A Note on the Dating of Brigman’s Negatives

Pyne, Kathleen

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A Note on the Dating of Brigman’s Negatives

Kathleen Pyne

Anne Brigman: The Photographer of Enchantment

~In this book the dates given in parentheses following the titles of Brigman’s photographs refer to the date when Brigman made the negative for that image. These dates are based on her own annals of her work, recorded in her correspondence with Alfred Stieglitz and the lists of her negatives at the George...

Author

Kathleen Pyne

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-21520

A Note on the Dating of Brigman’s Negatives

In this book the dates given in parentheses following the titles of Brigman’s photographs refer to the date when Brigman made the negative for that image. These dates are based on her own annals of her work, recorded in her correspondence with Alfred Stieglitz and the lists of her negatives at the George Eastman Museum, in addition to publication and exhibition records of her photographs. Brigman continued to print from her early negatives throughout her life, and some of her later prints were backdated to reflect the earlier date of the negative. This idiosyncrasy is evident with a few of her platinum prints, as she printed in platinum only occasionally and only after 1910.

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BOOKAnne Brigman: The Photographer of Enchantment

Kathleen Pyne

https://doi.org/10.37862/aaeportal.00256

Stable URL: https://aaeportal.com/?id=-21517

In this first monograph devoted to Anne Brigman (1869–1950), Kathleen Pyne traces the groundbreaking photographer’s life from Hawai‘i to the Sierra and elsewhere in California, revealing how her photographs emerged from her experience of local place and cultural politics. Brigman’s work caught the eye of the well-known photographer Alfred Stieglitz, who welcomed her as one of the original members of his Photo-Secession group. He promoted her work as exemplary of his modernism and praised her Sierra landscapes with female nudes—work that at the time separated Brigman from the spiritualized upper-class femininity of other women photographers. Stieglitz later drew on Brigman’s images of the expressive female body in shaping the public persona of Georgia O’Keeffe into his ideal woman artist. This nuanced account reasserts Brigman’s place among photography’s most important early advocates and provides new insight into the gender and racialist dynamics of the early twentieth-century art world, especially on the West Coast of the United States.

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Author

Kathleen Pyne

PublisherYale University Press

Print publication date June 2020 (in print)

Print ISBN 9780300249941

EISBN 9780300263640

Illustrations 154

Print Status in print

Publisher (in print)

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