Willem Photographic. Magnolia Blossom , Etherton Gallery. The First Magnolia , Two Callas , Leaf Pattern , Agave Design I, s. Edwynn Houk Gallery. Margaret Mather and Edward Weston , Edward Weston and Margrethe Mather 3, , Wach Gallery. Feldschuh Gallery. In , Cunningham acquired her first camera, and took a portrait of herself in the nude.
Her father built a darkroom in the family's woodshed. In , Cunningham graduated from the University of Washington. She wrote a senior thesis entitled "The Scientific Development of Photography," which examined the work of a local photographer, Edward Curtis. From until , she worked as a professional photo-technician for his studio. Cunningham spent much of her time printing and retouching his negatives of Native Americans.
She also learned the platinum printing process from A. Muhr, who worked at the Curtis studio. Cunningham studied printmaking and its technical aspects in Germany on a scholarship from her college sorority and a loan from the Washington Women's Club. She attended Dresden's Technische Hochschule under the tutelage of Robert Luther from until Her coursework included art history and life drawing, but she focused on platinum printing.
This exhibit featured both American and European photographers, and gave her an opportunity see the development of different styles. After Cunningham's studies were completed, she traveled through Europe and returned to the United States at the end of On her way home, she met Gertrude Kasebier, the woman who inspired her to become a photographer. In New York she met another important photographer, Alfred Stieglitz. I did not express myself in a way that anyone could possibly remember and I felt Stieglitz was very sharp but not very chummy.
I also looked up Gertrude Kasebier, who was most cordial. Before was over, Cunningham had returned to Seattle and set up her own portrait studio. She also became active in the local art scene. Cunningham was a charter member and only photographer in the Seattle Fine Arts Society.
Her most interesting work was not done in her commercial enterprise. For five years, from until , Cunningham took romantic photos of several artist friends who maintained studios nearby.
The photos were inspired by some favorite writings, especially William Morris and mythology. Most were taken in a soft focus. An early review, quoted by Lorenz in Imogen Cunningham: A Life in Photography, praised her work: "In addition to a thorough technical knowledge of her art, she has a fine imaginative feeling and a sense for the fitness of things which characterizes the true artist, whatever be the means of expression.
Still, in , she was given her first solo exhibition at the Brooklyn Institute of Arts and Sciences. On February 11, , Cunningham married Roi Partridge, a Seattle etcher, photographer, and print specialist. They eventually had three children, Gryffyd born in , and Rondal and Padraic twins born in Cunningham caused a local scandal in when she published nude photographs of her husband, taken on Mount Rainer. The couple had adjoining studios. They moved to San Francisco in , at Cunningham's insistence.
Partridge was often gone on sketching expeditions, leaving Cunningham in charge of their business affairs and children. In her first years in San Francisco, Cunningham did not often work professionally. She collaborated with Francis Bruguiere for a brief period in , but devoted most of her attention to the three children. Her pictures were focused on herself and her family. Cunningham's most creative period came in the s and s, when she was recognized as an innovator.
She still had young children and her husband was teaching at Mills College, so she did not open a studio. Cunningham did not have many commissions, but she did take a portrait of the Adolph Bolm Ballet Intime, in She loved taking pictures of artists, such as poets, painters, photographers and writers. Within the same year of her marriage, she had her first child, her son Gryffyd, in Two years later she gave birth to twin boys, Randall and Padraic.
Three years later they moved to Oakland. It was during the years of raising her three children that Imogen was mostly confined to the home. However, it did not hinder her progress in photography. While she remained home she initiated a new hobby, gardening. It was in her garden that she not only began to study plant species, but also would later be recognized for her superb photographic images of the species.
Mai K. Throughout her lifetime she continued her photographic plant studies. In fact, she even founded the California Horticultural Society in in response to a terrible freeze. Because Imogen had adopted the style in which clarity was key, her plant images were incredibly detailed, using the modernist style. Many horticulturists and scientists used her images to study plant species. As she raised her sons she continued in photography by experimenting with double exposures and modernist styles and theories.
Her modernist photographic experiments included nude studies of men and women , still lifes, industrialization and European romantic movements. An example of her work during this period is the Shredded Wheat Water Tower from In she was represented in the first expedition of the M.
It was also during the s and s that Imogen also studied the nude.
0コメント