Color: American Photography Transformed (William & Bettye Nowlin Series in Art, History, and Culture of the Western Hemisphere)

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9780292753013: Color: American Photography Transformed (William & Bettye Nowlin Series in Art, History, and Culture of the Western Hemisphere)

Capturing the world in color was one of photography’s greatest aspirations from the very beginnings of the medium. When color photography became a reality with the introduction of the Autochrome in 1907, prominent photographers such as Alfred Stieglitz were overjoyed. But they quickly came to reject color photography as too aligned with human sight. It took decades for artists to come to understand the creative potential of color, and only in 1976, when John Szarkowski showed William Eggleston’s photographs at the Museum of Modern Art, did the art world embrace color. By accepting color’s flexibility and emotional transcendence, Szarkowski and Eggleston transformed photography, giving the medium equal artistic stature with painting, but also initiating its demise as an independent art.

The catalogue of a major exhibition at the Amon Carter Museum of American Art, which holds one of the premier collections of American photography, Color tells, for the first time, the fascinating story of color’s integration into American fine art photography and how its acceptance revolutionized the practice of art. Tracing the development of color photography from the first color photograph in 1851 to digital photography, John Rohrbach describes photographers’ initial rejection of color, their decades-long debates over what color brings to photography, and how their gradual acceptance of color released photography from its status as a second-tier art form. He shows how this absorption of color instigated wide acceptance of a fundamentally new definition of photography, one that blends photography’s documentary foundations with the creative flexibility of painting. Sylvie Pénichon offers a succinct survey of the technological advances that made color in photography a reality and have since marked its multifaceted development. These texts, illuminated by seventy-five full-page plates and more than eighty illustrations, make this book a groundbreaking contribution to photographic studies.

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About the Author:

A leading curator in the field of fine art photography, Rohrbach is senior curator of photographs at the Amon Carter Museum of American Art. He coedited the collection of essays Reframing the New Topographics, and his other publications include “Time in New England: Creating a Usable Past,” in Paul Strand: Essays on His Life and Work; Eliot Porter: The Color of Wildness; Regarding the Land: Robert Glenn Ketchum and the Legacy of Eliot Porter; and Accommodating Nature: The Photographs of Frank Gohlke.

Review:

"This [book] makes an important contribution to the fields of photohistory and cultural history. . . . You really get a sense of key players in the field: who had influence, how they exerted it, and what their agenda was (even if the agenda changed over time.) There is even a degree of suspense as the history unfolds." (Britt Salvesen, Curator and Head of the Photography Department, Los Angeles County Museum of Art)

"Rohrbach has uncovered, through interviews and secondary sources, a great deal that has not been stated in print before . . . a superior work." (Arthur Ollman, San Diego State University, Founding Director of the Museum of Photographic Arts)

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Amon Carter Museum of American Art, John Rohrbach
Editorial: University of Texas Press, United States (2013)
ISBN 10: 0292753012 ISBN 13: 9780292753013
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Descripción University of Texas Press, United States, 2013. Hardback. Estado de conservación: New. Language: English . Brand New Book. Capturing the world in color was one of photography s greatest aspirations from the very beginnings of the medium. When color photography became a reality with the introduction of the Autochrome in 1907, prominent photographers such as Alfred Stieglitz were overjoyed. But they quickly came to reject color photography as too aligned with human sight. It took decades for artists to come to understand the creative potential of color, and only in 1976, when John Szarkowski showed William Eggleston s photographs at the Museum of Modern Art, did the art world embrace color. By accepting color s flexibility and emotional transcendence, Szarkowski and Eggleston transformed photography, giving the medium equal artistic stature with painting, but also initiating its demise as an independent art. The catalogue of a major exhibition at the Amon Carter Museum of American Art, which holds one of the premier collections of American photography, Color tells, for the first time, the fascinating story of color s integration into American fine art photography and how its acceptance revolutionized the practice of art. Tracing the development of color photography from the first color photograph in 1851 to digital photography, John Rohrbach describes photographers initial rejection of color, their decades-long debates over what color brings to photography, and how their gradual acceptance of color released photography from its status as a second-tier art form. He shows how this absorption of color instigated wide acceptance of a fundamentally new definition of photography, one that blends photography s documentary foundations with the creative flexibility of painting. Sylvie Penichon offers a succinct survey of the technological advances that made color in photography a reality and have since marked its multifaceted development. These texts, illuminated by seventy-five full-page plates and more than eighty illustrations, make this book a groundbreaking contribution to photographic studies. Nº de ref. de la librería AAC9780292753013

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Amon Carter Museum Of American Art
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Descripción University of Texas Press, 2013. HRD. Estado de conservación: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Nº de ref. de la librería IB-9780292753013

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Amon Carter Museum of American Art
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Descripción University of Texas Press, 2013. Hardcover. Estado de conservación: New. Never used!. Nº de ref. de la librería 0292753012

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Descripción Univ Texas Press. Estado de conservación: BRAND NEW. BRAND NEW Hardcover A Brand New Quality Book from a Full-Time Bookshop in business since 1992!. Nº de ref. de la librería 2116870

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Descripción University of Texas Press, United States, 2013. Hardback. Estado de conservación: New. Language: English . Brand New Book. Capturing the world in color was one of photography s greatest aspirations from the very beginnings of the medium. When color photography became a reality with the introduction of the Autochrome in 1907, prominent photographers such as Alfred Stieglitz were overjoyed. But they quickly came to reject color photography as too aligned with human sight. It took decades for artists to come to understand the creative potential of color, and only in 1976, when John Szarkowski showed William Eggleston s photographs at the Museum of Modern Art, did the art world embrace color. By accepting color s flexibility and emotional transcendence, Szarkowski and Eggleston transformed photography, giving the medium equal artistic stature with painting, but also initiating its demise as an independent art. The catalogue of a major exhibition at the Amon Carter Museum of American Art, which holds one of the premier collections of American photography, Color tells, for the first time, the fascinating story of color s integration into American fine art photography and how its acceptance revolutionized the practice of art. Tracing the development of color photography from the first color photograph in 1851 to digital photography, John Rohrbach describes photographers initial rejection of color, their decades-long debates over what color brings to photography, and how their gradual acceptance of color released photography from its status as a second-tier art form. He shows how this absorption of color instigated wide acceptance of a fundamentally new definition of photography, one that blends photography s documentary foundations with the creative flexibility of painting. Sylvie Penichon offers a succinct survey of the technological advances that made color in photography a reality and have since marked its multifaceted development. These texts, illuminated by seventy-five full-page plates and more than eighty illustrations, make this book a groundbreaking contribution to photographic studies. Nº de ref. de la librería AAC9780292753013

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Descripción Hardcover. Estado de conservación: New. Hardcover. Capturing the world in color was one of photography's greatest aspirations from the very beginnings of the medium. When color photography became a reality with the introduction of the Auto.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 336 pages. 2.427. Nº de ref. de la librería 9780292753013

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