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From Adams to Stieglitz: Pioneers of Modern Photography (Aperture Writers & Artists on Photography) | 
 enlarge | Author: Nancy Newhall
Creators: Michael E. Hoffman, Beaumont Newhall
Publisher: Aperture
Category: Book
List Price: $24.95
Buy New: $7.44
You Save: $17.51 (70%)
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Avg. Customer Rating:  1 reviews
Sales Rank: 1505522
Media: Hardcover
Edition: 2nd
Number Of Items: 1
Pages: 192
Shipping Weight (lbs): 1.3
Dimensions (in): 9.3 x 6.5 x 0.9
ISBN: 0893813729
Dewey Decimal Number: 770.92273
EAN: 9780893813727
ASIN: 0893813729
Publication Date: June 30, 1998
Availability: Usually ships in 1-2 business days
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Condition: Smoke-Free. We ship daily.
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Product Description
Nancy Newhall wrote some of the most incisive work ever published on the inner lives of the photographers who shaped the medium. Her friendship with photographers such as Paul Strand, Alfred Stieglitz, Edward Weston, Ansel Adams, and Helen Levitt, to name a few, lends her writing a vibrancy rarely found in essays on photography.
Newhall was one of the few people to gain access to the inner circle--and thoughts--of the imposing Alfred Stieglitz, and her intimate portrait of him, previously unpublished, reveals a man of genius, humor, and kindness.
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| Customer Reviews:
Great collection of Mid 20th Century Photography Writing May 12, 2003
6 out of 6 found this review helpful
Nancy Newhall was (and continues to be some 29 years after her accidental death) one of the best writers on photography I have read. She was a confidant of such luminaries as Alfred Stieglitz and Ansel Adams (she was his first biographer), the acting curator of the Department of Photography at New York's Museum of Modern Art in the 1940's, a driving force in the influential magazine and publishing concern Aperture, and an avid writer of photography books.The writings collected in "From Adams to Stieglitz: Pioneers of Modern Photography" represent a wonderful cross-section of her work. Her knowledge of the history of photography is amazing as she writes about the motivation driving the development of the medium. Two of the pieces are remarkable: "Controversy and the Creative Concepts," written in 1953, compares and contrasts the photographic style of the "Parisian School" as represented by Cartier-Bresson and the "Western School" represented by Group f/64, Alfred Eisenstaedt, and Helen Bourke-White. Worlds diametrically opposed, each equally valid. The article presents an important overview of 20th century photography. "The Caption: The Mutual Relation of Words/Photographs," written in 1952 for the first issue of Aperture, looks at the different types of captions that can be attached to a photograph (if any: Stieglitz refused to put caption on his work) and how one should write them. This essay provides nice insight into the practice of photographic writing. Anyone with an interest in 20th century photography will find this book an essential part of their library. Her writing style is unique and wonderful, an absolute joy to read.
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