1.0Rollins Museum of Arthttps://blogs.rollins.edu/rmaadminhttps://blogs.rollins.edu/rma/author/admin/Work of the Week: Gertrude Käsebier, “The Red Man”rich600338<blockquote class="wp-embedded-content" data-secret="5tEiGeU1k7"><a href="https://blogs.rollins.edu/rma/2022/08/15/gertrude-kasebier-the-red-man/">Work of the Week: Gertrude Käsebier, “The Red Man”</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://blogs.rollins.edu/rma/2022/08/15/gertrude-kasebier-the-red-man/embed/#?secret=5tEiGeU1k7" width="600" height="338" title="“Work of the Week: Gertrude Käsebier, “The Red Man”” — Rollins Museum of Art" data-secret="5tEiGeU1k7" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript">
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https://blogs.rollins.edu/rma/wp-content/uploads/2022/07/81514.jpg597800Gertrude Käsebier was an early supporter of the Pictorialism movement, which sought to reverse the idea that photography could not be painterly. Joining the likes of Alfred Stieglitz and Edward Steichen in the Photo Secession group, she adopted several older, labor-intensive printing styles, used alternative chemicals that yielded more nuanced tonal ranges, and reworked her plates with paintbrushes and other methods before printing. In the pictorialists’ hands, photography was art and being a photographer was a professionalized artistic craft.