#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)

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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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Juan Borja, Spiriti della Foresta (Forest Spirits). Upcoming exhibition 12th of september – 31st of october 2023, Fcf Gallery, Milano.

Juan is a photographer and environmentalist from Peru. "My inspiration comes from photographers like the Vargas brothers and Martín Chambi in the southern andes, the mexicans Graciela Iturbide, Juan Rulfo and Gabriel Figueroa, Felice Beato in Japan, the brazilian Sebastiao Salgado and Karl Blossfeldt from Germany, as well as pictorialists like Misonne." 

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

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Edward Steichen • Rodin with his Sculpture The Thinker, 1902

When Edward Steichen arrived in Paris in 1900, Auguste Rodin (1840-1917) was regarded not only as the finest living sculptor but also perhaps as the greatest artist of his time. Steichen visited him in his studio in Meudon in 1901 and Rodin, upon seeing the young photographer’s work, agreed to sit for his portrait. Steichen spent a year studying the sculptor among his works, finally choosing to show Rodin in front of the newly carved white marble of the “Monument to Victor Hugo,” facing the bronze of “The Thinker.” In his autobiography, Steichen describes the studio as being so crowded with marble blocks and works in clay, plaster, and bronze that he could not fit them together with the sculptor into a single negative. He therefore made two exposures, one of Rodin and the “Monument to Victor Hugo,” and another of “The Thinker.” Steichen first printed each image separately and, having mastered the difficulties of combining the two negatives, joined them later into a single picture. “Rodin—The Thinker” is a remarkable demonstration of Steichen’s control of the gum bichromate process and the painterly effects it encouraged. It is also the most ambitious effort of any Pictorialist to emulate art in the grand tradition. The photograph portrays the sculptor in symbiotic relation to his work. Suppressing the texture of the marble and bronze and thus emphasizing the presence of the sculptures as living entities, Steichen was able to assimilate the artist into the heroic world of his creations.

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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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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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Alfred Stieglitz, American 1864 - 1946

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