{"id":774,"date":"2020-10-16T17:45:29","date_gmt":"2020-10-16T17:45:29","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=774"},"modified":"2020-10-28T20:39:00","modified_gmt":"2020-10-28T20:39:00","slug":"when-photography-became-art-pictorialism","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2020\/10\/16\/when-photography-became-art-pictorialism\/","title":{"rendered":"When Photography Became Art: Pictorialism"},"content":{"rendered":"\n<p>Today I would like to consider two photographs by American photographers, <em>The Red Man<\/em> by Gertrude K\u00e4sebier and <em>Ziletta<\/em> by F. Holland Day. The two images are remarkably similar, presenting close-up, cropped depictions of the human face. Both photos, reproduced in these versions using photogravure, were originally done as platinum prints, a process which allows the production of warm tonal ranges.<sup>1<\/sup> In fact, these two photographs date from a key moment in the history of photography, one in which the medium was not yet considered art. For the first sixty-odd years of the medium\u2019s existence, in fact, it was widely agreed that it was not appropriate for art. Photography\u2019s indexicality, its ability to completely and minutely capture visual reality, relegated it to the status of scientific or mechanical tool. It was artists like K\u00e4sebier and Day, good friends despite their very different life circumstances, who made photography\u2019s shift in status to that of an artistic medium possible. They did so as part of the trans-Atlantic movement known as Pictorialism.<sup>2<\/sup><\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"483\" height=\"650\" src=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/10\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum.jpg\" alt=\"\" data-id=\"775\" data-link=\"http:\/\/blogs.rollins.edu\/cfam\/?attachment_id=775\" class=\"wp-image-775\" srcset=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum.jpg 483w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum-223x300.jpg 223w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum-100x135.jpg 100w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum-150x202.jpg 150w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum-200x269.jpg 200w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum-300x404.jpg 300w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum-450x606.jpg 450w\" sizes=\"auto, (max-width: 483px) 100vw, 483px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"516\" height=\"650\" src=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/10\/day-f-holland-zilleta-rollins-college-cornell-museum.jpg\" alt=\"\" data-id=\"777\" data-full-url=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/10\/day-f-holland-zilleta-rollins-college-cornell-museum.jpg\" data-link=\"http:\/\/blogs.rollins.edu\/cfam\/?attachment_id=777\" class=\"wp-image-777\" srcset=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/day-f-holland-zilleta-rollins-college-cornell-museum.jpg 516w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/day-f-holland-zilleta-rollins-college-cornell-museum-238x300.jpg 238w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/day-f-holland-zilleta-rollins-college-cornell-museum-100x126.jpg 100w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/day-f-holland-zilleta-rollins-college-cornell-museum-150x189.jpg 150w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/day-f-holland-zilleta-rollins-college-cornell-museum-200x252.jpg 200w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/day-f-holland-zilleta-rollins-college-cornell-museum-300x378.jpg 300w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/day-f-holland-zilleta-rollins-college-cornell-museum-450x567.jpg 450w\" sizes=\"auto, (max-width: 516px) 100vw, 516px\" \/><\/figure><\/li><\/ul><figcaption class=\"blocks-gallery-caption\">Left \/ Gertrude K\u00e4sebier (American, 1852\u20131934) <em>The Red Man<\/em>, 1898, Photogravure print<br> Purchased with the Michel Roux Acquisitions Fund, 2013.13  <br>Right \/ F. Holland Day (American, 1864\u20131933) <em>Ziletta<\/em>, 1895, Photogravure print<br>Purchased with the Michel Roux Acquisitions Fund, 2013.12<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>Day, the only son of a wealthy merchant from Dedham, outside of Boston, Massachusetts, had his finger on the pulse of several late-nineteenth century art movements. He originally began experimenting with a camera while running Copeland &amp; Day, the artistic publishing house he founded with a friend in 1893, inspired by William Morris\u2019s Kelmscott Press.<sup>3<\/sup> K\u00e4sebier, on the other hand, did not start her career until she was 45, having waited until her three children were old enough that she could take time to attend Brooklyn\u2019s Pratt Institute, where she trained as a painter under Arthur Wesley Dow before turning her attention to photography. Dow and her other teachers were dismayed by this move, believing that photography was appropriate only for capturing the world as it was, rather than the creation of original works of art.<sup>4<\/sup> This divide is key to the development of Pictorialism. Day, K\u00e4sebier, and their fellows\u2014most of whom quickly became associated with the Photo-Secession, a group created by gallerist and photographer Alfred Stieglitz to promote photography as an art form\u2014eschewed photography\u2019s supposed scientific rationality in favor of personal subjectivity, often manipulating their negatives and prints in order to achieve painterly effects, in particular a rich, dark tonality inspired by the American expatriate artist James Whistler.<sup>5<\/sup><\/p>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"437\" height=\"650\" src=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/10\/strand-paul-telephone-poles-rollins-college-cornell-museum.jpg\" alt=\"\" class=\"wp-image-780\" srcset=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/strand-paul-telephone-poles-rollins-college-cornell-museum.jpg 437w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/strand-paul-telephone-poles-rollins-college-cornell-museum-202x300.jpg 202w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/strand-paul-telephone-poles-rollins-college-cornell-museum-100x149.jpg 100w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/strand-paul-telephone-poles-rollins-college-cornell-museum-150x223.jpg 150w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/strand-paul-telephone-poles-rollins-college-cornell-museum-200x297.jpg 200w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/strand-paul-telephone-poles-rollins-college-cornell-museum-300x446.jpg 300w\" sizes=\"auto, (max-width: 437px) 100vw, 437px\" \/><figcaption>Paul Strand <br>(American, 1890\u20131976) <br>  Telephone Poles, 1915<br>  Photogravure print<br>  Purchased with the Michel Roux Acquisitions Fund, 2013.27<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Both photographers achieved widespread renown, winning awards on both sides of the Atlantic for these and other works. Despite this renown, however, both also fell out of favor among critics and historians, though recent scholarship has sought to revive both their reputations. This was due to a confluence of factors, including both personal conflicts and changing taste in photography. Day\u2014whose interests were always idiosyncratic and whose wealth insulated him from the dictates of artistic fashion\u2014and K\u00e4sebier\u2014who maintained a thriving professional portrait practice that caused friction with the amateurism-obsessed Photo-Secession\u2014both fell afoul of the mercurial Stieglitz, who set the tone for the development of photography as a modern medium.<sup>6<\/sup> Though he had featured K\u00e4sebier in the first issue of <em>Camera Work<\/em>, his influential journal of modernist photography, Stieglitz cast her and Day out, featuring instead the work of the younger Paul Strand in the magazine\u2019s last issue. Strand\u2014who I hope to discuss more in a future post\u2014was the foremost exemplar of \u201cstraight photography,\u201d a movement which saw the act of artistic creation not in careful manipulation of the negative, but rather in the selection of the image to be captured. With his championing of Strand in <em>Camera Work<\/em>\u2019s swan song, Stieglitz pealed the death knell of Pictorialism for generations. K\u00e4sebier and Day both had to wait until recent years for revivals in their artistic fortunes.<sup>7<\/sup> Now, looking back, we can appreciate them not only for their historical importance, but also for their ability to capture something essential yet mysterious in the faces of their sitters.<br><\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><sup>1<\/sup> Elizabeth Hutchinson, \u201cWhen the \u2018Sioux Chief\u2019s Party Calls\u2019: K\u00e4sebier\u2019s Indian Portraits and the Gendering of the Artist\u2019s Studio,\u201d <em>American Art<\/em> 16, no. 2 (2002): 41. Kathleen A. Pyne and Georgia O\u2019Keeffe, <em>Modernism and the Feminine Voice: O\u2019Keeffe and the Women of the Stieglitz Circle<\/em> (Berkeley\u202f: Santa Fe\u202f: Atlanta: University of California Press\u202f; Georgia O\u2019Keeffe Museum\u202f; High Museum of Art, 2007), 5.<\/p>\n\n\n\n<p><sup>2<\/sup> Fred Holland Day and Pam Roberts, <em>F. Holland Day<\/em> (Zwolle: Waanders Publishers, 2000), 15\u201316. Michelle Anne Delaney, <em>Buffalo Bill\u2019s Wild West Warriors: A Photographic History by Gertrude K\u00e4sebier<\/em>, 1st ed (Washington, D.C.\u202f: New York: Smithsonian National Museum of American History\u202f; Collins, 2007), 7\u20139.<\/p>\n\n\n\n<p><sup>3<\/sup> Day and Roberts, <em>F. Holland Day<\/em>, 14\u201315.&nbsp; Kristin Schwain, \u201c<a href=\"https:\/\/doi.org\/10.1086\/429974\">F. Holland Day\u2019s <em>Seven Last Words<\/em> and the Religious Roots of American Modernism,\u201d <em>American Art<\/em> 19, no. 1 (March 2005): 35<\/a>.<\/p>\n\n\n\n<p><sup>4<\/sup> Delaney, <em>Buffalo Bill\u2019s Wild West Warriors<\/em>, 7\u20139. <\/p>\n\n\n\n<p><sup>5<\/sup> Gertrude K\u00e4sebier, <em>Gertrude K\u00e4sebier: The Complexity of Light and Shade\u202f; Photographs and Papers of Gertrude K\u00e4sebier in the University of Delaware Collections<\/em>, ed. Stephen Petersen and Janis A. Tomlinson (Ausstellung, Newark, Del.: University of Delaware, University Museums, Old College Gallery, Mechanical Hall Gallery, Mineralogical Museum, 2013), 8.<\/p>\n\n\n\n<p><sup>6<\/sup> K\u00e4sebier, 15\u201319. Day and\nRoberts, <em>F. Holland Day<\/em>, 11\u201312.<\/p>\n\n\n\n<p><sup>7<\/sup> K\u00e4sebier, <em>Gertrude\nK\u00e4sebier<\/em>, 21.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Today I would like to consider two photographs by American photographers, The Red Man by Gertrude K\u00e4sebier and Ziletta by [&hellip;]<\/p>\n","protected":false},"author":16,"featured_media":776,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[55],"tags":[9,78,77,79,80,29],"class_list":["post-774","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-research-highlights-insights-into-the-american-art-collection","tag-cornell-fine-arts-museum","tag-f-holland-day","tag-gertrude-kasebier","tag-photography","tag-pictorialism","tag-rollins-college"],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>When Photography Became Art: Pictorialism - Rollins Museum of Art<\/title>\n<meta name=\"description\" content=\"In fact, these two photographs date from a key moment in the history of photography, one in which the medium was not yet considered art.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.rollins.edu\/rma\/2020\/10\/16\/when-photography-became-art-pictorialism\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"When Photography Became Art: Pictorialism - Rollins Museum of Art\" \/>\n<meta property=\"og:description\" content=\"In fact, these two photographs date from a key moment in the history of photography, one in which the medium was not yet considered art.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/blogs.rollins.edu\/rma\/2020\/10\/16\/when-photography-became-art-pictorialism\/\" \/>\n<meta property=\"og:site_name\" content=\"Rollins Museum of Art\" \/>\n<meta property=\"article:published_time\" content=\"2020-10-16T17:45:29+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-10-28T20:39:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/10\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"483\" \/>\n\t<meta property=\"og:image:height\" content=\"650\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Grant Hamming, American Art Research Fellow, CFAM\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Grant Hamming, American Art Research Fellow, CFAM\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/blogs.rollins.edu\\\/rma\\\/2020\\\/10\\\/16\\\/when-photography-became-art-pictorialism\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/blogs.rollins.edu\\\/rma\\\/2020\\\/10\\\/16\\\/when-photography-became-art-pictorialism\\\/\"},\"author\":{\"name\":\"Grant Hamming, American Art Research Fellow, CFAM\",\"@id\":\"https:\\\/\\\/blogs.rollins.edu\\\/rma\\\/#\\\/schema\\\/person\\\/8986446cf0119abe5d81bad9e8d3a513\"},\"headline\":\"When Photography Became Art: Pictorialism\",\"datePublished\":\"2020-10-16T17:45:29+00:00\",\"dateModified\":\"2020-10-28T20:39:00+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/blogs.rollins.edu\\\/rma\\\/2020\\\/10\\\/16\\\/when-photography-became-art-pictorialism\\\/\"},\"wordCount\":902,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/blogs.rollins.edu\\\/rma\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/blogs.rollins.edu\\\/rma\\\/2020\\\/10\\\/16\\\/when-photography-became-art-pictorialism\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/blogs.rollins.edu\\\/rma\\\/wp-content\\\/uploads\\\/2020\\\/10\\\/k\u00e4sebier-gertrude-the-red-man-rollins-college-cornell-museum-1.jpg\",\"keywords\":[\"Cornell Fine Arts Museum\",\"F. 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