- Gebundene Ausgabe: 160 Seiten
- Verlag: Edition Stemmle (April 1996)
- Sprache: Englisch
- ISBN-10: 082122221X
- ISBN-13: 978-0821222218
- Größe und/oder Gewicht: 32,4 x 22,9 x 1,9 cm
- Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 2.301.121 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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From Publishers Weekly
As seen in this stirring monograph, prepared for a photo exhibit in San Francisco, Cunningham glorifies the form, order and variety of nature's floral aspect with superbly controlled gradations of light, shadow and substance. This pioneering and eclectic California photographer, active from the century's beginning to the '70s, "isolat[ed] her subject;... minimized the background, expanded scale with close-up scrutiny, and formalized presentation" for her floral studies, writes curator-critic Lorenz in a broad-based and sometimes flowery text accompanying 161 photos. Though attuned to pure nature for most of her career, Cunningham was also a "sophisticated aesthete" who "often delighted in upsetting common values"--a startling example being her double-image portrait of the artist Morris Graves, who is "psychically incorporated" into a forested landscape. Through extensive resort to contrasts and affinities vis-a-vis Cunningham's contemporaries--Weston, Adams, Stieglitz et al.--the author encompasses a seminal era in artistic photography, with Cunningham, about whom he has written three other books, as the star.
Copyright 1996 Cahners Business Information, Inc.
From Library Journal
Prepared in association with an exhibition at San Francisco's Photos Gallery, this exquisite catalog showcases the botanical imagery of the great American photographer Imogen Cunningham (1883-1976). While raising her children, Cunningham began photographing plant life in her garden and West Coast neighborhood. Influenced by the stark lines and objectivity of the German modernists, her close-up, sensual photographs of tree trunks and branches, house plants, flowers, seaweed, leaves, pods, and driftwood often resemble animals, birds, fish, and human forms. Here, the 40 duotone and eight color plates, more than half never before published, convey a simple, translucent beauty. An informative essay, a chronology, and small photos of the plates paired with botanical notes round out the volume. Lorenz has curated many Cunningham exhibitions and written extensively about her (e.g., Imogen Cunningham: Ideas Without End, Chronicle, 1993). Essential for photography and botany collections.
Joan Levin, MLS, Chicago
Copyright 1996 Reed Business Information, Inc.
Joan Levin, MLS, Chicago
Copyright 1996 Reed Business Information, Inc.
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Die hilfreichsten Kundenrezensionen
3.0 von 5 Sternen
Great Choices of Subjects Marred by Poor Printing,
Von Donald Mitchell "Jesus Loves You!" (Thanks for Providing My Reviews over 110,000 Helpful Votes Globally) - Alle meine Rezensionen ansehen (TOP 500 REZENSENT)
Rezension bezieht sich auf: Imogen Cunningham: Flora (Taschenbuch)
Imogen Cunningham is one of my favorite photographers. So I was very disappointed when I saw the reproduction quality of the 92 duotone plates, 59 black-and-white photographs, and 8 color images. The ink is very heavy and dark on these succulent morsels, and almost all the images look like they are of vegetation from the vicinity of Mount St. Helens just after the eruption.The book contains Ms. Cunningham's famous image of her husband undressed, so if such things offend you, skip over that page. The image is very small, so you'll hardly notice it unless you are looking hard for it. The essay by Richard Lorenz is a fine one. It makes up for some of the reproduction problems. He captures the ambiguity of her work nicely in pointing out that the "paradox of expansion via reduction becomes vivid when one looks at the visual aspects of nature." This is the familiar fractal observation. Each level of detail is echoed in the next larger and smaller level of scale. Stylistically, she "empowered her images by isolating her vegetation." What would be lost in a mass is curiously fresh and clear in solitary study. As a result, "negative space is as critical to the composition as the design elements." In fact, she "paralleled the objectivity of the Germans in her work" more so than any other Western photographer. Like Georgia O'Keeffe, she realized and portrays the erotic expressions in vegetation. Here are my favorite images from the book (as reproduced here): At Point Lobos, 1921 (like Weston); Thorn Apple, about 1921; Tree at Donner Pass, 1925 (like Weston); Calla, about 1925 (like an O'Keeffe); Colletta Cruciata 7, 1929; Flowering Cactus, about 1930; Calla with Leaf, about 1930; Blossom of Protea, 1935; Fuscha, 1940; Fireworks Plant, 1965; Araujia, 1953; Hand and Leaf of Voodoo Lily. The notes to each image contain horiticultural information. Ms. Cunningham was "skeptical of physical beauty." Where does nature agree with her? Where can you gain by retaining skepticism, even as you enjoy beauty? Don't give up on Ms. Cunningham's work. Just go look at it elsewhere! Helfen Sie anderen Kunden bei der Suche nach den hilfreichsten Rezensionen
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