, 1995

 

 

The westward expansion of America opened up new opportunities for photographers such as Watkins and William Bell. Joining government survey expeditions, hired by railroad companies, or catering to tourists and the growing demand for grand views of nature, they created photographic landscapes that reached a broad audience of scientists, businessmen, and engineers, as well as curious members of the middle class. Watkins’s photographs of the sublime Yosemite Valley, which often recall landscape paintings of similar majestic subjects, helped convince Congress to pass a bill in 1864 protecting the area from development and commercial exploitation.

 

Eugène Cuvelier. 'Belle-Croix' 1860s

 

Eugène Cuvelier (French, 1837-1900)
Belle-Croix
1860s
Albumen print
Image: 25.4 x 34.3cm
National Gallery of Art, Washington, Gail and Benjamin Jacobs for the Millennium Fund, 2007

 

 

In the second half of the nineteenth century, some photographers in France, hired by governmental agencies to make photographic inventories or simply catering to the growing demand for pictures of Paris, drew on the medium’s documentary abilities to record the nation’s architectural patrimony and the modernisation of Paris. Others explored the camera’s artistic potential by capturing the ephemeral moods of nature in the French countryside. Though photographers faced difficulties in carting around heavy equipment and operating in the field, they learned how to master the elements that directly affected their pictures, from securing the right vantage point to dealing with movement, light, and changing atmospheric conditions during long exposure times.

 

Gustave Le Gray. 'The Pont du Carrousel, Paris: View to the West from the Pont des Arts' 1856-1858

 

Gustave Le Gray (French, 1820-1884)
The Pont du Carrousel, Paris: View to the West from the Pont des Arts
1856-1858
Albumen print
37.8 x 48.8cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 1995

 

Édouard-Denis Baldus. 'Toulon, Train Station' c. 1861

 

Édouard-Denis Baldus (French, 1813-1889)
Toulon, Train Station
c. 1861
Albumen print
27.4 x 43.1cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 1995

 

 

In Light of the Past: Celebrating 25 Years of Photography at the National Gallery of Art, on view in the West Building from May 3 through July 26, 2015, will commemorate more than two decades of the Gallery’s robust photography program. Some 175 of the collection’s most exemplary holdings will reveal the evolution of the art of photography, from its birth in 1839 to the late 1970s. In Light of the Past is one of three stellar exhibitions that will commemorate the 25th anniversary of the National Gallery of Art’s commitment to photography acquisitions, exhibitions, scholarly catalogues, and programs.

In Light of the Past includes some of the rarest and most compelling photographs ever created,” said Earl A. Powell III, director, National Gallery of Art, Washington. “It also honours the generous support of our donors who have enabled us to achieve this new place of prominence for photography at the Gallery.

 

About the exhibition

In Light of the Past begins with exceptional 19th-century salted paper prints, daguerreotypes, and albumen prints by acclaimed early practitioners such as William Henry Fox Talbot (1800-1877), Gustave Le Gray (1820-1884), Roger Fenton (1819-1869), Julia Margaret Cameron (1815-1879), Albert Sands Southworth (1811-1894, and Josiah Johnson Hawes (1808-1901). It also displays works by American expeditionary photographers, including William Bell (1830-1910) and Carleton E. Watkins (1829-1916).

The exhibition continues with late 19th- and early 20th-century American Pictorialist photographs by Alfred Stieglitz (1864-1946), Clarence H. White (1871-1925), Gertrude Käsebier (1852-1934), and Alvin Langdon Coburn (1882-1966), among others, as well as European masters such as Eugène Atget (1857-1927). The exhibition also examines the international photographic modernism of artists such as Paul Strand (1890-1976), André Kertész (1894-1985), Marianne Brandt (1893-1983), László Moholy-Nagy (1895-1946), and Ilse Bing (1899-1998) before turning to the mid-20th century, where exceptional work by Walker Evans (1903-1975), Robert Frank (b. 1924), Harry Callahan (1912-1999), Irving Penn (1917-2009), Lee Friedlander (b. 1934), and Diane Arbus (1923-1971) will be on view.

The exhibition concludes with pictures from the 1960s and 1970s, showcasing works by photographers such as Robert Adams (b. 1937), Lewis Baltz (1945-2014), and William Eggleston (b. 1939), as well as Mel Bochner (b. 1940) and Sol LeWitt (1928-2007), which demonstrate the diverse practices that invigorated photography during these decades.

Press release from the National Gallery of Art

 

Albert Sands Southworth and Josiah Johnson Hawes. 'The Letter' c. 1850

 

Albert Sands Southworth (American, 1811-1894) and Josiah Johnson Hawes (American, 1808-1901)
The Letter
c. 1850
Daguerreotype
Plate: 20.3 x 15.2cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 1999

 

 

Working together in Boston, the portrait photographers Southworth and Hawes aimed to capture the character of their subjects using the daguerreotype process. Invented in France and one of the two photographic processes introduced to the public in early 1839, the daguerreotype is made by exposing a silver-coated copper plate to light and then treating it with chemicals to bring out the image. The heyday of the technique was the 1840s and 1850s, when it was used primarily for making portraits. The daguerreotype’s long exposure time usually resulted in frontal, frozen postures and stern facial expressions; this picture’s pyramidal composition and strong sentiments of friendship and companionship are characteristic of Southworth and Hawes’s innovative approach.

 

Clarence H. White. 'The Hillside' c. 1898

 

Clarence H. White (American, 1871-1925)
The Hillside
c. 1898
Gum dichromate print
20.8 x 15.88cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 2008

 

 

The Photo-Secession

At the turn of the century in America, Alfred Stieglitz and his colleague Edward Steichen led the movement to establish photography’s status as a fine art. In 1902 Stieglitz founded an organisation called the Photo-Secession, consisting of young artists who shared his belief in the creative potential of the medium. Many of the photographers featured here were members of the group, including Gertrude Käsebier, Clarence White, and Alvin Langdon Coburn. Through the exhibitions Stieglitz organised in his New York gallery, called 291, and the essays he published in his influential quarterly, Camera Work, he and the Photo-Secession promoted the Pictorialist aesthetic of softly textured, painterly pictures that elicit emotion and appeal to the imagination. Occasionally the photographers’ compositions refer to other works of art, such as Steichen’s portrait of his friend Auguste Rodin, whose pose recalls one of the sculptor’s most famous works, The Thinker. Influenced by the modern European and American painting, sculpture, and drawing he exhibited at 291, Stieglitz lost interest in the Photo-Secession in the early 1910s and began to explore a more straightforward expression.

 

Eugène Atget. 'Saint-Cloud' 1926

 

Eugène Atget (French, 1857-1927)
Saint-Cloud
1926
Albumen print
22.2 x 18.1cm
National Gallery of Art, Washington, Gift of Mary and Dan Solomon and Patrons’ Permanent Fund, 2006

 

 

Using a cumbersome camera mounted on a tripod, Atget recorded the myriad facets of Paris and its environs at the turn of the century. Transforming ordinary scenes into poetic evocations, he created a visual compendium of the objects, architecture, and landscapes that were expressive of French culture and its history. He sold his photographs to artists, architects, and craftsmen, as well as to libraries and museums interested in the vanishing old city. Throughout his career he returned repeatedly to certain subjects and discovered that the variations caused by changing light, atmosphere, and season provided inexhaustible subjects for the perceptive photographer.

 

Julia Margaret Cameron. 'The Mountain Nymph, Sweet Liberty' June 1866

 

Julia Margaret Cameron (British, 1815-1879)
The Mountain Nymph, Sweet Liberty
June 1866
Albumen print
36.1 x 26.7cm
National Gallery of Art, Washington, New Century Fund, 1997

 

 

Ensconced in the intellectual and artistic circles of midcentury England, Cameron manipulated focus and light to create poetic pictures rich in references to literature, mythology, and history. Her monumental views of life-sized heads were unprecedented, and with them she hoped to define a new mode of photography that would rival the expressive power of painting and sculpture. The title of this work alludes to John Milton’s mid-seventeenth-century poem L’Allegro. Describing the happy life of one who finds pleasure and beauty in the countryside, the poem includes the lines:

Come, and trip it as ye go
On the light fantastic toe;
And in thy right hand lead with thee,
The mountain nymph, sweet Liberty.

 

Dr Guillaume-Benjamin-Amant Duchenne (de Boulogne). 'Figure 63, "Fright" from "Mécanisme de la physionomie humaine (Mechanism of human physiognomy)" (1862)' 1854-1855

 

Dr Guillaume-Benjamin-Amant Duchenne (de Boulogne) (French, 1806-1875)
Figure 63, “Fright” from “Mécanisme de la physionomie humaine (Mechanism of human physiognomy)” (1862)
1854-1855
Albumen print
21.5 × 16cm
National Gallery of Art, Washington, Pepita Milmore Memorial Fund, 2015

 

 

A neurologist, physiologist, and photographer, Duchenne de Boulogne conducted a series of experiments in the mid-1850s in which he applied electrical currents to various facial muscles to study how they produce expressions of emotion. Convinced that these electrically-induced expressions accurately rendered internal feelings, he then photographed his subjects to establish a precise visual lexicon of human emotions, such as pain, surprise, fear, and sadness. In 1862 he included this photograph representing fright in a treatise on physiognomy (a pseudoscience that assumes a relationship between external appearance and internal character), which enjoyed broad popularity among artists and scientists.

 

Lewis Hine. 'An Anaemic Little Spinner in a New England Cotton Mill (North Pownal, Vermont)' 1910

 

Lewis Hine (American, 1874-1940)
An Anaemic Little Spinner in a New England Cotton Mill (North Pownal, Vermont)
1910
Gelatin silver print
24.1 × 19.2cm
National Gallery of Art, Washington, Pepita Milmore Memorial Fund, 2015

 

 

Trained as a sociologist and initially employed as a teacher, Hine used the camera both as a research tool and an instrument of social reform. One of the earliest and most influential social documentary photographers of his time, he made many pictures under the auspices of the National Child Labor Committee, an organisation formed in 1904 to promote better working conditions for children. Hine’s focus on the thin, frail body of this barefoot twelve-year-old spinner, who stands before rows of bobbins in the mill where she worked, was meant to illustrate the unhealthy effects of her employment. Photographs like this one were crucial to the campaign to change American child labor laws in the early twentieth century.

 

 

In Light of the Past: Twenty-Five Years of Photography at the National Gallery of Art

Georgia O’Keeffe and the Alfred Stieglitz Estate laid the foundation of the photography collection of the National Gallery of Art in 1949 with their donation of 1,650 Stieglitz photographs, an unparalleled group known as the Key Set. Yet the Gallery did not start actively acquiring photographs until 1990, when it launched an initiative to build a collection of works by European and American photographers from throughout the history of the medium and mount major exhibitions with scholarly publications. Now including nearly fifteen thousand prints, the collection encompasses the rich diversity of photographic practice from fine art to scientific and amateur photography, as well as photojournalism. It is distinguished by its large holdings of works by many of the medium’s most acclaimed masters, such as Paul Strand, Walker Evans, André Kertész, Ilse Bing, Robert Frank, Harry Callahan, Lee Friedlander, Gordon Parks, Irving Penn, and Robert Adams, among others.

In Light of the Past celebrates the twenty-fifth anniversary of the 1990 initiative by presenting some of the Gallery’s finest photographs made from the early 1840s to the late 1970s. It is divided into four sections arranged chronologically. The first traces the evolution of the art of photography during its first decades in the work of early British, French, and American practitioners. The second looks at the contributions of late nineteenth and early twentieth-century photographers, from Stieglitz and the American Pictorialists to European masters such as Eugène Atget. The third section examines the international photographic modernism of the 1920s and 1930s, and the fourth features seminal mid-twentieth-century photographers. The exhibition concludes with pictures representing the varied practices of those working in the late 1960s and 1970s.

 

The Nineteenth Century: The Invention of Photography

In 1839 a new means of visual representation was announced to a startled world: photography. Although the medium was immediately and enthusiastically embraced by the public at large, photographers themselves spent the ensuing decades experimenting with techniques and debating the nature of this new invention. The works in this section suggest the range of questions addressed by these earliest practitioners. Was photography best understood as an art or a science? What subjects should photographs depict, what purpose should they serve, and what should they look like? Should photographers work within the aesthetics established in other arts, such as painting, or explore characteristics that seemed unique to the medium? This first generation of photographers became part scientists as they mastered a baffling array of new processes and learned how to handle their equipment and material. Yet they also grappled with aesthetic issues, such as how to convey the tone, texture, and detail of multicoloured reality in a monochrome medium. They often explored the same subjects that had fascinated artists for centuries – portraits, landscapes, genre scenes, and still lifes – but they also discovered and exploited the distinctive ways in which the camera frames and presents the world.

 

Photography at the Turn of the Twentieth Century

In the late nineteenth century, improvements in technology and processing, along with the invention of small handheld cameras such as the Kodak, suddenly made it possible for anyone of middle-class means to take photographs. Many amateurs took up the camera to commemorate family, friends, and special events. Others, such as the sociologist Lewis Hine, used it as a tool for social and political change. Partially in response to the new ease of photography, more serious practitioners in America and Europe banded together to assert the artistic merit of the medium. Called Pictorialists, they sought to prove that photography was just as capable of poetic, subjective expression as painting. They freely manipulated their prints to reveal their authorial control, often resulting in painterly effects, and consciously separated themselves from amateur photographers and mechanised processes.

 

Photography Between the Wars

In the aftermath of World War I – the first modern, mechanised conflict – sweeping changes transformed photography. Avant-garde painters, graphic designers, and journalists turned to the medium, seeing it as the most effective tool to express the fractured, fast-paced nature of modernity and the new technological culture of the twentieth century. A wide variety of new approaches and techniques flourished during these years, especially in Europe. Photographers adopted radical cropping, unusual angles, disorienting vantage points, abstraction, collage, and darkroom alchemy to achieve what the influential Hungarian teacher László Moholy-Nagy celebrated as the “new vision.” Other photographers, such as the German August Sander or the Americans Alfred Stieglitz, Edward Weston, and Walker Evans, sought a more rigorous objectivity grounded in a precise examination of the world.

 

Postwar Photography

Photography thrived in the decades after World War II, invigorated by new ideas, practices, and expanding venues for circulating and displaying pictures. Immediately after the war, many photographers sought to publish their pictures in illustrated magazines, which prospered during these years. Some, such as Gordon Parks, made photographs highlighting racial, economic, and social disparities. Others, such as Louis Faurer, Sid Grossman, and Robert Frank, turned to the street to address the conditions of modern life in pictures that expose both its beauty and brutality. Using handheld cameras and available light, they focused on the random choreography of sidewalks, making pictures that are often blurred, out of focus, or off-kilter.

In the later 1950s and 1960s a number of photographers pushed these ideas further, mining the intricate social interactions of urban environments. Unlike photographers from the 1930s, these practitioners, such as Garry Winogrand, Lee Friedlander, and Diane Arbus, sought not to reform American society but to record it in all its complexity, absurdity, and chaos. By the late 1960s and 1970s, other photographers, such as Robert Adams and Lewis Baltz, looked beyond conventional notions of natural beauty to explore the despoliation of the urban and suburban landscape. Their pictures of tract houses, highways, and motels are stripped of any artistic frills, yet they are exquisitely rendered and replete with telling details. Also starting in the 1960s, many conceptual or performance artists working in a variety of media embraced what they perceived to be photography’s neutrality and turned to it as an essential part of their experiments to expand traditional notions of art. In the late 1960s, improvements in colour printing techniques led others, such as William Eggleston, to explore the artistic potential of colour photography.

 

Edward Steichen. 'An Apple, A Boulder, A Mountain' 1921

 

Edward Steichen (American, 1879-1973)
An Apple, A Boulder, A Mountain
1921
Platinum print
National Gallery of Art, Washington, Patrons’ Permanent Fund, 2014

 

 

After World War I, Steichen became disillusioned with the painterly aesthetic of his earlier work and embarked on a series of experiments to study light, form, and texture. Inverting an apple, he demonstrated how a small object, when seen in a new way, can assume the monumentality and significance of a much larger one. His close-up scrutiny of a natural form closely links this photograph with works by other American modernists of the 1920s, such as Edward Weston, Paul Strand, and Georgia O’Keeffe.

 

Paul Strand. 'People, Streets of New York, 83rd and West End Avenue' 1916

 

Paul Strand (American, 1890-1976)
People, Streets of New York, 83rd and West End Avenue
1916
Platinum print
24.2 x 33cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 1990

 

 

Strand was introduced to photography in high school by his teacher Lewis Hine, who instilled in him a strong interest in social issues. In 1907, Hine took his pupil to Alfred Stieglitz’s 291 gallery in New York, which launched Strand’s desire to become a fine art photographer. By the early 1910s, influenced by Stieglitz, he began to make clearly delineated portraits, pictures of New York, and nearly abstract still lifes. Strand came to believe that photography was a gift of science to the arts, that it was an art of selection, not translation, and that objectivity was its very essence.

 

American 20th Century. 'Untitled' c. 1930

 

American 20th Century
Untitled
c. 1930
Gelatin silver print
5.7 x 10cm
National Gallery of Art, Washington, Gift of Robert E. Jackson, 2007

 

 

Snapshots

After World War I, a parade of technological improvements transformed the practice of photography. With smaller cameras, faster shutter speeds, and more sensitive film emulsions, both amateurs and more serious practitioners could now easily record motion, investigate unexpected angles and points of view, and work in dim light and inclement weather. The amateur’s less staid, more casual approach began to play an important role in the work of modernist photographers as they explored spontaneity and instantaneity, seeking to capture the cacophony and energy of modern life. Blurriness, distorted perspectives, and seemingly haphazard cropping-once considered typical amateur mistakes-were increasingly embraced as part of the modern, vibrant way of picturing the world.

 

Robert Frank. 'City of London' 1951

 

Robert Frank (Swiss, 1924-2019)
City of London
1951
Gelatin silver print
23 x 33.6cm
National Gallery of Art, Washington, Robert Frank Collection, Purchased as a Gift of The Howard Gilman Foundation, in Honor of the 50th Anniversary of the National Gallery of Art, 1991

 

Robert Frank. 'Woman/Paris' 1952

 

Robert Frank (Swiss, 1924-2019)
Woman/Paris
1952
Gelatin silver print in bound volume
Image: 35.1 x 25.4cm
National Gallery of Art, Washington, Robert Frank Collection, Gift (Partial and Promised) of Robert Frank, in Honor of the 50th Anniversary of the National Gallery of Art, 1990

 

 

In the late 1940s and early 1950s, Frank made several handbound volumes of photographs, exploring different ways to link his pictures through non-narrative sequences. While in Zurich in October 1952, he assembled pictures taken in Europe, South America, and the United States in a book called Black White and Things. With a brief introductory quote from Antoine de Saint-Exupéry – “it is only with the heart that one can see rightly; what is essential is invisible to the eye” – the photographs are arranged in a sophisticated sequence that uses formal repetition, conceptual contrasts, and, as here, witty juxtapositions to evoke a range of ideas …

While in Zurich in October of 1952, Frank assembled photographs taken in Europe, South America, and the United States in the preceding years into a bound book called Black White and Things. Designed by Frank’s friend Werner Zryd, and with only a brief introductory statement describing the three sections, the photographs appear in a sophisticated sequence that relies on subtle, witty juxtapositions and powerful visual formal arrangements to evoke a wide range of emotions.

Frank made three copies of this book, all identical in size, construction, and sequence. He gave one copy to his father, gave one to Edward Steichen, and kept one. The book that belonged to his father is now in a private collection; Steichen’s copy resides at the Museum of Modern Art, New York; and in 1990 Frank gave his copy to the Robert Frank Collection at the National Gallery of Art.

 

Robert Frank. 'Trolley - New Orleans' 1955

 

Robert Frank (Swiss, 1924-2019)
Trolley – New Orleans
1955
Gelatin silver print
Sheet: 21 x 31.6cm
National Gallery of Art, Washington, Gift of Maria and Lee Friedlander, 2001

 

Roy DeCarava. 'Mississippi Freedom Marcher, Washington, D.C.' 1963

 

Roy DeCarava (American, 1919-2009)
Mississippi Freedom Marcher, Washington, D.C.
1963
Gelatin silver print
25.5 x 33cm
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel, 1999

 

Lee Friedlander. 'New York City' 1966

 

Lee Friedlander (American, b. 1934)
New York City
1966
Gelatin silver print
Image: 13.3 x 20.6 cm
National Gallery of Art, Washington, Trellis Fund, 2001

 

 

Heir to the tradition of documentary photography established by Eugène Atget, Walker Evans, and Robert Frank, Friedlander focuses on the American social landscape in photographs that can seem absurd, comical, and even bleak. In dense, complex compositions, he frequently depicts surprising juxtapositions that make the viewer look twice. He has made numerous self-portraits, yet he appears in these pictures in oblique and unexpected ways, for example reflected in a mirror or window. The startling intrusion of Friedlander’s shadow onto the back of a pedestrian’s coat, at once threatening and humorous, slyly exposes the predatory nature of street photography.

 

Giovanni Anselmo. 'Entering the Work' 1971

 

Giovanni Anselmo (Italian, b. 1934)
Entering the Work
1971
Photographic emulsion on canvas
49 x 63.5cm
National Gallery of Art, Washington, Glenstone in honor of Eileen and Michael Cohen, 2008

 

 

Conceptual Photography

In the 1960s, many painters and sculptors questioned the traditional emphasis on aesthetics and turned to creating art driven by ideas. Photography’s association with mechanical reproduction appealed to them as they sought to downplay the hand of the artist while promoting his or her role as idea maker. Some conceptual artists, such as Sol Lewitt and Mel Bochner, used photographs to explore an interest in perspective, scale, and mathematics. Others turned to photography as a tool to record performances and artistic undertakings, the resulting pictures acting as an integral part of those projects.

Anselmo was a member of the Italian Arte Povera group, which sought to break down the separation of art and life through experimental performances and the use of natural materials such as trees and leaves. To make this work, Anselmo set his camera up with a timed shutter release, and raced into view so that his running figure creates a modest yet heroic impression on the landscape.

 

Robert Adams. 'Colorado Springs, Colorado' 1974

 

Robert Adams (American, b. 1937)
Colorado Springs, Colorado
1974
Gelatin silver print, printed 1983
15.2 x 15.2cm
National Gallery of Art, Washington, Gift of Mary and Dan Solomon and Patrons’ Permanent Fund, 2006

 

 

For more than forty years, Adams has recorded the changing American landscape, especially the ongoing settlement of the West. Although he has photographed roads, tract houses, and strip malls that have utterly transformed the landscape, he has also captured the beauty that remains and indeed, that refuses to die, as in his poetic picture of morning fog over California hills. He is convinced, as he wrote in 1974, that “all land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty.”

 

Margaret Bourke-White. 'Fort Peck Dam, Montana' 1936

 

Margaret Bourke-White (American, 1904-1971)
Fort Peck Dam, Montana
1936
Gelatin silver print
33.02 × 27.31cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 2014

 

 

One of the most iconic photographs by the pioneering photojournalist Bourke-White, Fort Peck Dam, Montana was published on the cover of the inaugural issue of Life magazine on November 23, 1936. A striking representation of the machine age, the photograph depicts the stark, massive piers for an elevated highway over the spillway near the dam. The two men at the bottom of the print indicate the piers’ massive scale while revealing the vulnerable position of the worker in the modern industrial landscape.

 

György Kepes. 'Juliet with Peacock Feather and Red Leaf' 1937-1938

 

György Kepes (American born Hungary, 1906-2001)
Juliet with Peacock Feather and Red Leaf
1937-1938
Gelatin silver print with gouache
15.7 × 11.6cm
National Gallery of Art, Washington, Pepita Milmore Memorial Fund, 2014

 

 

Trained as a painter at the Academy of Fine Arts in Budapest, Kepes was an influential designer, educator, aesthetic theorist, and photographer. In 1930 he moved to Berlin, where he worked with László Moholy-Nagy, but eventually settled in Chicago and later Cambridge, Massachusetts. Created soon after his arrival in America, this startling photograph is both an intimate depiction of Kepes’s wife and a study of visual perception. Like the red leaf that seems to float above the image, the peacock feather – its eye carefully lined up with Juliet’s – obscures not only her vision but also the viewer’s ability to see her clearly.

 

Irving Penn. 'Woman with Roses (Lisa Fonssagrives-Penn in Lafaurie Dress), Paris' 1950

 

Irving Penn (American, 1917-2009)
Woman with Roses (Lisa Fonssagrives-Penn in Lafaurie Dress), Paris
1950
Platinum/palladium print, 1977
55.1 x 37cm
National Gallery of Art, Washington, Gift of Irving Penn, 2002

 

 

One of the most influential fashion and portrait photographers of his time, Penn made pictures marked by refinement, elegance, and clarity. Trained as a painter and designer, he began to photograph in the early 1940s while working at Vogue; more than 150 of his photographs appeared on the cover of the magazine during his long career. A perfectionist, Penn explored earlier printing techniques, such as a late nineteenth-century process that used paper coated with solutions of platinum or palladium rather than silver, to achieve the subtle tonal range he desired.

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Open daily 10.00 am – 5.00pm

National Gallery of Art website

LIKE ART BLART ON FACEBOOK

Back to top

24
Jul
11

Exhibition: ‘Another Story’ at Moderna Museet, Stockholm

Exhibition dates: February 2011 – end of 2011

 

A posting from an exhibition highlighting a collection of over 100,000 photographs – how lucky are they!

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

 

Another Story: Possessed by the Camera

Annika von Hausswolff. 'I Am the Runway of Your Thoughts' 2008

 

Annika von Hausswolff (Swedish, b. 1967)
I Am the Runway of Your Thoughts
2008
© Annika von Hausswolff

 

Andreas Gursky. 'Bibliothek' 1999

 

Andreas Gursky (German, b. 1955)
Bibliothek
1999
© Andreas Gursky/BUS 2011

 

Candida Höfer. 'The Louvre in Paris X 2005 - the caryatid hall' 2005

 

Candida Höfer (German, b. 1944)
The Louvre in Paris X 2005 – the caryatid hall
2005
© Candida Höfer/BUS 2011

 

Thomas Ruff. 'Häuser Nummer 9' 1989

 

Thomas Ruff (German, b. 1958)
Häuser Nummer 9
1989
© Thomas Ruff/BUS 2011

 

Cindy Sherman. 'Untitled' 2008

 

Cindy Sherman (American, b. 1954)
Untitled
2008
© Courtesy of the Artist and Metro Pictures

 

 

In 2011, Moderna Museet’s new directors, Daniel Birnbaum and Ann-Sofi Noring, will launch a new presentation of the collection. Another Story gives a fresh angle on art history, based on works from the Moderna Museet collection. We will start by focusing on photography, which will gradually be given a more prominent position, only to fill the entire exhibition of the permanent collection this autumn.

If you want an art collection to develop and stay alive, it can’t remain static. You need to present it in new ways and look at it from new angles. That may sound obvious, but it is not that common. In 2011, Moderna Museet will take a radical step, with Another Story. Photography from the Moderna Museet Collection. This is possibly the most extreme re-hanging of the collection undertaken in the history of the museum.

There is a growing interest in photography today, as proven by the panoply of exhibitions, fairs and festivals throughout the world. And this is hardly surprising. Nowadays, practically everyone is a photographer, at the very least snapping pictures with the camera built into most mobiles.

Moderna Museet’s collection of photography, ranging from 1840 to the present day, is one of the finest in Europe, featuring many of the most prominent names in photo history and comprising more than 100,000 photographs. The collection provides a historic background to the art of photography, and now we are sharing this with all our visitors. Moreover, several magnificent private donations have recently enriched the collection with works by famous artists practising in the field of photography.

Moderna Museet has one of Europe’s finest collections of photography, ranging from 1840 to the present day. Many of the most famous names in photographic history are represented, and the collection comprises more than 100,000 works. The re-hanging of the permanent collection exhibition will be done in three stages. In February, we will open the first part, Another Story: Possessed by the Camera, which presents contemporary photography-based art. Just before summer, we open Another Story: See the World!, presenting the period 1920-1980. This autumn, finally, we look at the early days of photography. Another Story: Written in Light presents the pioneers of photography from 1840 to the first three decades of the 20th century. In autumn 2011 and for the rest of the year, the entire permanent collection exhibition will consist of photography and photo-based art.

Text from the Moderna Museet website [Online] Cited 22/07/2011 no longer available online

 

Another Story: See the World!

Aleksandr Rodchenko (1891-1956) 'Sjukov-masten, radiomast i Moskva' 1929

 

Aleksandr Rodchenko (1891-1956)
Sjukov-masten, radiomast i Moskva
1929
© Aleksandr Rodtjenko

 

August Sander. 'Die elegante Frau - Sekrutärin beine WDR' 1927 /c. 1975

 

August Sander (German, 1876-1964)
Die elegante Frau – Sekrutärin beine WDR
1927 / c. 1975
© August Sander/BUS 2011

 

Christer Strömholm. 'Barcelona' 1959

 

Christer Strömholm (Swedish, 1918-2002)
Barcelona
1959
© Christer Strömholm/Bildverksamheten Strömholm

 

Christer Strömholm. 'Hiroshima' 1963/1981

 

Christer Strömholm (Swedish, 1918-2002)
Hiroshima
1963/1981
© Christer Strömholm/Bildverksamheten Strömholm

 

Irving Penn. 'Frozen Foods with String Beans, New York, 1977'

 

Irving Penn (American, 1917-2009)
Frozen Foods with String Beans, New York, 1977
1977
© Irving Penn Foundation

 

Irving Penn. 'Mouth (for L'Oréal), New York, 1986'

 

Irving Penn (American, 1917-2009)
Mouth (for L’Oréal), New York, 1986
1986
© Irving Penn Foundation

 

Another Story: Written in Light

Julia Margaret Cameron. 'The Mountain Nymph, Sweet Liberty' 1866

 

Julia Margaret Cameron (British, born India, 1815-1879)
The Mountain Nymph, Sweet Liberty
1866
© Julia Margaret Cameron

 

 

Moderna Museet, Stockholm

Moderna Museet is ten minutes away from Kungsträdgården, and twenty minutes from T-Centralen or Gamla Stan. Walk past Grand Hotel and Nationalmuseum on Blasieholmen, opposite the Royal Palace. After crossing the bridge to Skeppsholmen, continue up the hill. The entrance to Moderna Museet and Arkitekturmuseet is on the left-hand side.

Opening hours:
Tuesday 10 – 20
Wednesday 10 – 18
Thursday 10 – 18
Friday 10 – 20
Saturday 11 – 18
Sunday 11 – 18
Closed Mondays

Moderna Museet 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

  • 11,402,189 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