3
10
102
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographs of the Canadian Rockies, Fraser River, Yellowstone Park, etc
Creator
An entity primarily responsible for making the resource
William Notman (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1888-1914]
18.0 x 23.5 cm
FC 219 A34 folio
Description
An account of the resource
<p><span style="font-weight: 400;">This album featuring photographs of the Canadian Rockies, Fraser River, and Yellowstone Park is a typical </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-books">souvenir album</a><span style="font-weight: 400;"> that contributes to </span>“<a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity"><span style="font-weight: 400;">imagined geographies</span></a>” <span style="font-weight: 400;">of a place, much like the album </span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3056">CPR 1887</a></em><i><span style="font-weight: 400;">. <br /><br /></span></i><span style="font-weight: 400;">The album's <a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener">albumen prints</a>, </span><span style="font-weight: 400;">some of which were taken by <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3154">William Notman</a> & Son’s photographic studio</span><span style="font-weight: 400;">, were assembled between 1888 and 1914, and were pasted onto the album’s pages individually.</span> <span style="font-weight: 400;">These photographs likely circulated in other contexts as well, in other albums or as standalone pictures. </span></p>
<span style="font-weight: 400;">Though these pictures are photographic and record actual spaces, the decisions that the photographers made in creating these views rely on artistic conventions for representing landscape, such as the conventions of the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3052">picturesque</a> and the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3147">sublime</a>. They therefore fit easily within fine art traditions. </span><span style="font-weight: 400;">As you explore additional examples of landscape photographs included in this exhibition, you will notice many more photographs with similar compositions. </span>
landscape
William Notman
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Geological Survey of California: The Yosemite Book
Date
A point or period of time associated with an event in the lifecycle of the resource
1868
20.5 x 15.5 cm
F 868 Y6 C15 1868 folio
Description
An account of the resource
<p><span style="font-weight: 400;">Between 1860 and 1874, a team headed by Josiah D. Whitney </span><a href="https://naturalhistory.si.edu/research/botany/about/historical-expeditions/california-geological-survey" target="_blank" rel="noopener"><span style="font-weight: 400;">surveyed the state of California</span></a><span style="font-weight: 400;"> in order to gather and circulate information about the natural resources of California.</span><i><span style="font-weight: 400;"> </span></i><span style="font-weight: 400;">Most of the photographs in the volume featured here were taken by America photographer <a href="https://www.youtube.com/watch?v=-hxHPhEXFr8" target="_blank" rel="noopener">Carleton E. Watkins</a>. As you contemplate the photographs, remember that Watkins used the </span><a href="https://www.youtube.com/watch?v=hnxT4WQsLLM" target="_blank" rel="noopener"><span style="font-weight: 400;">wet collodion process</span></a><span style="font-weight: 400;">, and therefore would have had to carry with him all of the glass plate negatives he intended to use, a large-format camera and tripod, all the chemicals required for preparing and developing his plates, and a portable darkroom. The photographs are printed on </span><a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener"><span style="font-weight: 400;">albumen paper</span></a><span style="font-weight: 400;"> and pasted into the book.</span></p>
<p><span style="font-weight: 400;">Though the photographs included here originated in a scientific project intended to survey the land, they drew on conventions for representing <a href="https://www.tate.org.uk/art/art-terms/s/sublime" target="_blank" rel="noopener">sublime landscapes</a> that had grown popular in the late-eighteenth century. To get a sense of the characteristics of the sublime, compare these photographs with picturesque drawings by <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3052">William Gilpin</a> or to the picturesque views included in souvenir books like <em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3060">Views of Portree</a>.</em><br /><br />The sublime has been a recurring theme in landscape photography, and perhaps this is not surprising. A sublime landscape is one that is awe-inspiring in its grandeur, almost unbelievable, and so we can expect that a photographer might take a picture in order to offer proof of such a view. Photographers other than Watkins known for their sublime landscapes include <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3141">Ansel Adams</a> and <a href="https://www.edwardburtynsky.com/projects/photographs" target="_blank" rel="noopener">Edward Burtynsky</a>. <br /><br />Watkins's photographs have served various purposes depending on their contexts. In the introduction to this volume on Yosemite, for example, Whitney wrote that the purpose of the publication is “to call the attention of the public to the scenery of California, and to furnish a reliable guide to some of its most interesting features.” The photographs included here had the desired effect; Watkins’s sublime photographs of Yosemite are often credited with “</span><a href="https://www.smithsonianmag.com/history/carleton-watkins-yosemite-photographer-national-parks-180959065/" target="_blank" rel="noopener"><span style="font-weight: 400;">saving Yosemite</span></a><span style="font-weight: 400;">.” Almost a century later, <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3141">Ansel Adams’s photographs of Yosemite</a> continued this relationship between photography and nature conservation.</span></p>
<p><span style="font-weight: 400;">While Watkins’s photographs fit easily within a geological survey, they have also found a home in art collections, including the collections of the </span><a href="https://www.nga.gov/collection/artist-info.13519.html#biography" target="_blank" rel="noopener"><span style="font-weight: 400;">National Gallery of Art</span></a><span style="font-weight: 400;"> in Washington, DC and the </span><a href="https://www.moma.org/artists/6260#works" target="_blank" rel="noopener"><span style="font-weight: 400;">Museum of Modern Art</span></a><span style="font-weight: 400;"> in New York. These photographs therefore provide a good example of how “photography’s discursive spaces,” to borrow art critic Rosalind Krauss’s words, can change the meaning of a photograph. </span></p>
<span style="font-weight: 400;">A full scan of the book is available through the </span><a href="https://archive.org/details/GR_4646/page/n5/mode/2up" target="_blank" rel="noopener"><span style="font-weight: 400;">Internet Archive</span></a><span style="font-weight: 400;">.</span>
Creator
An entity primarily responsible for making the resource
J. D. Whitney (author)
Carleton E. Watkins (photographer)
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Expression of the Emotions in Man and Animals
Creator
An entity primarily responsible for making the resource
Charles Darwin (author)
Oscar Rejlander (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1872
22.0 x 23.0 cm
QP 401 D22 G3 1872
Description
An account of the resource
<p><span style="font-weight: 400;">Charles Darwin is recognized as one of the early adopters of photography in scientific illustration, and much has been written about his use of photographs in the 1872 publication </span><i><span style="font-weight: 400;"><a href="https://www.darwinproject.ac.uk/commentary/human-nature/expression-emotions" target="_blank" rel="noopener">Expression of the Emotions in Man and Animals</a></span></i><i><span style="font-weight: 400;">.</span></i><span style="font-weight: 400;">The photographs included as evidence for Darwin’s theories were taken by professional photographers and printed as </span><a href="https://www.moma.org/collection/terms/collotype" target="_blank" rel="noopener"><span style="font-weight: 400;">collotypes</span></a>, while some of the images were translated into <a href="https://www.tate.org.uk/art/art-terms/w/woodcut" target="_blank" rel="noopener">woodcut</a> illustrations<span style="font-weight: 400;">. Some were created especially for Darwin’s publication and others were already available. </span></p>
<p><span style="font-weight: 400;">One photographer who worked with Darwin on this project was </span><a href="https://www.gallery.ca/magazine/exhibitions/ngc/oscar-rejlander-and-the-beginning-of-art-photography" target="_blank" rel="noopener"><span style="font-weight: 400;">Oscar Rejlander</span></a><span style="font-weight: 400;">, who is often described as “The Father of </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/works-of-art/1850-to-1900"><span style="font-weight: 400;">Art Photography</span></a><span style="font-weight: 400;">.” Rejlander fought for the recognition of photography as a fine art. One of his most well-known photographs, </span><a href="https://artmuseum.princeton.edu/collections/objects/18132" target="_blank" rel="noopener"><i><span style="font-weight: 400;">The Two Ways of Life</span></i></a><span style="font-weight: 400;"> (c 1857), combined over thirty different negatives to create an original composition, and was purchased by Queen Victoria for her art collection.<br /><br /></span><span style="font-weight: 400;">Though it was important to Darwin to include photographs as illustrations of his work, largely due to the perceived evidentiary force of photography, scholars have shown that many of these photographs were manipulated in order to produce their desired effects. Oscar Rejlander’s photograph of a crying baby is one noteworthy example. Rejlander could not capture a clear image of a crying baby with the </span><a href="https://www.youtube.com/watch?v=hnxT4WQsLLM" target="_blank" rel="noopener"><span style="font-weight: 400;">wet collodion</span></a><span style="font-weight: 400;"> technology available to him, so he made use of a pencil to render the image legible. </span><span style="font-weight: 400;">The photograph is also known as “</span><a href="http://collections.vam.ac.uk/item/O1394071/ginxs-baby-photographs-rejlander-oscar-gustav/" target="_blank" rel="noopener"><span style="font-weight: 400;">Ginx’s Baby</span></a><span style="font-weight: 400;">,” after a character in a novel by Charles Dickens, and it circulated as a popular print. This example thus also shows how photographs can take on different meanings depending on the contexts in which they circulate. </span></p>
<p><span style="font-weight: 400;">Bruce Peel Special Collections houses a German edition of the book. A full scan of the English edition is available through the </span><a href="https://archive.org/details/expressionofemo00darw/page/n3/mode/2up" target="_blank" rel="noopener"><span style="font-weight: 400;">Internet Archive</span></a><span style="font-weight: 400;">.</span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Die Olympischen Spiele 1936
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
30.5 x 46.0 cm
NC 1883.6 G3 C54 1936 Bd.1 folio
Description
An account of the resource
<p><span style="font-weight: 400;">This </span><a href="https://azmemory.azlibrary.gov/digital/collection/msiartifact/id/85/" target="_blank" rel="noopener">cigarette album</a><span style="font-weight: 400;"> commemorates the 1936 Olympic Games, held in Berlin and in the Bavarian ski town of Garmisch-Partenkirchen. </span><span style="font-weight: 400;">Cigarette albums like this one were sold with printed text and blank spaces for photographs; album owners would send in coupons that came with packets of cigarettes to receive photographs to paste into the album’s pages. In this example, the album's owner is invited to create their own personal memento from photographs of a current, public event. <br /><br />A full scan of this album is available through the <a href="https://archive.org/details/dieolympischensp1401ciga/mode/2up" target="_blank" rel="noopener">Internet Archive</a>. </span><span style="font-weight: 400;">Another </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3142"><span style="font-weight: 400;">German cigarette album</span></a><span style="font-weight: 400;"> housed in Bruce Peel Special Collections celebrates the life of Adolf Hitler. <br /><br /><br /><br /><br /></span></p>
Creator
An entity primarily responsible for making the resource
photographer unknown
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Celtic Ornaments from the Book of Kells
Creator
An entity primarily responsible for making the resource
Thomas Kingsmill Abbott (author)
photographer unknown
Date
A point or period of time associated with an event in the lifecycle of the resource
1895
31.5 x 24.5
ND 3359 B7 A13 1895 folio
Description
An account of the resource
<p><i><span style="font-weight: 400;">Celtic Ornaments from the Book of Kells</span></i><span style="font-weight: 400;"> provides an example of a photographic reproduction of a unique work of art. This example, published in Dublin at the end of the nineteenth century, provides access to the book's decorative elements for those who could not view them firsthand. <br /><br /><span>One of William Henry Fox Talbot’s aspirations for photography, described in </span><i><span>The Pencil of Nature</span></i><span><span>, was that photographs would provide art reproductions. </span></span>Compare this reproduction of the <em>Book of Kells</em> and Talbot's examples in <a href="https://archive.org/details/thepencilofnatur33447gut/page/n1/mode/2up" target="_blank" rel="noopener"><em>The Pencil of Nature</em></a> (such as plates v, xi, and xxiii) to an earlier volume of art reproductions, such as </span><span style="font-weight: 400;">George Baxter’s <em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3033">Cabinet of Paintings</a></em></span><span style="font-weight: 400;">.</span><span style="font-weight: 400;"> What were some of the advantages and disadvantages of these different processes for art reproduction? <br /></span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Adolf Hitler: Bilder aus dem Leben des Führers
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
30.5 x 46.5 cm
NC 1883.6 G3 C57 1936 folio
Description
An account of the resource
<p><a href="https://azmemory.azlibrary.gov/digital/collection/msiartifact/id/85/" target="_blank" rel="noopener"><span style="font-weight: 400;">Cigarette albums</span></a><span style="font-weight: 400;"> offer a different model for ways in which words and photographs could come together in a single volume. Albums like this one were sold with printed text and blank spaces for photographs; album owners would send in coupons that came with their packets of cigarettes to receive photographs to fill the blank spaces.</span></p>
<p><span style="font-weight: 400;">This example celebrates Adolf Hitler, leader of the Nazi Party and </span><span style="font-weight: 400;">Führer</span><span style="font-weight: 400;"> of Germany from 1933 to 1945, and thereby demonstrates explicitly how photographs could be used to disseminate political ideologies. The album offers a counterpoint to publications such as </span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3045">Life</a></em><span style="font-weight: 400;">, which began publication in 1936 and was informed by very different ideologies. The album also provides further context for </span><span style="font-weight: 400;">John Heartfield’s <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3157">photomontages</a></span><span style="font-weight: 400;">, which drew on and remixed mass media images such as these photographs to critique the Nazi regime. <br /><br />Another <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3144">German cigarette album</a> housed in Bruce Peel Special Collections commemorates the 1936 Olympics.</span></p>
Creator
An entity primarily responsible for making the resource
photographer unknown
photojournalism
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sierra Nevada: The John Muir Trail
Creator
An entity primarily responsible for making the resource
Ansel Adams (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1938
22.8 x 15.0 cm
F 868 S5 A25 1938 folio
Description
An account of the resource
<p><span style="font-weight: 400;">As a founding member of </span><a href="https://www.metmuseum.org/toah/hd/f64/hd_f64.htm" target="_blank" rel="noopener"><span style="font-weight: 400;">Group f/64</span></a><span style="font-weight: 400;">, </span><a href="https://www.getty.edu/art/collection/artists/1582/ansel-adams-american-1902-1984/" target="_blank" rel="noopener"><span style="font-weight: 400;">Ansel Adams</span></a><span style="font-weight: 400;">—</span><span style="font-weight: 400;">along with other members of the California-based group</span><span style="font-weight: 400;">—</span><span style="font-weight: 400;">used the camera’s smallest aperture (known as f/64) in order to create photographs with greater depth of field, keeping as much of the image in clear focus as possible. They also embraced the use of glossy </span><a href="https://www.nga.gov/research/online-editions/alfred-stieglitz-key-set/practices-and-processes/gelatin-silver-prints.html" target="_blank" rel="noopener"><span style="font-weight: 400;">silver gelatin prints</span></a><span style="font-weight: 400;">, which called attention to the photographic nature of their images.</span></p>
<p><span style="font-weight: 400;">Only five hundred copies of this publication were published in 1938, and each copy featured silver gelatin prints tipped in (pasted in) on individual pages. The white space around each picture emphasizes the photograph’s status as a work of art that stands on its own. </span><span><br /><br /></span><a href="https://www.youtube.com/watch?v=Xw5_qb71bXs" target="_blank" rel="noopener"><span style="font-weight: 400;">Adams</span></a><span style="font-weight: 400;"> was a leader in the nature conservation movement and is today among the best known landscape photographers of the twentieth century; </span><i><span style="font-weight: 400;">Sierra Nevada: The John Muir Trail</span></i><span style="font-weight: 400;"> provides one example of Adams’s many publications</span><span style="font-weight: 400;">. <span>Compare Adams’s <a href="https://www.tate.org.uk/art/art-terms/s/sublime" target="_blank" rel="noopener">sublime</a> photographs of the American West to those captured almost a century earlier in</span><span> </span><span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3147">Geological Survey of California: The Yosemite Book</a></em>. </span> </span></p>
landscape
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Portfolio of Piles
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
24.2 x 16.5 cm
TR 660 T44
Description
An account of the resource
<p><span style="font-weight: 400;">Artists Iain and Ingrid Baxter formed the <a href="https://vancouverartinthesixties.com/essays/siting-the-banal" target="_blank" rel="noopener">NE Thing Co</a> in 1966. The Company, which was incorporated under Canadian law, challenged the supposed divide between art and everyday life</span><span style="font-weight: 400;">—</span><span style="font-weight: 400;">and particularly everyday economic life</span><span style="font-weight: 400;">—</span><span style="font-weight: 400;">while also parodying the conventions of the corporate world. </span></p>
<p><a href="http://artistsbooksandmultiples.blogspot.com/2014/03/n-e-thing-co-portfolio-of-piles.html" target="_blank" rel="noopener"><i><span style="font-weight: 400;">A Portfolio of Piles</span></i></a><span style="font-weight: 400;"> consists of 59 photographs of piles found around Vancouver. The photographs document what the NE Thing Co called “ACTs,” or “Aesthetically Claimed Things.” Claiming things, rather than making things, called attention to the artificial divide between art and life, while also trespassing across established boundaries. </span></p>
<p><span style="font-weight: 400;">The banality of the photographs further contributes to this challenge. Compare these images to examples of corporate photography in this exhibition, such as the </span><span style="font-weight: 400;"><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3051">Otis Dump Cars pamphlet</a>, a <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3066">Report on Evaporation Data</a>, and an album of </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3161">Sundry Photographs of the Lethbridge Brewing and Malting Co</a>, <span style="font-weight: 400;">as well as other examples of </span><a href="https://www.tate.org.uk/art/art-terms/c/conceptual-photography" target="_blank" rel="noopener">conceptual art</a>, <span style="font-weight: 400;">like Ed </span><span style="font-weight: 400;">Ruscha’s </span><i><span style="font-weight: 400;"><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3171">Every Building on the Sunset Strip</a></span></i><span style="font-weight: 400;">.</span></p>
Creator
An entity primarily responsible for making the resource
NE Thing Co (creator)
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
London
Date
A point or period of time associated with an event in the lifecycle of the resource
1914
22.5 x 16.0 cm
DA 684 C52 1914
Description
An account of the resource
<p><span style="font-weight: 400;">American </span><a href="https://archive.artic.edu/stieglitz/pictorialism/" target="_blank" rel="noopener">Pictorialist</a><span style="font-weight: 400;"> photographer </span><a href="https://www.getty.edu/art/collection/artists/1957/alvin-langdon-coburn-british-born-united-states-1882-1966/" target="_blank" rel="noopener">Alvin Langdon Coburn</a> <span style="font-weight: 400;">was a founding member of the </span><a href="https://archive.artic.edu/stieglitz/the-photo-secession/" target="_blank" rel="noopener">Photo-Secession</a><span style="font-weight: 400;">, along with </span><a href="https://archive.artic.edu/stieglitz/alfred-stieglitz/" target="_blank" rel="noopener">Alfred Stieglitz</a><span style="font-weight: 400;">. Photo-Secession members advocated for photography’s status as a fine art, showing their photographs alongside European modern art at Stieglitz’s <a href="https://archive.artic.edu/stieglitz/little-galleries-of-the-photo-secession291/" target="_blank" rel="noopener">291 Gallery</a> in New York City and in the pages of the journal </span><a href="https://archive.artic.edu/stieglitz/camera-work/" target="_blank" rel="noopener"><i>Camera Work</i></a><span style="font-weight: 400;">, where photographs and paintings were reproduced side-by-side using </span><a href="https://archive.artic.edu/stieglitz/photogravure/" target="_blank" rel="noopener">photogravure</a><span style="font-weight: 400;">. In 1912, Coburn emigrated to the United Kingdom and became involved with the </span><a href="https://platinumprince.com/pictorialist-organisations/2019/4/8/the-linked-ring" target="_blank" rel="noopener">Linked Ring</a><span style="font-weight: 400;">, a British group of </span>pictorialist<span style="font-weight: 400;"> photographers founded in 1892. <br /><br /></span><span style="font-weight: 400;">This privately-printed book includes a text by the British writer Gilbert Keith Chesterton and ten photographs by Coburn, printed by </span>mezzogravure,<span style="font-weight: 400;"> a printing process similar to the </span><a href="https://archive.artic.edu/stieglitz/photogravure/" target="_blank" rel="noopener">photogravure</a><span style="font-weight: 400;">. Photographs and text remain separate, with just one photograph per page featured in a series of photographic plates, making it clear that the photographs are not merely illustrations but works of art in their own right. This treatment of photographs is similar to the presentation in </span><i>Camera Work</i> <span style="font-weight: 400;">and other fine art publications of the time.</span></p>
<p><span style="font-weight: 400;">A full scan of the book is available through the <a href="https://archive.org/details/london00chesuoft/page/-3/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.</span></p>
Creator
An entity primarily responsible for making the resource
G. K. Chesterton (author)
Alvin Langdon Coburn (photographer)
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographs of India
Date
A point or period of time associated with an event in the lifecycle of the resource
[1900]
16.0 x 21.0 cm
DS 413 A53 1900
Description
An account of the resource
<p><span style="font-weight: 400;">This album of original photographs offers a view of India as seen through a </span><a href="https://archive.artic.edu/stieglitz/pictorialism/" target="_blank" rel="noopener">Pictorialist</a><span style="font-weight: 400;"> lens. The photographer, who was a visitor to India in 1900, plays with composition and focus to soften the appearance of the photographs, differentiating this album from the typical <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/snapshot-albums">snapshot albums</a> that began to proliferate around this time. </span><span>Here, the romantic haze of the Pictorialist style contributes to the view of India circulated by this album. Another example of the Pictorialist approach can be found in Edward Curtis's </span><i><span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3155">The North American</a></span></i><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3155"> <em>Indian</em></a><em>,</em> which aimed to document the Indigenous peoples of North America in the early-twentieth century, and often did so through a hazy, romanticized lens.</p>
Creator
An entity primarily responsible for making the resource
photographer unknown