- Taschenbuch: 160 Seiten
- Verlag: Little, Brown & Company; Auflage: New edition (7. Juni 2001)
- Sprache: Englisch
- ISBN-10: 0821227319
- ISBN-13: 978-0821227312
- Größe und/oder Gewicht: 30,2 x 23 x 1,6 cm
- Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 346.480 in Englische Bücher (Siehe Top 100 in Englische Bücher)
|
||||||||||||||||||||
|
||||||||||||||||||||
|
||||||||||||||||||||
| |||||||||||||||
Produktinformation |
Mehr über den Autor
Entdecken Sie Bücher, lesen Sie über Autoren und mehr
› Besuchen Sie die Seite von Richard Lorenz auf Amazon
› Besuchen Sie die Seite von Richard Lorenz auf Amazon
Produktbeschreibungen
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. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Joan Levin, MLS, Chicago
Copyright 1996 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Kurzbeschreibung
As one of the greatest women photographers of the century, Imogen Cunningham (1883-1976) photographed nature with a celebratory spirit while retaining a firm dedication to photographic technique. Her childhood fascination with the beauty and complexities of nature led her to photograph all kinds of plant life, from simple flower arrangements to elaborate compositions of exotic ferns and lilies. This collection of black-and-white botanical images spans 55 years of work and development. The images are accompanied by a biocritical essay by Richard Lorenz, noted photography curator and writer, placing Cunningham's work in the context of her contemporaries and colleagues: Edward Weston, Ansel Adams, Johan Hagemeyer and many other premiere photographers of the botanical world. To complete the celebration of the plant world, the book includes technical notes on illustrated plant species, a chronology and a selected bibliography.
Tags(Was ist das?)Bei einem Tag handelt es sich um ein Schlagwort, das zum Produkt passt.
Tags erleichtern allen Kunden die Suche und die Sortierung ihrer Lieblingsprodukte. |
Eine digitale Version dieses Buchs im Kindle-Shop verkaufen
Wenn Sie ein Verleger oder Autor sind und die digitalen Rechte an einem Buch haben, können Sie die digitale Version des Buchs in unserem Kindle-Shop verkaufen.
Weitere Informationen
Kundenrezensionen
Die hilfreichsten Kundenrezensionen
Format: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!
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!
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com:
4 Rezensionen
5 von 5 Kunden fanden die folgende Rezension hilfreich
Incredible photographer! Inferior Printing!!
8. Januar 2006
Format:Gebundene Ausgabe
Out of all of the members of the famous Group f/64, Imogen Cunningham created the greatest body of floral still life work. This beautiful collection of images has been totally undermined by a horrible press run. It's a surprise that Bulfinch would even put their name on this book. Aperture should have probably printed it. Granted, the book has a gorgeous design, and the body of work chosen for the book is definitely of her greatest masterpieces. But, when all is said and done, the print is solely the photographer's art, and poor reproductions of a photograph, especially a "Group f/64" style photograph, renders the art ineffective.
7 von 9 Kunden fanden die folgende Rezension hilfreich
Great Choices of Subjects Marred by Poor Printing
23. April 2001
Format: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!
A collection of fabulous photographs
16. Dezember 2011
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
This collection compiled by Richard Lorenz of the Imogen Cunningham Trust is a must for any photographer. When one considers that Imogen Cunningham began her career in an era of big, bulky cameras and had to develop her own work, she is quite amazing. This book gives an overview of her 70-year career which is also amazing. It belongs in every library, public or private.
Waren diese Rezensionen hilfreich?
Wir wollen von Ihnen hören.
Kunden diskutieren
|
Das Forum zu diesem Produkt
Fragen stellen, Meinungen austauschen, Einblicke gewinnen Aktive Diskussionen in ähnlichen Foren
Kundendiskussionen durchsuchen
|
Ähnliche Foren
|
||||||||||||||||||||||||||||||||||
Lieblingslisten
Ähnliche Artikel finden
Anhand des Sachgebietes nach ähnlichen Produkten suchen:
Ihr Kommentar
Möchten Sie die Produktinformationen aktualisieren oder Feedback zu den Produktabbildungen geben?
