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Farbe: Amerikanische Fotografie transformiert von Amon Carter Museum of American Art-
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eBay-Artikelnr.:364014756845
Artikelmerkmale
- Artikelzustand
- Publication Date
- 2013-09-15
- Pages
- 344
- ISBN
- 9780292753013
Über dieses Produkt
Product Identifiers
Publisher
University of Texas Press
ISBN-10
0292753012
ISBN-13
9780292753013
eBay Product ID (ePID)
166484077
Product Key Features
Book Title
Color : American Photography Transformed
Number of Pages
344 Pages
Language
English
Topic
Collections, Catalogs, Exhibitions / General, History, Techniques / Color
Publication Year
2013
Illustrator
Yes
Genre
Photography
Format
Hardcover
Dimensions
Item Height
1.3 in
Item Weight
84.2 Oz
Item Length
12.3 in
Item Width
10.3 in
Additional Product Features
Intended Audience
Trade
Reviews
"The invention of the Autochrome in 1907 ushered color into photography and excited artists at the time. But then something strange happened: they recoiled from color, feeling it was too similar to the way we see the world. If the burgeoning medium of photography couldn't provide something different than what each of us could see using our own eyes, what was it good for? Color: American Photography Transformed tracks the curious history of color in American photography and is a sumptuous beauty to hold in the hand, with images from Walker Evans, Irving Penn and Ansel Adams, among many others."-Kirkus
Dewey Edition
23
Dewey Decimal
778.6
Table Of Content
Foreword Introduction Chapter One: Inventing Color Photography Chapter Two: Defining Color, 1936-1970 Chapter Three: Using Color, 1970-1990 Chapter Four: Interrogating Color, 1990-2010 By John Rohrbach From Potatoes to Pixels: A Short Technical History of Color Photography By Sylvie Pénichon List of Plates Bibliography Acknowledgments Index
Synopsis
The first book that addresses color in photography from the beginning of the medium to the present, this landmark copublication with the Amon Carter Museum of American Art explores how color transformed photography into today?s dominant artistic form., 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., 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.
LC Classification Number
TR510.C536 2013
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