#the pictorialist

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The artist and the art

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The boygenius performance in Oslo photographed by @/lenenordfjord

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Autumn, 1910. George Henry Harlow. Pigment and platinum print.

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Charles-Louis Klary Pictorialist Study of Four Classically Dressed Women, ca. 1900

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Late Afternoon, Venice, 1907 Edward Steichen (American; 1879–1973) Photogravure, printed 1913 Christie’s, New York

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'Pictorialist' photos by Léonard Misonne. ~ "La brise" 1926 ~ "Bord de l'etang" 1918 ~ "On allume le jeux" 1924 Belgian photographer 1870-1943

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George H. Seeley (1880–1955) héliogravures:

N° 347 (1910)

N° 356 (1910)

[pamelaaminou]

Monday's Photography Inspiration - Robert Demachy

Robert Demachy was a French Pictorial photographer of the late 19th and early 20th century. He is best known for his intensely manipulated prints that display a distinct painterly quality. He was influenced by the Impressionist painters and spent most of his time making photographs and developing his theories on photography, both technical and aesthetic. Léon-Robert Demachy was born…

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LÉONARD MISONNE (1870-1943)

PAINTERLY PHOTOGRAPHS

He was a Belgian pictorialist photographer. he is known for his landscapes and street scenes with atmospheric skies. he trained as an engineer before discovering photography. Raised in Gilly, Belgium, the photographer traveled throughout his homeland and beyond to capture the landscape and people of Europe in the Pictorialist style. Pictorialist photographs, characterized by soft, painterly scenes, were created through alternative printing processes that utilize materials such as oil and gum bichromate. The Pictorialist movement of the late 19th and early 20th centuries sought to elevate photography to the level of other fine arts such as painting and sculpture.

Misonne said, “The sky is the key to the landscape.” This philosophy is clear in many of Misonne’s images, often filled with billowing clouds, early morning fog, or rays of sunlight. The artist excelled at capturing his subjects in dramatic, directional light, illuminating figures from behind, which resulted in a halo effect. Favoring stormy weather conditions, Misonne often found his subjects navigating the streets under umbrellas or braced against the gusts of a winter blizzard.

Misonne’s mastery of the various printing processes that he utilized is evidenced by the fine balance between what has been photographically captured and what has been manipulated by the artist’s hand in each print. To perfect this balance, Misonne created his own process, called mediobrome, combining bromide and oil printing.

The artist’s monochromatic prints in both warm and cool tones convey a strong sense of place and time, as well as a sense of nostalgia for his familiar homeland. Whether the subject is a city street or a pastoral landscape, the perfect light carefully captured by Misonne creates a serene and comforting scene reminiscent of a dreamscape.

During his lifetime, Misonne’s photographs were widely exhibited in juried shows in Europe and the United States. Today, his photographs can be found in the collections of such institutions as the Metropolitan Museum of Art, the Art Institute of Chicago, the George Eastman Museum, and the Los Angeles County Museum of Art.

Leonard Misonne

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'Indian Beauty'. c1920. Beautiful pictorialist style photograph by an unknown photographer.

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⚫️ The story of one photo | By Edward Steichen — Flatiron Building, 1904

Edward Steichen's interest in the interrelationship between photography and Tonalist painting is evident in his famous images of the Flatiron Building. Located at 175 Fifth Avenue in Manhattan, the Flatiron building was one of the tallest in the world upon its completion in 1902, and was truly unique due to its shape. This image was first seen publicly at the "International Exhibition of Pictorial Photography" held in Buffalo, New York in 1910. It was in fact one of six hundred images selected by Alfred Stieglitz as a means of showcasing the artistry of Pictorialist photography. Steichen's photograph, which highlights his feel for shapes and textures, became one of his most famous images and it is easy to see a relationship here with his painting Landscape with Avenue of Trees. The building of the title looms disconcertingly in the background, a large shadow in the centre of the frame. Steichen omits the tip of the building, as if, perhaps, its sheer scale could not be contained by the frame.

This image was produced at the height of Steichen's Pictorialist period with the Photo-Secession group. At this time he was interested in adapting and manipulating his photographs and here he colorized the image using layers of pigment in a light-sensitive solution. The image actually exists in three versions, each with a slightly different tone and feel, demonstrating how powerful color can be in an altering mood. With this print, his aim was to capture something of the nuances of light in the early hours of the evening. As Professor William Sharpe observed:

❝ Night is a time of dreaming, of freeing repressed libidinal energies, and photographs such as this subtly exploit the suggestive properties of urban landscape, using a symbolic language to disclose truths [that would be] hidden at midday. ❞

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Thelma Kent

Thelma Kent was born in 1899 in Christchurch, New Zealand. Kent was known for her photographs of the landscapes of her home country. Her work was often in the pictorialist style, which was popular at that time. Kent's photography won several awards, and was exhibited and published throughout the world. She became an associate member of the Royal Photographic Society of Great Britain, and she was elected a fellow of the Royal Society of the Arts, London. Today, Kent's work can be found in the collection of New Zealand's national museum.

Thelma Kent died in 1946 at the age of 46.

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Bohdan Kopecký (Czech Artist , born in 1928) Josef Sudek photographs Prague, 1950.

Josef Sudek (1896-1976) was born in the Czech Republic. Originally a bookbinder, he was badly injured during World War I, resulting in a partial amputation of his right arm (that's why he needed assistance with his activities, and after World War II, he hired an assistant, Sonja Bullaty, a young Czech Jew who survived the Nazi concentration camps. It was Bullaty who took Sudek's work outside the Iron Curtain and preserved over 300 selections of his prints that he continued to send to her after she emigrated to America... And yes, she's the girl in the photo.)

In the 1920's he studied photography for two years in Prague under Jaromir Funke and worked primarily in the Pictorialist style. Eventually a local camera club expelled him for arguing about the need to move forward from "Painterly" photography and he then founded the progressive "Czech Photographic Society" in 1924. During and after World War II, Sudek created haunting night-scapes and panoramas of Prague, photographed the wooded landscape of Bohemia, and the window-glass that led to his garden (the famous "The Window of My Atelier" Series.")

Sudek's individualism did not fit in with the new post-war Czech Socialist Republic (Sudek never married, and was a shy, introverted person. He never appeared at his exhibit openings and few people appear in his photographs. Also notable is the fact that despite the privations of the war and Communism, he kept a renowned record collection of classical music) but the strong artistic tradition of the country meant that there were many who supported his work. He was the first photographer to be honored by the Republic with the title of "Artist of Merit" and in his 70th year, his life's work was recognized by the "Order of Labor."

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George Inness - Morning, 1878 oil on canvas mounted on cardboard  76.2 x 114.3 cm Museo Nacional Thyssen-Bornemisza, Madrid

George Inness achieved critical success in the last decades of his life when he moved away from a realistic imitation of nature in favour of a pictorialist and aestheticised vision of this theme with the aim of stimulating and inspiring the viewer’s mind and spirit.

Morning was painted in this last phase of his career when Inness had retired to Montclair in New Jersey. The harmonious composition reflects his new approach: the intense green of the meadow in the foreground dotted with lightly painted cattle shades into the darker, misty area of the trees in the middle-ground, followed by the blue-grey of the horizon. The tonal transition is completed by the sky, crossed by a flock of birds.

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Self-Portrait with Brush and Palette (1902) - Edward Steichen

Originally trained as a painter, Steichen made frames early in his career that embraced the soft focus, atmospheric composition, and retouched details that were also common to Alfred Stieglitz’s Pictorialist approach. During World War I, Steichen shifted to aerial photography in order to help the war effort. His subsequent work embraced a sleek, modernist aesthetic, which is reflected throughout the iconic fashion photographs he took while working at Vanity Fair and Vogue.

Source: Artsy

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Alfred Stieglitz, American 1864 - 1946

https://platinumprince.com/individual-pictorialists/2019/6/9/alfred-stieglitz-american-1864-1946