The Pictorialist movement, flourishing from the 1850s to the early 20th century, was a defining moment in photography’s evolution as an art form. It aimed to demonstrate that photography could transcend mere documentation and become a tool for artistic expression. Pictorialism is characterized by several core principles, which define the aesthetics and philosophy of its practitioners. This article explores these principles and provides examples to illustrate their influence on photography.
The name derives from William Henry Peach Robinson, the British author of Pictorial Effect in Photography (1869). In his desire to separate photography as art from the scientific ends to which it had been applied, Robinson suggested appropriate subject matter and compositional devices, including combining sections of different photographs to form a “composite” image. In the 1880s, British photographer Peter Henry Emerson also sought ways to promote personal expression through camera images. While critical of composite photographs, Emerson and his followers, looking to models provided by artists such as J.M.W. Turner, the painters of the Barbizon school, and the Impressionist painters, attempted to recreate atmospheric effects in nature through attention to focus and tonality.
Emerson’s Naturalistic Photography (1889) had a profound impact on the photographic world during the late 19th century, inspiring a new generation of photographers who sought to elevate the medium to the level of fine art. American and European photographers who embraced Emerson’s principles formed influential associations and mounted exhibitions, demonstrating photography’s capacity for beauty and artistic expression. Before 1900, groups such as the Linked Ring in Britain, the Photo Club of Paris, and the Kleeblatt in Germany and Austria led the movement, followed by the Photo-Secession in the United States after the turn of the century.
These organizations championed photography as an art form. To achieve this, many photographers introduced handwork on the negatives and employed distinctive printing methods, including gum bichromate, gum bromoil, and other techniques. These techniques ensured that each print was unique, setting it apart from others produced from the same negative. Additionally, Pictorialist photographers emphasized presentation, often including monograms and showcasing their work in meticulously selected frames and mats. Notable European figures in this movement included Frederick H. Evans, Robert Demachy, and Heinrich Kühn.
In the United States, renowned photographers such as Alvin Langdon Coburn, F. Holland Day, Gertrude Käsebier, Edward Steichen, Alfred Stieglitz, and Clarence H. White emerged as key contributors to Pictorialism. While the later works of Stieglitz, Paul Strand, and Edward Weston gradually moved away from the atmospheric effects and idealized beauty of early Pictorialism, these values were upheld by the Pictorial Photographers of America well into the post-World War I years. However, by the late 1920s, as the aesthetics of Modernism began to dominate, the ideals of Pictorialism were viewed as outdated, marking a transition in the history of photographic art.
My Thoughts
Pictorialists were arguably the first artists to use photography to create images drawn from the imagination. These photographers paved the way for all photographers after them to be accepted and recognized as artists.
Now for the unfortunate reality: many photographers today shy away from creating work driven by imagination and vision. This becomes evident when they cannot articulate the purpose of their work through a well-crafted artist statement or narrative. I believe the “faster and better” mindset that dominates digital photography has gradually eroded the thoughtful, intentional effort that defined the original Pictorialists. The rise of artificial intelligence (AI) has further shifted photography from a deeply personal and expressive medium to a computer-generated, impersonal form of digital graphics and illustration.
Pictorialists aimed to create photographs resembling paintings, watercolors, or drawings using techniques such as soft focus, special photographic papers, and hand-applied colors.
The term “Pictorialism” stems from “picture-ism” and was associated with the Aesthetic Movement in art. It was loosely linked with movements like Art Nouveau, Romanticism, Symbolism, and early modern art. Pictorialists used their medium to convey artistic impressions, akin to the self-expression found in Impressionist paintings, thus the term “Photographic Impressionism” is also associated with Pictorialism.
Pictorialist photographs are often mistaken for traditional art forms because of their artistic qualities and the creators’ desire to establish a new and distinctly modern world of visual expression. The Pictorialists were some of the first artists to use photography to create images drawn from the imagination, showing a nostalgic but affectionate attitude towards photography that has driven artistic practice ever since.
Their techniques involved the use of soft-focus lenses, manipulation of the photographic print surface by applying emulsions, and using colors from subtle earth and vivid hyper-real hues. They often used hand-made photographic prints, and methods similar to those used in painting, which allowed them to manipulate the appearance of their images creatively. Pictorialists also favored certain papers and chemicals that let them achieve the desired effects.
Pictorialism, however, faced criticism for its perceived elitism, despite its democratic rhetoric. It was seen as a way for photographers to distinguish themselves from the mass of amateur photographers enabled by new technologies like Kodak’s legendary roll-film camera.
The movement declined when the pictorialists’ sentimental themes and methods fell out of fashion after World War I. A new preference for sharp-focus realism emerged, exemplified by groups like Germany’s Neue Sachlichkeit and California’s Group f/64. Yet, Pictorialism’s impact on photography’s claim for artistic legitimacy and its expansive approach to image manipulation continued to influence the field.
Why I am I Pictorialist
In the realm of photography, the medium’s evolution has seen a shift from the soft, ethereal qualities of 19th-century Pictorialism to the sharp, precise workflows of modern digital photography. However, in the context of my project, the deliberate choice to employ Pictorialist methods is not merely a nod to historical techniques but a vital component in conveying the depth of my emotions and the narrative of my journey.
Emotional Resonance and Authenticity: The Pictorialist approach, with its emphasis on mood and atmosphere, aligns perfectly with the intent to capture more than just the physical appearance of trees. The soft focus and dreamlike quality of images produced through methods like Calotype paper negatives and Kallitype or toned Cyanotype processes allow for a visual representation of memory and emotion that is nuanced and deeply felt. These techniques enable the photographs to transcend being mere records of landscapes, instead becoming expressions of longing, remembrance, and the complex layers of grief.
Engagement and Intimacy: The hands-on nature of 19th-century photographic processes demands a level of engagement and intimacy with the material that modern techniques often lack. Each step, from preparing the paper negatives to the final printing, requires a mindfulness and dedication that mirrors the slow, reflective journey of healing. This meditative practice allows for a deeper connection with each image, ensuring that every photograph is not just a picture but a personal testament to the journey of grief and recovery.
Imperfections and Individuality: The Pictorialist methods are inherently imperfect and unpredictable. The unique variations and anomalies that arise in each print reflect the individuality of my experience. Just as no two grief journeys are the same, each photograph carries its own set of idiosyncrasies, making it a unique artifact that speaks to the personal nature of the project. These imperfections are not flaws but rather visual representations of the raw, unfiltered reality of grief—its unpredictability, its rough edges, and the way it can alter one’s perception of the world.
Contrast to Modern Sharpness: In contrast to the sharp, clinical precision of modern digital photography, the soft, sometimes ambiguous, imagery of Pictorialism better encapsulates the elusive nature of memory and emotion. The dreamlike quality of the images invites viewers to engage with them not just visually but emotionally, offering a space for reflection and connection that sharp, detailed photos might not.
In conclusion, the use of 19th-century Pictorialist methods is not just a stylistic choice but a fundamental component of the project’s emotional and narrative depth. It allows for a more authentic, intimate portrayal of grief and memory, inviting viewers to not only see the world through my eyes but to feel it through my heart. As I continue to photograph trees and explore this deeply personal landscape, the Pictorialist approach remains a vital tool in my quest to understand and articulate the journey of loss and healing.
Step into my world, both in the field and the darkroom, as I bring my latest Ultra Large Format photographs to life. Whether you’re a photography enthusiast eager to dive into the technical details with access to my Darkroom Diary, or an art collector looking for a more personal connection to my creative journey, I invite you to explore it all with me. Let’s connect, share insights, and discover what inspires you along the way. I’m excited to meet you where art and craftsmanship intersect.
William Henry Peach Robinson was one of the most influential photographers of the Pictorialist movement, known for his highly composed and often controversial photographic works. I consider him to be the founding father of Pictorialism.
Some of his most famous examples of Pictorialism include:
Fading Away (1858)
- Description: This is arguably Robinson’s most famous and controversial image. It depicts a young woman on her deathbed, surrounded by her grieving family. The Albumen print was made with five different glass negatives carefully pieced together to create the final composition. The image was groundbreaking in technique and subject matter, but it also stirred controversy for depicting a sensitive and morbid theme.
- Significance: Fading Away is a quintessential example of the Pictorialist approach, with its staged, dramatic composition and emotional narrative. It demonstrates Robinson’s belief that photography could, and should, be as expressive and artistic as painting.
When the Day’s Work is Done (1877)
- Description: This image shows a rural family gathered around a table in their cottage, lit by soft light filtering through a window. The serene domestic scene evokes a sense of nostalgia for simple country life.
- Significance: This handmade Albumen print reflects Robinson’s fascination with pastoral and idyllic scenes, common themes in Pictorialism. It also shows his use of natural light and atmospheric effects to evoke mood and emotion.
Bringing Home the May (1862)
- Description: This photograph is a complex Albumen print using four glass negatives depicting a group of young women returning from gathering May blossoms. The scene is idealized, with soft lighting and a romantic, almost painterly quality.
- Significance: Bringing Home the May showcases Robinson’s mastery of combination printing, a technique where multiple negatives are combined to create a single, carefully composed image. The photograph reflects the Pictorialist emphasis on creating mood and narrative through careful staging and composition.
The Lady of Shalott (1861)
- Description: Inspired by Alfred Lord Tennyson’s poem of the same name, this Albumen print from two glass negatives depicts the tragic character from Arthurian legend. The photograph captures the ethereal beauty and melancholy mood of the Lady of Shalott as she is caught in her moment of doom.
- Significance: This work demonstrates Robinson’s interest in literary and allegorical themes, a hallmark of the Pictorialist movement. The photograph’s soft focus and romantic composition align with the Pictorialist aesthetic, blending photography with fine art traditions.
Autumn (1863)
- Description: This Albumen print is another example of Robinson’s use of combination printing, depicting a pastoral scene of two young women resting by a stream amid the changing colors of fall. The image conveys a peaceful, reflective mood, typical of Pictorialist works.
- Significance: Autumn is notable for its idyllic, romanticized view of nature, a recurring theme in Pictorialism. The image reflects Robinson’s belief that photography should evoke emotion and tell a story, much like a painting.
Robinson’s work, particularly his use of combination printing and narrative-driven compositions, helped establish photography as a legitimate art form during the late 19th century. His images are prime examples of Pictorialism’s emphasis on atmosphere, mood, and artistic expression over the documentary nature of early photography.
The Core Principles of Pictorialism in Photography
The Pictorialist movement, flourishing from the late 19th century to the early 20th century, was a defining moment in photography’s evolution as an art form. It aimed to demonstrate that photography could transcend mere documentation and become a tool for artistic expression. Pictorialism is characterized by several core principles, which defined the aesthetics and philosophy of its practitioners. This article explores these principles and provides examples to illustrate their influence on photography.
Emphasis on Aesthetic Beauty
- Principle: Pictorialists believed that photography should be judged by its artistic merit, rather than its capacity for realistic representation. Aesthetic beauty was paramount, with images carefully composed to evoke feelings and artistic intent.
- Example: Alfred Stieglitz, one of the most influential Pictorialists, demonstrated this principle with his famous work The Terminal (1892), where the steam and urban grime of New York are rendered into an atmospheric, almost painterly composition. The mood of the piece outweighs any documentary purpose.
Soft Focus and Manipulation
- Principle: Pictorialists often used soft focus to create an ethereal, dream-like quality in their images. They employed techniques like diffused lenses or manipulated their negatives to blur details, thus pushing their work closer to painting.
- Example: Julia Margaret Cameron, an early practitioner of this technique, is well known for her soft-focus portraits such as Ophelia Study No. 2 (1867). Her images embody the romantic and emotional quality of Pictorialism, where sharp details are sacrificed for poetic effect.
Mood Over Detail
- Principle: Instead of capturing sharp, clear images, Pictorialists focused on creating mood and atmosphere. They sought to invoke a sense of mystery or emotion, often choosing subjects or settings that added to the narrative.
- Example: Edward Steichen’s The Flatiron Building (1904) uses soft focus, heavy shadows, and fog to transform the building into something more mystical and otherworldly. The result is an image less concerned with showing architectural detail and more about creating a moody, expressive work.
Artistic Control and Post-Processing
- Principle: Pictorialists saw photography as an artistic process requiring the photographer’s touch in both shooting and developing the image. Darkroom manipulation, including techniques like dodging, burning, or combining different negatives, allowed them to shape the final output.
- Example: Gum bichromate printing, used extensively by Pictorialists, allowed for great control over the final image. A notable practitioner, Robert Demachy, used this process in works like Struggle (1904), creating a painterly texture that blurred the lines between photography and painting.
Subject Matter as Symbolic or Allegorical
- Principle: Pictorialism often focused on themes that were symbolic, allegorical, or poetic. Rather than simply capturing a scene, photographers created works that told stories, explored ideas, or conveyed personal feelings.
- Example: Clarence H. White often portrayed serene, idyllic scenes of women in domestic settings, such as in The Orchard (1902). These images, while simple in composition, evoke timelessness and purity, illustrating the Pictorialist emphasis on symbolism over straightforward representation.
Influence of Painting
- Principle: Pictorialists were heavily influenced by painting, particularly movements like Impressionism and Symbolism. Their photographs often mimicked the compositional elements, light, and subject matter of paintings, seeking to elevate photography to a fine art.
- Example: Alvin Langdon Coburn’s photograph The Octopus (1912) echoes the shapes and abstract ideas found in modernist painting. His work connects the structural form of urban landscapes with an artistic exploration of line and shape.
Emphasis on Tonality
- Principle: Mastery of tonal gradation was a hallmark of Pictorialist photography. Photographers meticulously controlled the tones of their prints to create depth and mood, using subtle transitions between light and dark to guide the viewer’s experience.
- Example: Gertrude Käsebier’s portrait Blessed Art Thou Among Women (1899) is an example of the delicate tonal control favored by Pictorialists. The soft gradations of light highlight the central figures in the image, adding to the emotional impact.
Conclusion
The Pictorialist movement sought to make photography an art form by emphasizing beauty, mood, and emotional depth over mere documentation. By employing techniques like soft focus, tonal control, and post-processing manipulation, Pictorialists bridged the gap between photography and painting, creating a legacy that still influences fine art photography today.
Though it was eventually overtaken by more modern photographic approaches that emphasized realism and abstraction, Pictorialism laid the foundation for photographers to express their creative vision and personal interpretation of the world.
Famous Pictorialist Photographers
Alfred Stieglitz (1864–1946) – “The Hand of Man” (1902), born in Hoboken, New Jersey, and is regarded as an instrumental figure in the acceptance of photography as a serious art form. He became obsessed with photography in his youth and remained in Germany to study the subject deeply after his parents returned to America. Stieglitz was known for his high standards and the Photo-Secession group he formed, challenging the status quo of art. His gallery “291” introduced many avant-garde European artists to the U.S. He was also known for his photographs of Georgia O’Keeffe, who became his wife and muse. [more info and photos at Library of Congress]
As proprietor of the Little Galleries of the Photo-Secession and editor of the photographic journals Camera Notes and Camera Work, Stieglitz was a major force in the promotion and elevation of photography as a fine art in America in the late nineteenth and early twentieth centuries. His own photographs had an equally revolutionary impact on the advancement of the medium.
The Hand of Man was first published in January 1903 in the inaugural issue of Camera Work. With this image of a lone locomotive chugging through the train yards of Long Island City, Stieglitz showed that a gritty urban landscape could have an atmospheric beauty and a symbolic value as potent as those of an unspoiled natural landscape. The title alludes to this modern transformation of the landscape and also perhaps to photography itself as a mechanical process. Stieglitz believed that a mechanical instrument such as the camera could be transformed into a tool for creating art when guided by the hand and sensibility of an artist.
Art Overview and Interpretation of Alfred Stieglitz’s “The Hand of Man”
Alfred Stieglitz’s “The Hand of Man” is a seminal photograph taken in 1902, depicting the raw power and industrial might that characterized the early 20th century. This image features a locomotive billowing thick smoke as it moves along the railyards, with an intricate network of tracks converging in the foreground and industrial buildings looming in the distance.
Interpretation
To interpret “The Hand of Man,” one must consider the context of the era and the symbolic resonance of the locomotive. It embodies the Industrial Revolution’s impact, showcasing human achievement and the transformation of the natural landscape. The train, a triumph of engineering, represents progress, while the smoke may suggest the environmental and social costs of industrialization. The converging lines of the rails draw the viewer’s eye into the photograph, signifying the many paths of progress and their intersection at the dawn of the new century.
Little-Known Facts
One of the lesser-known aspects of “The Hand of Man” is that Stieglitz captured this image from the back of the New York Central Railroad’s 61st Street Yard. The print is noted for its range of tones, achieved through Stieglitz’s mastery of photogravure, a process that added a painterly effect to the photograph. This technique aligned with the Pictorialist movement’s aesthetic, seeking to emulate the tonalities and textures of painting.
Pictorialism and Photography as Fine Art
Pictorialism was a pivotal movement that helped elevate photography to the status of fine art in the late 19th and early 20th centuries. Pictorialists like Stieglitz believed that photography should be more than a mere mechanical reproduction of reality; it should express the artist’s vision and emotional response to the subject. By employing techniques such as soft focus, special filters, and unique printing processes, Pictorialists created images that were more personal, subjective, and expressive. “The Hand of Man” is a prime example of Pictorialism’s influence, where the aesthetic choices in composition, lighting, and printing contribute to an artistic interpretation rather than a straightforward record of the scene.
Stieglitz’s work, including “The Hand of Man,” played a crucial role in this movement. His efforts to showcase photography as an art form were further amplified through his work as an editor for “Camera Work,” a periodical dedicated to photography as a fine art, and his role in establishing the Photo-Secession group, which championed Pictorialism and the creative potential of photography.
Conclusion
“The Hand of Man” stands as a testament to the transformative power of the Pictorialist movement and Alfred Stieglitz’s vision in shaping the course of photographic art. Its rich tonality, evocative composition, and the underlying themes of progress and its repercussions continue to captivate audiences, serving as a powerful historical record and a work of art that bridges the gap between photography and painting. Through images like this, Pictorialism affirmed photography’s place in the pantheon of fine arts, allowing photographers to be recognized as true artists.
Edward Steichen (1879–1973) – “Flatiron Building” (1904), born Éduard Jean Steichen in Luxembourg, emigrated to the United States with his family at a young age. A painter by training, he was a key figure in transforming photography into an art form and became the most frequently featured photographer in Alfred Stieglitz’s “Camera Work.” His contributions to fashion photography are seminal, including his famous images for “Art et Décoration” in 1911. Steichen was also a war documentarian, winning an Academy Award for “The Fighting Lady.” Later, he served as the Director of Photography at New York’s Museum of Modern Art and curated “The Family of Man” exhibition, which was seen by millions and recognized by UNESCO. [more info and photos]
Your essay on Edward Steichen’s famous photograph of the Flatiron Building provides a detailed description of both the building and the photograph. Here’s a revised and expanded version for enhanced clarity and to provide additional information about Pictorialism:
The Flatiron Building: A Pictorial Masterpiece by Edward Steichen
The Flatiron Building, originally known as the Fuller Building, is an iconic structure located at 175 Fifth Avenue, New York. Positioned on a triangular block bordered by Fifth Avenue, Broadway, and East 22nd Street, this Renaissance-style building, completed in 1902, is renowned for its unique shape that tapers at 23rd Street. This tapering creates a wind tunnel effect, which infamously lifts skirts, leading to the coining of the term “23 skidoo” by policemen clearing ogling crowds.
Photographic Legacy of Edward Steichen
Edward Steichen, initially trained as a painter, played a pivotal role in elevating photography to the status of fine art. In 1903, he captured the Flatiron Building in a way that emphasized its novel architectural style. Stationing himself on the west side of Madison Square Park during dusk in winter, Steichen managed to encapsulate the building’s imposing presence and moody ambiance. He created three distinct prints of this photograph in 1904, 1905, and 1909, employing a technique that involved applying pigment suspended in gum bichromate over a platinum print, resulting in blue, tan, and orange-colored versions.
Pictorialism and Its Influence
Pictorialism, the movement to which Steichen contributed significantly, sought to validate photography as a legitimate art form. This movement emphasized beauty, tonality, and composition over the mere documentation of reality. Steichen’s Flatiron Building photograph is a quintessential example of Pictorialism, with its soft focus, atmospheric effects, and hand-applied color, all contributing to an artistic and painterly quality.
Connections and Collaborations
Steichen’s mentor, Alfred Stieglitz, captured the Flatiron a year earlier in a manner influenced by Japanese woodcuts, showcasing the building amidst a snowy landscape and a Y-branched tree. Steichen’s photograph is often seen as a conversational piece in response to Stieglitz’s work. Together, they founded the 291 Gallery in 1905, a space that became a hub for avant-garde art. Unfortunately, the building that housed the gallery and Steichen’s top-floor studio has since been demolished.
Interpreting the Photograph
Steichen’s Flatiron image is more than a mere representation; it’s a study in contrasts and mood. The lively composition leads the eye from the tree branches to the wet street below, creating a dynamic yet still scene that captures the essence of the moment. The photograph reflects the complex interplay of light, from the artificial glow of street lamps to the natural twilight, imbuing the scene with a romantic yet melancholic atmosphere. Figures and carriage drivers, almost ghostly in appearance, move slowly through the elements, reflecting the struggles and pace of early 20th-century life.
Legacy and Influence
In 1933, Stieglitz donated all three of Steichen’s Flatiron prints to the Metropolitan Museum of Art, ensuring their preservation and public accessibility. These prints, measuring 8 13/16 x 15 1/8 inches, continue to inspire and intrigue viewers with their pictorial beauty and historical significance.
Conclusion
Edward Steichen’s photograph of the Flatiron Building is not just an image; it’s a rich narrative woven into the fabric of New York’s architectural and artistic history. As an exemplar of Pictorialism, it goes beyond capturing a moment in time, offering a profound commentary on the nature of art, light, and the ever-changing urban landscape. As viewers, we are invited not just to see but to feel the photograph, to immerse ourselves in its moody, evocative atmosphere, and to appreciate the nuanced interplay of light, texture, and emotion that Steichen so masterfully captured.
Clarence H. White (1871–1925) – “Morning” (1908), “Nude” (1908), and “Torso” (1907, with Alfred Stieglitz), born in West Carlisle, Ohio, was a self-taught American photographer and teacher. After being inspired by the World’s Columbian Exposition in 1893, White rapidly gained international recognition for his pictorial work that portrayed the essence of early twentieth-century America. He was a founding member of the Photo-Secession movement and a close collaborator with Alfred Stieglitz. In 1914, he founded the Clarence H. White School of Photography in New York, the first institution to teach photography as an art form. White’s dedication to teaching later overshadowed his own work, and he passed away in 1925 while instructing students in Mexico City. [more info and photos]
Gertrude Käsebier (1852–1934) – “Blessed Art Thou Among Women” (1899), was an influential American photographer known for her evocative images of motherhood, powerful portraits of Native Americans, and for promoting photography as a career for women. Born in Des Moines, Iowa, she moved to New York after her father’s death and later attended the Pratt Institute of Art and Design. Her marriage, though unhappy, did not hinder her pursuit of art, and she became a professional photographer in 1895. Käsebier was a founding member of the Photo-Secession and was praised by Alfred Stieglitz in “Camera Work.” Her portraits emphasized the individuality of her subjects over their attire or cultural background. Despite personal challenges, she continued to exhibit her work and influence the field of photography. In 1929, Käsebier retired and was later recognized posthumously for her contributions to the art of photography. [more info and photos]
Alvin Langdon Coburn (1882–1966) – “Spiderwebs” (1908) was an American photographer who played a significant role in the development of American pictorialism. Born in Boston, he moved to London in the early 1900s, where he became known for his portraits of famous literary and artistic figures. Coburn’s work was characterized by its soft focus and often abstract qualities, with “Spiderwebs” showcasing his experimentation with unconventional subjects and compositions. He later delved into abstract photography, pioneering a technique he called vortographs. [more info and photos]
Annie Brigman (1869–1950) – “Soul of the Blasted Pine” (1908) was an American photographer, one of the original members of the Photo-Secession movement led by Alfred Stieglitz. Known for her ethereal and symbolic images that often featured nude female figures in natural landscapes, Brigman’s work, including “Soul of the Blasted Pine,” was revolutionary for its depiction of the female form and its connection to nature. She often used herself as a model, photographing in remote locations to capture the raw and mystical interaction between the human figure and the natural world. [more info and photos]
Paul Haviland (1880–1950) – “Doris Keane” (1912) a French-American photographer, was a prominent figure in the early 20th-century pictorialist movement. His photograph “Doris Keane” illustrates his skill in portrait photography. Haviland was also known for his involvement with the Photo-Secession group and his contributions to the advancement of photography as a fine art. He was a frequent collaborator with Alfred Stieglitz and contributed to the influential publication “Camera Work.” [more info and photos]
Robert Demachy (1859–1936) – “Struggle” (1904), a leading figure in French pictorial photography, Robert Demachy was known for his expressive and heavily manipulated images. “Struggle,” one of his most famous works, exemplifies his use of the gum bichromate process, which allowed for painterly manipulation of the photographic image. His work often focused on the human figure, dance, and movement, showcasing a blend of artistic sensibility and technical skill. [more info and photos]
Constant Puyo (1857–1933) – “Sommeil” (1897), “Montmartre” (1906) was a central figure in French pictorialism. His photographs, including “Sommeil” and “Montmartre,” often depicted ethereal, dreamlike scenes, showcasing his fascination with soft focus and natural light. Puyo’s work was influential in establishing photography as a form of artistic expression in France. [more info and photos]
F. Holland Day (1864–1933) – “Ebony and Ivory” (circa 1897) was an American photographer and publisher who was a key figure in the pictorialist movement. Known for his controversial and often religiously themed works, Day’s “Ebony and Ivory” is a testament to his artistic vision and his interest in exploring racial and social themes through photography. He was also a mentor and promoter of several younger photographers and artists. [more info and photos]
Adolph de Meyer (1868–1949) – “Marchesa Casati” (1912) a German-born photographer, was known for his elegant and stylized portraits of high society figures, including the famous “Marchesa Casati.” He worked primarily in Paris and New York and is often credited with being one of the first fashion photographers. His work was characterized by a unique blend of naturalism and theatricality. [more info and photos]
Joseph Keiley (1869–1914) – “Lenore” (1907) was a close associate of Alfred Stieglitz and a regular contributor to “Camera Work.” His photograph “Lenore” reflects his interest in soft-focus techniques and his dedication to elevating photography to the status of fine art. Keiley was known for his portraits and for advocating the pictorialist style. [more info and photos]
Julia Margaret Cameron (1815–1879) – was a British photographer who became famous for her powerful and intimate portraits of Victorian celebrities and for her illustrative images depicting characters from mythology, Christianity, and literature. She is credited with producing some of the first close-ups in the history of photography, and her work is celebrated for its pioneering approach to portrait photography.
She is known for her soft-focus close-ups of famous Victorian men and women and for illustrative images depicting characters from mythology, Christianity, and literature. She has been credited with producing the first close-ups in the medium’s history.
These photographers were pioneers in their field, blending artistic vision with photographic techniques to create both innovative and expressive works of their time.
