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PROTO MODERN PHOTOGRAPHY

The first two decades of the twentiethcentury were revolutionary for all CREDITS
the arts. They were years of experimentation, of redefinition, and a
search fornew direction.Painters turnedtowards theabstract, architects
towards thefunctional，musicians towardsthe atonaland writers towards
the reshaping of literary forms.
During this time, Modern photography emerged through the
efforts of photographers and critics in the mainstream of Modern art
movements. Some began to question the function of the camera and to
redefine the position of photography among the arts.
From their pioneeringwork came a revitalizationof photography
and its ultimate recognition as an independent art with its own
characteristics and virtues. By the 1920s，photography was an integral
part of progressive artmovements sweepingacross Europe andAmerica.
Beaumont Newhall
Pages from the fine arts quarterly Camera Work, No. 44,
October 1913, edited and published by Alfred Stieglitz.
(iift of J.I).Hatch, Museum of Fine Arts, Museum of New Mexico.
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Organized by the CREDITS
Museum of Fine Arts,
Museum of New Mexico
in conjunction with the
画nternational Museum of Photography
at George Eastman House
This exhibition project is part
of a series exploring the history
of photography funded by a
major gift from an anonymous donor
with matching funds from the
National Endowment for the Arts.
Additional support has been provided
by the Museum of New Mexico Foundation,
The Photo Group,
The Howard Greenburg Gallery,
Mr. Andrew D. Wolfe and
Ms. Vivienne Tellier.
Exhibition:
Museum of Fine Arts,
Museum of New Mexico, Santa Fe
July 11 to October 11，1992
international Museum of Photography
at George Eastman House
December 5,1992 to February 7,1993

，ed an integral role in the development of
Modern art in the twentieth century- Beaumont Newhall introduced a
fundamental study of these contributions in Photo Eye of the 20s，an
exhibition of photographs and films held at the George Eastman House
and Museumof Modern Artin 1971.Several ofthe contributionsby early
modern photographersare discussedintheintroduction tohis exhibition.
By the end of the early decades of this century，he writes,
Two directions already were established:
the directuse ofthe camera tobringusface toface
with the thing itselfin allits substance and texture, and
the exploration of a fresh vision of the world，
conformingneither to traditionnorconvention^ andthe creationofabstract，
even autonomous images unrelated to realism.
In Proto Modern Photography，Beaumont Newhall fosters our
understanding aboutthe origins of Modernphotography. More thanany
single artmovement, Modernistdiscourse helpedtransform photography
into a major art form inthis century.This exhibition createsa historical
context for the appreciation of such a beginning.
Duringthe firstdecades ofthe twentiethcentury,artists pursued
the autonomy of individual art forms by refining their inherent
characteristics. In photography, this became a matter of continual
discussionthroughits own vernacular.Termssuchas antiphotographic,
straight photography,and the limitations ofthe mediumbecame a part
of the artistic criteria.By 1917,photographers Alfred Stieglitzand Paul
Strand becameproponents ofthis view;they sawin Modern art,including
photography，that: “Photography…finds itsraisond'etre, likeall media，
in a complete uniqueness of means. This is an absolute unqualified
objectivity. Unlikethe otherarts whichare reallyanti-photographic, this
objectivity is of the very essence of photography,Its contributionand at
the same time its limitation.…Thefull potential power of every medium
is dependent upon the purity of its use,*
Photography evolved as an independent art form from the heat
of suchdebates. Moderntenets inphotography werenot bornin isolation:
they emerged in the currents of progressive art movements begi隱ng
with Cubism and Futwrism。Artists and critics forged the discourse。
As artists move from convention into uncharted territory, they
experiment with elemeinits from the past to create the newe This hybrid
©J proven practices amd past vocabMlaries ™ combinedl woth
_c_veirati籠al elemeiiDts апЛ approaches = creates alternatives t©

accepted standards. Modern photography began in several ways, often
through a formative process of new ideas combined with parts of
traditional vocabularies fromthe nineteenth century.Such was the way
of the pioneering Modernists who helped ignite these early decades of
innovation. By the 1920s，artists and critics establisheda primary role
for photography within the international mainstream of art.
-n ModernandModernism, TheSovereignty ofthe Artist 1885-
1925 は985Ь Frederick R. Karl writes that “all efforts to simplify
Modern into a monolithic movement are doomed to failure-” It is true:
the development of Modernist aesthetics and culture was a complex
process historically.It isan evolution of sources and relationshipsthat
manifest in many directions. To Karl's observation can be added: all
efforts to simplify Modern photography into an isolated movement, a
smg�e photograph or style, aredoomed to failure.Like the inventionsof
Photography fromthe centurybefore, theorigins ofModern photography
occur as a result of several individuals and new modes of vision.
Other scholarscontinue toadd tothis growingfield ofstudy. Van
DerenCokeand DianaC_ DuPont，s publication,Photography:AFacetof
Modernism (1986), developed fromthe permanent collectionof the San
Francisco Museum of Modern Art, reveals many in-depth contributions
with biographies of twentiethcentury Modernists.Like a detective,John
C" Wadde" assembled s"g"ificant documentation forhis collection,now
part of The Metropolitan Museum of Art's permanent collection.
Thoroughly researchedby CuratorMaria MorrisHambourg, thisparticular
legacyofphotography waspreservedintheexhibitionandbook, TheNew
Visionf Photography Between the World Wars (1989).
Other publications reveal contributions by early Modernists,
including Alvin Langdon Coburn，Charles Sheeler, Paul Strand，Alfred
Stieg�’tz, and Bernard Shea Home. Catalogs such as PierreDubreuil,
Photographs 1896.193S (1987) by Tom Jacobson and Cubism and
American Photography,1910-1930 (1981) by John Pultzand Catherine
Scullen, establish further critical sources of historical information.
However, research remains as thissignificant photographic tradition is
property acknowledged forits influence inart history.The collectorsand
institutions represented in this exhibition continue to preserve the
genesis of Modernism.
ТшНау jt may be even more critical to examine the emergence of
Modennflst disc續se tounderstand隱present period of transition.The
с画nt Postmodern discourseby artists,critics,and theoristscontinually
shifts between sustaining, rewsong, and ending the established canons
of Moderniiisfmio
Artists are again utilozong the vocabularies of the past to forge
_w 瞧delse Ph©t©graphoc ideas aire expanding with other art forms7
tempered by new video technologies, computers, faster emulsions and
an increasing diversity of lenses.
Perhaps by evaluatingthe origins of Modernphotography at the
beginning of this century, we can see a relationship to the present
debates as we move into a new era of photographic possibilities.
say
"Photography," Camera Work, nos. 49-50,June 1917,3-Clement Greenberglater put
the Modernist premise into historic context: Each art bad to determine、through the
operations peculiar to itself、the effectspeculiar and exclusive to itself....It quickly emerged
that the unique andproper area ofcompetence ofeach art coincidedwith allthat was unique
to the nature ofits medium....each artwould be rendered ‘pure，andin its purity find the
guarantee ofits standardsofquality as wellas ofits independence. Modernist Painting’
Art and Literature, no 4, spring 1965，193-201.

Marius De Zayas wrote in Camera Work in July of 1912 that
"the modern artist is the prototype of consciousness...an eclectic in
spirit andan iconoclastin action."These artists“express thecharacter
of their time...they are the product of modern conditions.，，1 It was
individual artistsand writerssuch asDe Zayas, aswell asphotographers
and critics，who established Modern photography in the course of
progressive art movements. Impressionism and Post-Impressionism
helped openthe doorsto Fauvism，Cubism，Futurism,and Expressionism.
Modern photography establishedits ownattributes asa distinct medium
from many sources such as Pictorialism and the influence of Cubism.2
The Pictorial Photography movement and its reactionary
counterpart in 1902, the Photo-Secession, led the way in the dawn of
the modern era. The Photo-Secession was an informal society of
American photographers that began with contemporary aspirations in
reaction to academicism，similar tothe Secessionist groups organized
in Europe.3 The subsequent breakthroughs by these and other
photographers contributed to the emergence of Modern photography.
It was photography that first brought Modern art to America.
Early in 1908, drawings by Auguste Rodin were exhibited at Alfred
Stieglitz's Photo-Secessiongallery, laterknown by itsNew York address
on Fifth Avenue as 291. This was followed by the first American
retrospective ofHenri Matisseincludingetchings，drawings，watercolors,
lithographs, and oil paintings. Subsequent exhibitions at the
photography gallery included work inall art mediums by pioneers such
as Cezanne, the Cubists, Braque，Picasso，Picabia，and American
Modernists John Marin, Marsden Hartley andGeorgia 0，Keeffe, among
others.
Stieglitz's curatorial efforts were supported by other artists.
Photographer and painter, Edward Steichen and caricaturist for the
New Уогк World，Marius De Zayas helped contact artists suchas Rodin
and Picasso aswell as galleriesin Europe.Other artists, suchas Cubist
Max Weber, provided an early understanding for Modern art and
abstraction including photography.4 Modern photography emerged
from these cross-currents without becoming a single movement，
manifesto or style.5
Stieglitz was a dynamicfigure whoencouraged the development
of refined ideas about the aesthetics of the photograph. In October
1902, hewrote in TheCenturyMagazine aboutdiversity inphotography.
“The modern photographer，”he stated，“has it in his power to direct
and mold as he wills virtually every stage of the making of his
picture….Each individual print has an identity of its own." The final
print was open to new avenues of expression，further underscoring the
Alfred Stieglitz
Equivalent,1929
gelatin silver photograph
Rebecca Salsbury James Beque
Museum of Fine Arts
medium's independence.
As a photographer，Stieglitz continuallyreshaped what hecalled
“the idea photography” in a cultivating process fueled by his beliefs.
This conceptinfluenced artists,critics andwriters, asdid theexhibitions
at the Photo-Secession galleries, and his editorial direction of the
periodicals CameraNotesand Camera Work.^ Modernistdoctrine emerged
through all these efforts along with the contributions by individual
artists and critics.
As an experimenter，Stieglitz's photographs contained many
dimensions，including modern elements. In 1907, he photographed The
Steerage on the shipdeck of the Kaiser Wilhelm II during his trip to
Europe to experience Modern art first-hand- Pablo Picasso who was
completing his first Cubist painting, Les Demoiselles d'Avignon, later
saw and admired Stieglitz's photograph. However, The Steerage is
composed of many ingredients，including strong formalelements- It is a
turning point inphotography that was"the summationof a tradition,and
the indication of new directions-”7 More and more Steiglitz s work
embraced innovativeaspirations whichculminated inModernist doctrine.
His work evolved in the spirit of what Marius De Zayas saw as “the
representation of feeling and ideas through material equivalents 一
abstract form.，，8
In 1901，Frenchman Pierre Dubreuil conceived of photographs
as a vehicle for sophisticated ideas beyond the descriptive power of the
camera. The followingyear，his photographs were influencedby the work
of American photographers who started the Photo-Secession. Dubreuil
began combiningcontemporary viewpoints, subjects,and forms withthe
soft-focus tenets of Pictorialism，and by 1908, he had traveled to Paris
to experience the beginning of Cubism and Futurism. The results were
directly translated into photographic Modernism from the canons of
Pictorialism.9
Sadakichi Hartmann，one of the more sensitive critics — who
also wrote under the name of Sidney Allan 一 noted a shift of intent in
the photographs of American photographer Alvin Langdon Coburn»
Coburn began developing modern aspirations through urban subjects-
He added new meaning to the content of the photograph in non
traditional visual terms.In 1904, Hartmannmentions the artist's use of
specific photographic qualities which contributed to the new sense of
the modern photograph;
22
Pierre Dubreuil
Interpretation Picasso: The Railway
c.1911
Photogravure
Gift of TomJacobson
Museum of Fine Arts
Now the structural qualities in these prints of
Coburn"s is partly due to the use of theplatinotype; to the pledge which the
operator imposes onhimselfofadhering to thefacts; butthat he shouldhave
thought ofusing theprocess with thisintention indicatesin himselfafeeling
for the significance ofform andstructure. Itis theprevalence of thisfeeling

feeling throughout allthese prints which."represents afirmfoundation of
artistic perception, in which the accessory motives of lighting, tones and
texture…may surely be developed.10
The playwright George Bernard Shaw, who was also an avid
photographer，saw similar distinctions inCoburn's newest photographs.
Inhis boldpreface tothe exhibitionat theLiverpool AmateurPhotographic
Association in 1906，Shaw compares Coburn's liberated approach in
materials to Auguste Rodin and Modern sculpture. The success of the
photographs arises from a deliberatebreak with convention which Shaw
describes so fervently:
Look at this portrait ofMr. Gilbert Chesterton^
for example! ‘Callthat technique? Why, the head isnot even on the plate.
The delineation isso blunt that the lensmust have been the bottomknocked
out °fa tumbler; andthe exposure was too longfor avigorous image，…Mr.
Coburn hasrepresentedhim asswelling offtheplate...andblurringhis own
—in the Process-…umonsciouslyhandled hissubject as Rodinhandled
Balzac. You may call the placing of the head on the plate wrong, the
focussing wrong, the exposure wrong, ifyou like; but Chesterton is right.
Alvin Langdon Coburn
St. PatiTs from Ludgate Circus
1905 from London
original photogravure, London:
Duckworth & Co, 1909
Gift of Roberta DeGolyer
Shaw continues to praise Coburn's use of the camera and conscious
venture in materials as a Modernist approach:
IfУои consider thatresult merelya luckyblunder,
look at the portrait ofMr. BernardPartridge! There is no lack of vigour
tb辽t image: it is deliberately weighted by comparative иnder-exposure
(or equivalent in under-development)^ and the result is a powerfully
characteristic likeness….h is the technique that has been adapted to the
object. With the same batch of films，the same lens, the same camera, the
same developer, Mr. Coburn can handle you as Bellini handled
everybody…according to his vision ofyou. He is free ofthat clumsy tool—
the human hand...
He drives at the poetic...his impulse is always to
convey a moodandnot impartlocalinformation....This isdone without any
impoverishment or artification.il
The Liverpoolexhibition alsoconsisted of photographswith patternsand
forms from ship docks and high-angled viewpoints of London. Another
picture titledShadows andReflectionsincluded waterreflections beneath
a bridge over acanal inVenice. Coburnbegan creatingnew subjects from
the routine details of everyday life through his attention to form»
Early the next year, several of these photographs were part of
the Exhibition of Modern Photography atthe Goupil Gallery inLondon. A
few monthslater, they were partof Coburn'ssolo exhibitionat thePhoto-
Secession galleries. JuanC. Abel, editor of The Photographer magazine,
also noteda transition: “Coburn presentsthese thingsin anew light....He
is theenfantprodigeof modern photography."12 Thesephotographs 什om
this developmental period were inventive in subject and viewpoint，with
a mutual emphasis on form as a part of the picture's content.
Exhibition catalog cover for the Exhibition of Work of Alvin Langdon Coburn,
The Liverpool Amateur Photographic Association, 1906
Collection of Beaumont and Christi Newhall
From this body of Coburn's work,two sections of photogravures
were made tobe included inthe January 1908issue of Camera Work. The
first section of pictures was traditional landscapes and portraits. The
second section contained photographs with a bolder sense of design,
particularly in the silhouettes and patternsof bridges, ships, andleaves
where forms began acting more independently. A photograph of ship
mast outlines with water reflections titled Spider Webs activates the
viewer's imagination and distances the viewer from the reality of pure
description. This photograph was a precursor to Coburn's The Octopus
four years later.It containsa bird's-eye view of snow-shoveledsidewalks
of Madison Squarein New YorkCity- However,in The Octopusperspective
is eliminated so the viewer moves beyond the organic forms that make
up the picture.

Coburn was exposed to the currents of Modern painting by
visiting Stieglitz's Photo-Secession galleries, traveling to Europe’ and
working in the studio of innovative design teacher Arthur Wesley Dow.
But it was his friendship with Cubist painter Max Weber, who he met in
1910, that fully introduced him to the tenets of Modernism.^3 At this
time, Coburn was mixing Pictorialist convention with a strong sense of
design and form. He photographed industrial subjects and architecture
with an undertone of abstract tendencies (plate 9).
The same year, Weber lectured on photography at Clarence
White's class atColumbia University. Photography andabstraction were
also a part of his course work at the Clarence White School a few years
later. Inthe School's prospectus，Weber's lecturesincluded design and
art history.His lectures helped “analyzethe fundamental principles...in
ancient and modern plastic arts" and discussed "the relationship of
photography to the other plastic arts." Coburn was mentioned as a
partner for critiques.14
Pages from Goupil Gallery exhibition catalog,
Camera Pictures by Alvin Langdon Coburn，October, 1913
Late in1911’ Coburntraveled toYosemite andthe GrandCanyon
where he discoverednew subjects withinthe vast scaleof the spectacular
terrain. Intwo journeys to the AmericanSouthwest，he made dimension-
less photographswith abstractelements usingthe changinglight patterns
of weather and clouds.
The next year in New York City,the transformation continued as
he "saw with new eyes."1^ He photographed skyscrapers by continuing
to tilt hiscamera from high points of view andoften replaced the lensof
the camera with material consisting of different-sized pinholes for
greater definition. The result in the New York photographs was similar
to the diminished perspective found in the Grand Canyon pictures. The
unfamiliar viewpoint, likethat of an aerial photograph,emphasizes form
as an important part of content.16 The next step in Coburn's innovative
development was toward photographic abstraction.
Photograph from an Antoinette airplane over
Camp de Chalons airfield near Reims, France.
Vlllustration, 1909
In 1913,the same year of theInternational Exhibitionof Modern
Art in New York known as the “Armory Show,’’ Coburn exhibited seventy
photographs again at London's Goupil Gallery. W. Howe Downes of the
Boston Transcript wrotein thecatalog thatonly this artist'simagination
could properly transform the monumental scale of the Grand Canyon.
Such photographs succeeded in ways thatpurely representational views
by painters had not; in Downes，words, they provided a “unique revenge
on the part of a once despised art!"
Coburn related Modernism with photography in another section
"New York fromits Pinnacles" which includedfive pictures.He described
his geometric photograph The Thousand Windows made in 1912 as
fantastic in its perspective as a Cubist fantasy". The same year，his
friend, Max Weber finished a canvas of the Woolworth Building with
Cubist dimensions from a similar vantage point. Other photographs,
such as Trinity Church from Above, conveyed a sense of fragmentation
found incollage. Coburn continuedthe analogy by urgingphotographers
to liberate their medium: the "camera artist’’ should go beyond the
"verity of the camera，，and "break away from the worn-out
conventions…and claim the freedom of expression which any art must
have to be alive."17
Music was also an important influence to both artists. Weber
often used music in teaching, made what he termed "music pictures"
and shared them with the photographer. Coburn played compositions
The Thousand Windows,191

from such composers as Stravinsky and Debussy on his pianola and
wrote Weber about concerts. They corresponded about the relationship
between art and music: “I have in mind to make some
'Music=Photographs,....l always want to photograph the essence of
things rather than their husks and shells."18 By 1916，Coburn had
developed another facetof Modernphotography: abstraction.He created
kaleidoscopic portraits of poet Ezra Pound and titled these and other
variations "Vortographs" to prove that the camera could also be used
for purely abstract purposes.The name originated with thepoet and his
Vorticism movement，an offspring of abstract art in London.19
Photography was included in other Modernist theories and
movements. Antonio Bragaglia and his brother Arturo, members of the
Italian Futurist painting movement, captured motion in photographs
and wrote Fotodinamismo futurista (Futurist Photodynamism) in 1911,
Two years later，Antonio publishedthis manifesto withsixteen example:
of "photodynamism" (plate 3).Bragaglia culled hisoriginal theory from
elements of time and movement that were uniquely photographic.
Photodynamism, then, can establish resultsfrom
p0sitive data in the construction of moving reality, just as photography
obt聽lts 觀Positive resu“s in the sphere of staticreality-…our aim is
t0 make a — move away from reality, since cinematography,
photography and chronophotography already exist….We seek the interior
essence °f things: pure movement; and we prefer to see everything in
motlon^ 瞧e as things are dematerialized in motion they become
idealized....itisby thesemeans thatwe areattempting toraisephotography
t0 heights which today it strives impotently to attain.20
Amazingly, fotodinamica was considered a new medium outside
photography and painting. But this Modern photographic movement,
rejected by the Italian Futurist painters, was short-lived.
Critics and writers also contributedto the evolution of Modern
photography inthe first decadesof the century.Many of their essaysare
found inthe pagesof the quarterlymagazine, Camera Work. Themeaning
of Modern art and the work by artists such as Cezanne were examined.
These issues also werecomprised of excerpts fromrecent reviews about
other photography exhibitions including the Photo-Secessiongalleries.
In Camera Work, interests about photography and other art
forms were transformed into the principles and tenets of Modern art.
The April 1908issue began withessays on thefirst exhibitionin America
of sixty drawings by Auguste Rodiin at the Photo-Secession galleries.2i
This issue also contained articles about new color photography as well
17
Alvin Langdon Coburn,
Trinity Church frovt Above、1912
platinum photograph
as "New Tendencies in Art." In the April number of the following year,
critic Charles H. Caffin noted in the photographs by Alvin Langdon
Coburn “a freshness of capacity for seeing pictures in unexpected
directions.’’ By April 1910, Sadakichi Hartmann began writing about
the evolution of artists in all art forms in "On the Possibility of New
Laws of Composition-”
In 1911，Coburncontributed anessay about Modernphotography
and his early leanings toward abstraction in "The Relation of Time to
Art" 一 the same year he photographed in the American Southwest.
Photography was the quintessence of Modernism: "themost modern of
arts...more suited to the art requirements of this age of scientific
achievement than any other." Other essays in Camera Work during the
year analyzedPicasso's useof form.In theOctober issue,photogravures
of the city by Stieglitz were included with an abstract drawing by
Picasso. Among them were The Steerage, The Ferry Boat, and Old and
New New York. They offered a fresh sense of picture organization with
strong formal elements.
In the same quarterly，Sadakichi Hartmann wrote again about
the Modernists' universal interest in form as a new direction in
“Structural Units." “TheImpressionist changes local values tosuit his
own color scheme’” he reasoned. "Why should a similar privilege be
denied to the interpreter of form? Why should he not pursue it to its
structural units, and discover in them a new flavor of beauty?”
Marius De Zayasreinforced Hartmann’ssentiments specifically
for the modern photographer in an essay titled “Photography” in
Camera Work of January 1913. “The true photographer,” he said，“is
he who has become able, through a state of perfect consciousness, to
possess such a clear view of things as to enable him to understand and
feel the beauty of the reality of Form."
It was the writings of De Zayasthat fully articulated the roleof
Modern photography in art. In the spring issue of the same year，he
began to define photography and its role as a Modern art form in
“Photography and Artistic Photography":
The differencebetween PhotographyandArtistic-
Photography is that...the second uses the objectivity of Form to express a
preconceived idea in order to convey an emotion….a means of expression.
In thefirst, man tries to representsomething that isoutside ofhimself; in
the second he tries to represent something that is in himself.
De Zayas finished the essay by linking Stieglitz's photographs with
Cubism; the artist with the camera generates ideas through qualities
transformed from the subject:

Stieglitz has begun with the illumination of the
subject inrepresentedform tosearchfor thepure expression ofthe object.He
is trying to do synthetically^ with the means of a mechanicalprocess, what
some ofthe most advancedartists ofthe modern movement are tryingto do
analytically with the means of Art.
In the October 1913 issue of Camera Work, photography is
discussed as another form of Modernism in De Zayas，"Modern Art一
Theories and Representations”：
Art, at all times, has been composed of two
elements: the idea and the fact; that is,the subjective and the
objective....culminating^ so far as relates to plastic representation".in 34
Photography. The modern Tnovement of art presents the phenofnenon of Bernard Shea Home
being equally subjective and objective. Untitled、c.1916-1917
platinum photograph
By 1913, theyear of the Armory Showin New York,De Zayas had Collection ofjoy s. Weber
outlined and established in theory 一along with the activities of select
photographers and critics 一 the expanding terrain of Modern
photography. The same year he finished one of the earliest books on
Modern art with Paul Haviland，A Study of the Modern Evolution of
Plastic Expression,
Writers andcritics generallyacknowledged Modernphotography
by 1916 in the work by other artists. Bernard Shea Home, a student of
Max Weber at theClarence White School,created stilllifes thatincluded
abstract dimensions (figure 34 and plate 35). The lessons of Weber's
course in designand art history providedthe impetus forbold new forms
of photographic expression by Home, Morton Shamberg (plate 67) and
others. Malcolm Arbuthnot used modern elements within Pictorialist
conventions such as those found in Dubreuil and Coburn's work. Paul
Strand made his first semi-abstract photographs of porch shadows and
close-up details from Twin Lakes, Connecticut (plate 78). Charles
Sheeler's reductive studio detailsfrom exterior and interior viewsof the
Doyleston house, were described as “modernist photographs".22
By the 1920s，a golden era of innovation was flourishing in the
arts_ Modern photography generated a wide range of unparalleled
achievements. It became central to major art movements such as Dada
and Surrealism in reaction toart standards from the past. As Beaumont
Newhall writes, these "were yearsof exploration and regenerationin the
arts. Thefunctions of allartistic media were beingredefined: artistsand
critics alike were seeking new directions.”23
Many other precedents were created by artists using
photography's characteristics to expand ways of seeing. Artist Laszlo
Moholy-Nagy extended photographic qualities in theory and practice.
Light became a medium of expression; photography "destroyed the
canons of representational, imitative art" and joined Modernism "to
achieve newexperiences, anew wealth ofopticalexpression”【plate 45J.24
Artists of the Russian avant-garde, such as Alexander Rodchenkoand El
Lissitzky, turned to photography to abandon easel painting and past
artistic standards (plates 38 and 61).A modern culture built with the
help of artists was in the making.
Rodchenko was a leader in speaking about the role of the new
artist. Art could help build tomorrow's society while conveying the
dynamics of contemporary experience.Unconventional ways of usingthe
camera became essential to new advances through vision. In "Roads to
Contemporary Photography，”published inthe revolutionary journalNovi
Lef’ he laterwrote about thecamera as a toolfor the progressof culture.
Lissitzky also voiced similar sentiments.
In order to teach manto gazeunconventionally, it
isnecessary to photographordinary,familiar objectsfrom totallyunexpected
vantage points andin unexpected combinations….Wbile taught to look in
a routineand traditionalmanner^ we must discover the visibleworldanew.
We must remove the cataract from our eyes.バ
The inventive breakthroughs in modes of vision by individual
artists, as wellas the formativestages of writing,theory and exhibitions,
all contributed to the historical foundation of Modern photography.
Artists and critics helped define and unleash its potential within
mainstream art during the first decades of the twentieth century.
Steve Yates
Curator of Photography
1.Marius De Zayas, "Art is Dead.，’Camera Work, no. 39, July 1912, 21.
2. For Cubism's influence on photography see the exhibition catalog by John Pultz and
Catherine B. Scallen,"Cubism and American Photography,1910-1930," Williamstown：Sterling
and Francine Clark Institute，1981.
3. Alfred Stieglitz, leader of the Photo-Secessionists, wrote："In Europe, in Germany and in
Austria, there have been splits in the art circles and the moderns call themselves Secessionists,
so Photo-Secession really hitches up with theart world." From a conversation recordedin Twice
a Year, No.8-9, 1942,117 quoted in Beaumont Newhall, The History of Photography、from 1839
to the present, NY：The Museum ofModern Art, 4threvision,1964, 105. Forhistorical perspectives
about the Photo-Secession see Robert Doty, Photography as a Fine Art, forward by Beaumont
Newhall, George Eastman HouseMonograph No.1,NY：DuelI，Sloan & Pea гее, Inc.,1960.For
the evolution of thePictorialist movement, see "PictorialPhotography," inNewhall, The History
of Photography, 5 th rev., 1982, Chapter 9,140-65; and in Peter (:. Bunnell, ed., Л Photographk
Vision：Pictorial Photography, 1889-1923, Salt Lake City：Peregrine Smith, 1980.

4- Max Weber was a painter, sculptor, writer and poet who briefly worked with Stieglitz from
his studio behind 291 gallery. In 1910, Weber lectured on photography for Clarence White's
course at ColumbiaUniversity. PercyNorth，Max Weber, The Cubist Decade，1910-1920, Atlanta:
High Museumof Art, 1991，86. By1913, he taught a 30-lecture course indesign and art history
at the Clarence White School in New York City. Modern concepts and what he termed
"equivalents” were discussed where photography and abstraction were an integral part along
with other art forms.From lesson notesof Francis Weber,unpaginated, 1913-17. Collection of
Joy S. Weber. See also The Reminiscences of Max Weber，Oral History Research Project, NY:
Columbia University, 1958.
5. Alfred Stieglitz wrotea letter on December 7,1912, about usingModern art to differentiate
photography, at the same time suggesting its Modernbasis: “As for “Post-Impressionism” it is
a vital force....men like Matisse and Picasso and a few others are giants. Their vision is
antiphotographic.... Itis this antiphotography in their mental attitude andin their work that I
am using in order to emphasize the meaning of photography-” Sarah Greenough and Juan
Hamilton, Alfred Stieglitz, Photographs and Writings, Washington, D.C.: National Gallery of
Art，Callaway Editions, 1983,195. For an early historical review of the first activities of
Modernism inAmerica, see Stieglitz's"Exhibitions at 291Fifth Avenue"in ArthurjeromeEddy,
Cubists and Posulmpressionism,Chicago: A.C. McClurg& Co., 1914. For a comprehensive view
of the earlyModernist activities froman original manuscriptinitiated bythe first director of the
Museum of ModernArt, Alfred Barr,see Marius De Zayas, "How,When and Why Modern Art
Came to New York," Arts Magazine, April 1980, vol.54, no.8, 96-126.
6. For a detailed analysis of Stieglitz's significant role in photography during this formative
Per，°d f°r M°dern Pboto护aphy, see Sarah Greenough, "Alfred Stieglitz and ‘The Idea
Photography,« in AlfredStiegl^ Photographs and Writing ibid., especially pages 17-24.
7. JbeSteerage may be taken as a turning point in photography: the圓mation of a tradition,
”'…で，-of 賺如‘队It is a picture at once photographic, in that an instant of
ume isheld forever,brmahstic inits stronggraphic framework, andhumanistic inits sympathetic
yet objective emotionally-charged social comment." Beaumont Newhall, "Photo Eye of 20ぐ
;npUbliShed 麵咖か，1970,18. Picasso's reaction to Tbe Steerage is noted in Newhall, The
8. De Zayas later analyzed Stieglitz's photograph The Steerage in one of their experimental
1SSUCS 29U thC °nly nUmber devoted to Photography. He acknowledged this photograph as
hUmaniSt and M°dern:lfmodernPlastic sessionhas made usconceive the possibility ofcreating new
/歸to express new sentiments, photography inthe hands ofStieglitz has succeededin determining the
°一— 0"陳如—加，ー，—of the phenomena of form、phenomena, which
Und€r 如 d°mam °fhuman th0U^ht ^ birtb to emotions, sensations, and ideas. 291t Nos. 7-8,
September-October 1915. DeZayas wrote aboutthe "equivalent^ andabstraction in"Caricature:
Absolute and Relative," Camera Work, no. 46, April, 1914, 20.
9. For a thoughtfulanalysis ofDubreuiPs contribution,see Tomjacobson, “AModernist Among
the Pi—lists，Pierre Dubreuil^ Photographs 蘭-而,San Diego：Dubroni Press, 1987.
10. Sadakichi Hartmann, "Some Prints by Alvin Langdon Coburn^Camera Work, no. 6’ April
1904,17-8.
11.Alvin Langdon Coburn, catalog preface by G. Bernard Shaw, The Liverpool Amateur
Photographic Association, April 30-May 14,1906.
12. Juan C. Abel, “Editorial Comment: Alvin Langdon Coburn,” The Photographer, vol. 6, no.
151, March 19,1907, 323.
13. “I first became interested in the work of the modern school through my friend, Mr. Max
Weber of New York.” Letter to Gertrude Stein inParis from Alvin Langdon Coburn, April 30’
14. The Clarence H. White School ofPhotography, unpaginated prospectus, 1915,Collection ofjoy
S. Weber. See also endnote 4.
15. Nancy Newhall,A Portfolio of Sixteen Photographs by Alvin Langdon Coburn” 11.
16. Beaumont Newhall, “Photo Eye of the 20s，”ibid., 19a.
17. It is also important to note that Coburn also made many copy photographs of Weber's
artwork during these years, thereby seeing and absorbing the lessons of Modern art. For a
comparison of hispainting ofthe Woolworth building,see North,Max Weber, The Cubist Decade,
1910-1920、ibid., color plate 27. Coburn's statement from Camera Pictures by Alvin Langdon
Coburn、London： The Goupil Gallery, October 1913，unpaginated. Collection of Beaumont
Newhall.
18. Coburn to Weber，August 19,1914. Weber alsomentions a book about modernphotography
with Coburn that was never realized inpart because of World WarI. Other letters from April 6,
1913 and July 8,1914 describe the integralrelationship of Modernmusic with art. Collectionof
Joy S. Weber.
19. Letter to Beaumont Newhall, April11,1947. Coburn created abstract photographs to stand
alongside the other Modern arts: “There are the ‘moderns’ in painting, in Music, and in
Literature. What would our grandfathers have said of the work of Matisse, Stravinsky, and
Gertrude Stein....it has occurred to me, why should not the camera also throw off the shacKles
of conventionalrepresentation and attemptsomething fresh anduntried?” Fora detailed account
of Coburn'sdevelopment of“Vortographs,” see FrankDiFrederico, “AlvinLangdon Coburn and
the Genesis ofVortographs,” HistoryofPhotography, aninternationalquarterlyy October-December
1987, 265-296.
20. Antonio GiulioBragagglia, Fotodinamismofuturista、Rome: NatalaEditore, 1913-Translation
reprinted inChristopher Phillips, Photographyin theModem Era，European Documentsand Critical
Writings,19!3-1940, New York.: The MetropolitanMuseum of Art and Aperture, 1989, 292-3.
Beaumont Newhall notes that no copy of the first 1911 publication has been located. History of
Photography、Chapter 11,footnote 10, 305.
21‘ All references to Camera Work, A Photographic Quarterly, edited and published by Alfred
Stieglitz, nos. 1-50’ 1903-1917, are from the reprintedtexts by Nendelin,Liechtenstein：Krauss
Reprints,1969.
22. For further information,see A Catalog ofDesign Photographsby BernardShea Home,NY: Keith
Douglas de Lellis Fine Art Photography, 1986. Arbuthnot's pictorial photographs from this
period are preserved in the collectionof the Royal Photographic Societyin Bath- Unfortunately
most of themodernist work was destroyed ina studio fire.Jay Rabinowitz conversationwith Tom
Jacobson, January, 1992. Arbuthnot'swork is mentioned inCamera Work、no. 25,1909, page 29,
in a review of the Linked RingSalon in 1908 as “indebted to theinfluence of Coburn- Sheeler s
early photographs were reviewed as conveying “a certain fundamental truth underlying the
‘modernist’ theories isundoubted: “ModernistPhotographs,nAmerican ArtNews,16, no.10,Dec.
15,1917：3. For the photographs of Schamburg, see VanDeren Coke, “The CubistPhotographs
of Paul Strand and Morton Schamberg,” One Hundred Years of Photographic History, Essays in
Honor of Beaumont Newhall, Albuquerque: University of New Mexico Press, 35-42.
23. Beaumont Newhall, Introduction to “Photo Eye of the 20s,” ibid” 1.
24. Laszlo Moholy-Nagy, “From Pigment to Light” written between 1923 and 1926, reprinted
in Richard Kostelanetz, ed” Moholy-Nagy, DocumentaryMonographs inModern Art,NY: Praeger
Publishers，Inc.,1970, 30. Moholy-Nagyalso wrote in1923 that ‘‘the copyingof natureby means
of the photographic camera and themechanical reproduction ofperspective, have been rendered
obsolete by the work of modern artists-” “Light—A Medium of Plastic Expression，Broom’ vol.
4, 283’ reprintedin NathanLyons, Photographerson Photography，Newjersey:Prentice-Hall, Inc”
1966, 72.
25. Quoted in SzymonBojko, New Graphic Designin Revolutionary Russia，NY:Praeger, 1972,19,
from “Roads to Contemporary Photography,” Novi Lef，no. 9 (Moscow)，1928. Lissitzky wrote
“Fotopis” in theMay 1929 issue ofSovetskoefoto: "Photography cannot be reducedto gettinginto
focus and releasingthe shutter....photography possessesproperties notavailable to painting...and
it is essential to develop them. When we enrich ourselves through a language of special
expressivity, we enrich ourselves with one more means ofinfluencing our consciousness and our
emotions.” El Lissitzky、Eindhoven：Municipal Van Abbemuseum, 1990, 70.

23
Pierre Dubreuil
Mightiness, 1909
oil photograph
Collection of Tom Jacobson

81
Karl Struss
The Gbost Ship, Waterfront, East Side，New York，1912
platinum photograph
Center for Creative Photography, The University of Arizona
© Anion Carter Museum, Karl Struss Archives
(Not in exhibition)
Alfred Stieglitz
Shadows on the Lake-Stieglitz and Walkowitz, 1916
gelatin silver photography
©National Gallery of Art, Washington
Alfred Stieglitz Collection, 1949.3.382
Art, at alltimes、has been composed oftwo elements: the idea
and thefact; that is、thesubjective andthe objective....culvi'mating, sofar asrelates to plastic
represe，nation…in Photography. The modern movement of artpresents the phenomenon of
Marius De Zayas, Camera Work’、October 1913

9
Alvin Langdon Coburn
Station Roofs，Pittsburgh, 1910
platinum photograph
Collection of International Museum ofPhotography at George Eastman House
There are the umodemsn in painting，in Music, andin
Literature. What would our grandfathers have said ofthe work of Matisse、Stravinsky,
and Gertrude Stein.... Yes, if we are alive to the spirit of our time it is these moderns
who interest us.
Why should not the camera also...attempt something fresh and untried? Why should not
its subtle rapidity be utilized to study movement? Why not ？-epeat successive exposures of
an object in ？notion on the same plate? Why should not perspective be studiedfrom angles
hitherto neglected or unobserved?
Alvin Langdon Coburn, Photоgrams of the Year, 1916
78
Paul Strand
Still Life with Pear and Bowls、Twin Lakes、Connecticut, 1916
Satista photograph
Collection of the J. PaulGetty Museum, Malibu’ Ca.

Bernard Shea Horne
Untitled, c.1916-1917
platinum photograph
Collection of Joy S. Weber
67
Morton Schamberg
God, c.1916
The Metropolitan Museum of Art, The Elisha Whittelsey Collection
The Elisha Whittelsey Fund, 1973

40
Ira Martin
Green, 1920s
The Metropolitan Museum of Art,Ford Motor Company Collection
Gift of FordMotor Company and John C. Waddell, 1987
The inventions of photography destroyed the canons of
representational, imitativeart....to achievenew experiences} a new wealth ofoptical expression.
Laszlo Moholy-Nagy, 1923-6
18
Alfred Cohn
Shadows、c.1920
Hallmark Photographic Collection, Hallmark Cards, Inc. Kansas City, Missouri

ж，
т
.
暴
щ
’
ч
ж
88
Edward Weston
The Source，192 1
i photograph mounted on vellum
Private Collection
fJ
Ш
/
藝
-
r
b
'
Tina Modotti
Interior of Church Tower, Tepotzotlan, 1924
platinum photograph
Greenberg Gallery, New ’
in spirit andan iconocL
product of modern
アん modernartist isthe prototypeofconsciousness...an eclectic
’/ow....[theyJ express the characteroftheir time.-. theyare the
Marius De Zayas, Cm ^era Work, July 1912

57
Man Ray
Z.' Inquietude^ 1920
Houk Friedman Gallery, New York
Antonio Giulio Bragaglia
Le Fumeur，1913
gold-toned gelatin silver photograph with ink <
Gilman Paper Company Collection
In order to teach man togaze unconventionally^ itis necessary
to photograph ordinary, familiar objects from totally unexpected vantage points and in
unexpected combinations.... While taught to look in a routhie and traditional manner、we
must discover the visible world anew. We must remove the cataract from our eyes.
Alexander Rodchenko^ Novi Lef、no. 9,1928

49
Paul Outerbridge
Musical Semi-abstraction，1924
toned platinum photograph
The Art Museum, Princeton Univ
Gift of David H.McAlpin
Composition, 1925
pigmented photograph
The copying of nature by means ofthe photographic camera
and the mechanical reproduction ofperspective, have been rendered obsolete by the work of
modern artists.
Laszlo Moholy-Nagy, Broovt,192

38
Untitled (Kurt Scbwitters and Merz)f 1924
gelatin silver photograph from combined negatives
Collection of Thomas Walther
Photography cannot be reduced to getting into focus and
releasing the shutter....photography possesses propertiesnot available to painting...andit is
essential to develop them. When weenrich ourselves througha language ofspecial expressivity、
we enrich ourselves with one more means ofinfluencing our consciousness andour emotions.
El Lissitzky, Sovetskoe foto, May 1929
66
Christian Schad
Renseignements, 1919
unique solio photograph
Quillan Company, Courtesy ofJill Quasha

61
Alexander Rodchenko
Fire Escapey 192 5
Laszlo Moholy-Nagy
Paris,1925
gelatin ！
seurn of
provided
ne Arts,]
by the Be elopment Foundation
©Hattula Moholy-Nagy

Light Abstraction - Rectangles^ c.1920s
The means afforded by photography play an important
part...extending the limitsof the depictionofnature and the use oflight as a creativeagent:
chiaroscuro in place ofpig?nent...
The camera has offeredits amazingpossibilities, which we are only justbeginning to exploit.
The visual imagehas been expandedand even themodern lens isno longer tied to thenarrow
limits of otw eye...
Laszlo Moholy-Nagy, Painting, Photography, Film, 1925
64
Jaroslav Rossler
Bez nazvu} c.1924
photomontage rephotographed with pencil drawing

ACKNOWLEDGEMENTS This project materialized after many years of discussions with Beaumont Newhall.
Through his thoughtful guidance，research was developed to produce the exhibition
and catalog. His dedication and insight continue to enlighten us about the
significance of photography within the history of art.
In the preparation of this exhibition，Jay Rabinowitz，assistant curator
and M.F.A. candidate in photography from the Art Department at the University
of New Mexico，surpassed all expectations and provided numerous initiatives to
contribute to the quality of this project. His continuous persistence and suggestions
have been invaluable. In this regard, we wish to thank University of New Mexico
Professor Eugenia Parry Janis for sharing this individual's talents as well as her
support for critical stages in research.
The extraordinary support of Director Jim Enyeart and his dedicated
staff at the International Museum of Photography, George Eastman House，was
essential to the exhibition's success. Thanks to the special efforts from their unique
collection，part of the wealth of photography's modern history will be shared with
many viewers as this exhibition opens in Santa Fe and in Rochester. This
exhibition project is part of a series exploring the history of photography funded by
a major gift from an anonymous donor with matching funds from the National
Endowment for the Arts. Additional support has been provided by the Museum of
New Mexico Foundation, The Photo Group，Howard Greenburg Gallery，Mr.
Andrew D. Wolfe and Ms. Vivienne Tellier，with special thanks to the J. Paul
Getty Museum.
To the following individuals，private collections，institutions and their
registrars’ we express both our gratitude and sincere appreciation for helping to
make this exhibition possible:
James Enyeart，William Stapp, David Wooters, Janice Madhu
International Museum of Photography at George Eastman House
Thomas Walther
Virginia Dodier
Houk Friedman Gallery
Barry Friedman
Edwvnn Houk
Tom Jacobson and Kaori Hashimoto
Howard Schickler and David Lafaille
Joy S. Weber and Elena Lamb
Maria Morris Hambourg, Malcolm Daniel，Jeff Rosenheim
The Metropolitan Museum of Art
Pierre Apraxine, Maria Umali
Gilman Paper Company
Howard Greenberg, Carrie Springer
Howard Greenberg Gallery
Anne Tucker, Magerie Olvey, Mark Peters
Museum of Fine Arts, Houston

Weston Naef,Joan Gallant Dooley, Museum ofNew MexicoBoard ofRegents
Andrea Hales，Carla Williams
J. Paul Getty Museum
Peter C. Bunnell, Toby Jurovics
Art Museum, Princeton University
Gerald Peters, Gayle Maxon, Megan Fox
Gerald Peters Gallery
Peter Walch, Diana Gaston, Kittu Gates, Therese
Mulligan, Floramae Cates, William Colbert
Art Museum, University ofNew Mexico
Sandra Phillips, Julie Nelson-Gal,Tom Sempere
San Francisco Museum of Modern Art
Keith F. Davis, Pat Fundom
Collection of Hallmark Cards,Inc.
Jill Quasha
Quillan Company
Terrance Pitts, Marcia Tiede
Center For Creative Photography
Private Collection
Many other people have been active collaborators. Our appreciation for
their advice and support in the various stages of research: Van Deren Coke, Susan
Burkes，Sarah Greenough and Julia Thompson，National Gallery of Art, James
Borcaman and Hazel M. Mackenzie，National Gallery of Canada，Dave Hertzl,
University of New Mexico Fine Arts Library, Frank Kolodny, Kaspar Fleischmann
and Birgit Filzmaier，Galerie Zur Stockeregg, Zurich, Keith De Lellis, Susan
Ehrens, Patrick Nagatani, Tom Hinson, ClevelandMuseum of Art, Michelle Anne
Delaney, National Museum of American History, Barbara Stern Schapiro, Boston
Museum of Fine Arts, Roy Flukinger and Andrea Insel Mann, University of Texas,
Tom Beck，University ofMaryland, Baltimore，andNicole Freidler,The Museum of
Modern Art.
The professional contributions by several staffmembers at the Museum of
New Mexico added professional refinement throughout the challenges: the counsel
of Jon Freshour from the Registrar's Department and persistent work of Stephanie
Turnham at theMuseum ofFine Arts; thequalitative dimensions fromthe Exhibition's
Department, Kerry Boyd, Director, Linda Gegick, exhibition designer, and Lida
Lowrey, publication designer; the insightful suggestions of editor Beverly Becker
and final touches by Joyce Spray; and the ongoing effortsof David Turner，Director
of the Museum ofFine Arts and staff，including the thoughtful experience of Phyllis
Cohen, Fine Arts Librarian，the special attention to details by Preparator Charles
Sloan and LorraineCook, Administrative Secretary,as well as the computer expertise
of Dennis Culver.
And our sincere appreciation for the special support from those very close
to us who understand the ongoing pursuit of knowledge and its endeavor, Christi
Newhall and Lynne Yates.
Beaumont Newhall and Steve Yates
Paul D. Gonzales, President
Susan M. Mayer, Vice President
Albert G. Simms，II，Secretary/Treasurer
Earle Powell Bursum
Phillip Griego
Kent Jacobs
Catherine Stetson
Officer of Cultural Affairs
Helmuth Naumer
Museum of New Mexico Administration
Thomas A. Livesay, Director
Marsha Jackson, Deputy Director
Kerry Boyd, Associate Director, Exhibitions
Museum of Fine Arts
David G. Turner，Director
Bonita Anderson, Manager of Special Events
Victoria Andrews，
Assistant Director for Outreach
Theresa Arellano，Secretary
Sandy Ballatore, Curatorof Contemporary Art
Gene Brito, Sergeant of Security
Phyllis Cohen, Librarian
Lorraine Cook，Administrative Secretary
Dennis Culver，Secretary
Sandra D’Emilio, Curator of Art, 1900 -1945
Charles Sloan, Preparator
Joan Tafoya, Assistant Registrar
Stephanie Turnham, Registrar
Michael Valdez, Captain of Security
Steve Yates, Curator of Photography
Jay Rabinowitz，Assistant Curator
Colophon:
Designer: Lida Lowry, Venice, California
Printer: Columbine Printing, Taos, New Mexico

CATALOG 1.Malcolm Arbuthnot，British
1874-1968
Lulworth Cove, 1909
platinum photograph*
111/4W x 12 3/4”
Alfred Stieglitz Collection, 1933
2. Antonio Giulio Bragaglia, Italian
1889-1963
Portrait de Arturo Bragaglia, 1913
gold-toned gelatin silver photograph
with ink drawing
6 1/2" x 4 11/16”
1889-1963
Le Fumeur, 1913
with ink drawing
4 5/8” x 5 5/8”
11.Alvin Langdon Coburn, American
1882-1966
Uverpool Cathedra/, 1919
111/2” x 8 3/4w
Collection of International Museum of
Photography at George Eastman House
12. Alvin Langdon Coburn, American
1882-1966
Vortograph of Ezra Pound, 1917
8” x 6 1/8”
13. Alvin Langdon Coburn，American
1882-1966
Vortograph, 1917
10 3/4” x 8 1/8”
Anne Brigman，American
1869-1950
Study in Radiation, 1924
7 3/4” x 9 3/4”
1882-1966
House of a Thousand Windows, 1912
9 1/2" x 7 1/2”
5. Anton Bruehl, Australian/American
1900-1983
Untitled, 1924
platinum photograph
8 1/8” x 6 3/16”
The San Francisco Museum of
Modern Art
1882-1966
Vortograph, 1917
18 3/4” x 14 3/8"
Gift of Anne MacDonald Walker
6. Francis Brugui垚re, American
1879-1945
Cut Paper Abstraction, 1927
7 3/8" x 9 7/16”
University of New Mexico Art Museum
Museum Purchase
7. Francis Bruguidre, American
1879-1945
Cut Paper AJbstract/ол, 1925-27
9 1，2” x 7 l/2n
Museum purchase with funds
1882-1966
8 1/8” x 6 1/8^
1882 1966
Station Roofs, Pittsburgh, 1910
platinum photograph
7 3/4w x 111/4”
1882-1966
The Great Temple, Grand Canyon, 1911
gum bichromate and platinum photograph
13” x 16 1/8"
1882-1966
The Octopus, 1913
8” x 6”
1882-1966
Trinity Church from Above, 1912
9 1/2" x 7 1/2”
Collection of Joy S8 Weber
18. Alfred Cohn, American
1897-1977
Shadows, c.1920
6 1/4” x 8 3/8”
Hallmark Photographic Collection
Hallmark Cards, Inc., Kansas City, Mo,
19. Harold Haliday Costain, American
b.1900
Securing the Anchor Chain
1919 neg. c.1930 print
10 7/8” x 14”
Hallmark Cards, Inc., Kansas City, Mo.
20. Frantisek Drtikol, Czechoslovakia!!
1883-1961
Composition, 1925
1Г x 9”
Collection of Howard Greenberg
21.Pierre Dubreuil, French
1872-1946
Elephantaisie, 1908
oil photograph
9 3/4” x 7 3/4”
22. Pierre Dubreuil, French
1872-1946
Interpretation Picasso: The Railway, c.1911
modern photogravure
9 1/8” x 7 1/2”
Museum of Fine Arts, Museum of New Mexicc
Gift of Tom Jacobson，1992
1872-1946
Mightiness, 1909
oil photograph
9 1/2” x 8 3/4”
24. Jaromir Funke, Czechos�ovakian
1896-1945
Light Abstraction - Rectangles, c.1920
9” x 111/2”
1896-1945
Still Life with Ball, c.1923
silver bromide photograph
111/4” x 15 1/4”
Howard Greenberg Gallery, New York
26. jaromir Funke，Czechos�ovakian
1896-1945
Untitled, 1920s
7 1/8W
x 5"
Ford Motor Company Collection
Gift of Ford Motor Company
and John C. Waddell, 1987
1896-1945
Light Abstraction, c.1925
113/4” x 9 112”
28. Johan Hagemeyer, Dutch/American
1884-1962
The Jaw9 1921
11 5/8” x 8 3/4”
Estate of Johan Hagemeyer
1884-1962
Castles of Today, 1922
9 5/8” x 7 3/8”
Hallmark Cards,�nc” Kansas City, Mo
30. John Heins, American
1867-1933
Untitled, 1918-20
platinum photograph
4 3/4" x 3 7/8”

1896-1945
Light Abstraction - Rectangles, с. 192C
9” x 111/2"
1896-1945
Still Life with Ball, c.1923
silver bromide photograph
111/4” x 15 1/4"
Howard Greenberg Gallery，New York
26. Jaromir Funke, Czechoslovakian
1896-1945
Untitled，1920s
7 1/8” x 5я
and John C_ Waddell, 1987
27. Jaromir Funke, Czechoslovakian
1896-1945
Light Abstraction, c.1925
113/4” x 9 1/2”
1884-1962
The Jawf 1921
11 5/8” x 8 3/4”
Estate of Johan Hagemeyer
90 j0han Hagemeyer, Dutch/American
1884-1962
Castles of Today, 1922
9 S/8n x 7 3/8”
Hallmark Cards，Inc., Kansas City，Mo
30. John Heins, American
1867-1933
l/nt/t/ed, 1918-20
platinum photograph
4 3/4” x 3 7/8"
ハ香гハn ^ Thnmfis Walther
1.Malcolm Arbuthnot, British
1874-1968
Lulworth Cove，1909
111/4" x 12 3/4"
Alfred Stieglitz Collection，1933
1889.1963
Portrait de Arturo Bragaglia, 1913
with ink drawing
6 1/2” x 4 11/16”
1889-1963
Le Fumeur, 1913
with ink drawing
4 5/8” x 5 5/8”
4. Anne Brigman, American
1869-1950
Study in Radiation, 1924
7 3/4" x 9 3/4"
5. Anton Bruehl, Australian/American
1900-1983
Untitled, 1924
platinum photograph
8 l/8n x 6 3/16”
The San Francisco Museum of
Modern Art
Foto Forum Purchase
Gift of Anne MacDonald Walker
6. Francis Bruguiere, American
1879-1945
Cut Paper Abstraction, 1927
7 3/8” x 9 7/16”
Museum Purchase
7. Francis Bruguiere, American
1879-1945
Cut Paper Abstraction, 1925-27
9 1/2” x 7 112”
Museum purchase with funds
provided by an anonymous donor
1882-1966
8 l/8n x 6 l/8n
1882-1966
Station Roofs, Pittsburgh, 1910
platinum photograph
7 3/4" x 111/4”
1882-1966
The Great Temple, Grand Canyon, 1911
gum bichromate and platinum photograph
13” x 16 1/8"
DHn^ndrAnhw at (nanrdck Pacfmon
11.Alvin Langdon Coburn, American
1882-1966
Uverpool Cathedral, 1919
111/2" x 8 3/4”
1882-1966
8W x 6 1/8W
1882-1966
Vortograph, 1917
10 3/4w x 8 l/8n
1882-1966
House of a Thousand Windows, 1912
9 1/2” x 7 1/2”
1882.1966
Vortograph, 1917
18 3/4n x 14 3/8"
1882-1966
The Octopus, 1913
8” x 6"
1882-1966
Trinity Church from Above, 1912
9 1/2” x 7 l/2n
18. Alfred Cohn, American
1897-1977
Shadows, c.1920
6 1/V x 8 3/8”
19. Harold Haliday Costain, American
b.1900
Securing the Anchor Chain
1919 neg. c.1930 print
10 7/8” x 14"
20. Frantisek Drtikol, Czechoslovakian
1883-1961
Composltionf 1925
11"x 9"
nnllection of Howard Greenberg
21.Pierre Dubreuil, French
1872-1946
EI6phanta/s/e, 1908
oil photograph
9 3/4" x 7 3/4”
1872-1946
Interpretation Picasso: The Railw
modern photogravure
9 1/8” x 7 1/2”
Museum of Fine Arts, Museum of
Gift of Tom Jacobson, 1992
1872-1946
Mightiness, 1909
oil photograph
9 1/2” x 8 3/4"
31.Bernard Shea Horne, Amer
1867-1933
Design, c.1916-1917
platinum photograph
7 7/8” x 6 1/8”
32. Bernard Shea Horne, American
1867-1933
Design - Princeton Roofs, c.1923
platinum photograph
4 5/8” x 3 5/8”
1867-1933
Roll Film Holder - Variation
c.1916-1917
platinum photograph
6 1/8” diameter
34. Bernard Shea Horne9 American
1867-1933
platinum photograph
8" x 6”
35. Bernard Shea Horne9 American
1867-1933
Unfitted, c.1916-1917
platinum photograph
8 ” х 6 л
1867-1933
platinum photograph
6 1/8” x 7 7/8”
37. El Lissitzky，Russian
1890-1941
Sculpture at Pressa, Cologne, 1928
4 3/8” x 3 1/8W
Museum purchase with funds provided
by the Alice Pratt Brown Museum Fund
38. El Lissitzky，Russian
1890-1941
Untitled (Kurt Schwitters and Merz)*
1924
gelatin silver photograph from
combined negatives
4 1/4W x 3 3/4”
39. Ira Martin，American
1866-1960
Untitled, 1920s
6 5/8” x 7 7/8”
40. Ira Martin, American
1866-1960
Green, 1920s
4" x 6 3/8"
and John C. Waddell. 19Я7
41.Tina Modotti, Italian
1896-1942
Interior of Church Tower, Tepotzotlan
1924
9 1/2” x 7 l/4n
Howard Greenberg Gallery, New York
42. Uszl6 Moholy.Nagy, Hungarian
1895-1946
Untitled, c.1925
photogram
7 1/16” x 9 3/8”
Gift of Beaumont Newhall
43. Uszl6 Moholy-Nagy, Hungarian
1895-1946
Untitled, 1925
gelatin silver photogram
9” x 7”
Museum purchase with funds provided
by an anonymous donor
44. Uszl6 Moholy-Nagy，Hungarian
1895-1946
Photogram, c.1925
silver chloride photogram
(printing out paper)
7 1/8” x 6 7/8”
45. Uszl6 Moholy.Nagy, Hungarian
1895-1946
Paris, 1925
9" x 6 3/4”
Museum of Fine Arts，Houston
Museum purchase with funds provided by
the Bernstein Development Foundatioi
46. Laszlo Moho�y-Nagy，Hungarian
1895-1946
Photogram, 1925
11 3/8w x 15 3/4w
Photography at George Eastman Hous<
1896-1958
Saltine Box, 1922
platinum photograph
3 3/8” x 4 5/8n
Hallmark Cards, Inc” Kansas City9 Mo.
48. Paul Outerbridge, American
1896-1958
Saw and Square, 1921
platinum photograph
4 1/2” x 5 5/8”
49. Paul Outerbridge, American
1896-1958
Musical Semi-abstraction, 1924
toned platinum photograph
6 l/2n x 4W
The Art Museum, Princeton University
Gift of David H. McAlpin
50. Man Ray, American
1890-1976
Untitled,* 1922
gelatin silver photograph (Rayograph)
9 7/8" x Г
Fnrri Mntnr Comnanv Collection
1890-1976
Untitled, 1922
gelatin silver photogram (Rayograph)
1115/16" x 9 3/8”
San Francisco Museum of Modern Art
Museum Purchase
1890-1976
Woman Smoking Cigarette, 1923
8 3/4” x 6 5/8w
Collection of the J. Paul Getty Museum
Malibu, California
1890-1976
Rayograph of Book, 1923
113/8” x 9 1/4"
1890-1976
led, 1926
in silver photogram (Rayograph)
1Г x 8 1/2”
Untitlet
gelatin
1890-1976
Contact print of film strips, 1927
gelatin silver photogram*
8 1/8” x 6 1/4”
1890-1976
Integration of Shadows, 1919
I gelatin silver photograph*
9 3/8” x 7я
1890-1976
L9Inquietude, 1920
gelatin silver photograph*
3 5/8” x 4 5/8”
58. Man Ray，American
1890-1976
Untitled (Flowers and Basket), 1926
15 1/2” x 11 H2n
Private Collection
1890-1976
Klkif 1922
10я x 8”
Private Collection
60. Alexander Rodchenko, Russian
189M956
Spatial Photocollage - Mena Vsek
1924/1979
modern toned gelatin silver photograph
15 1/16” x 10 3/4”
Malibu，California
61.Alexander Rodchenko, Russian
1891-1956
Fire Escape, 1925
9 3/8” x 6 3/8”
Collection of Schickler-Lafaille

CATALOG 62. Alexander Rodchenko, Russian
1891-1956
Balconies, 1925
7 1/2”x 4 5/8”
Collection of Schickler-Lafaille
63. Jaroslav Rossler, Czechoslovakian
b.1902
Abstract with Soft Focus, 1922
8 3/8” x 8 3/8”
b.1902
Bez nazvu, c.1924
photomontage rephotographed with
pencil drawing*
9 l/V x 8 3/4w
b.1902
Number 2 Abstraction, c.1923
9 3/8” x 9 1/V
66. Christian Schad, German
1890-1965
Renseignements, 1919
shape-cut photogram
2 5/16” x 3 5/16”
Quillan Comany，Courtesy of Jill Quasha
67. Morton Schamberg, American
1881-1918
God, c.1916
9 1/2” x 7 5/8”
The Elisha Whittelsey Collection
The Elisha Whittelsey Fund, 1973
68. Charles Sheeler, American
1883-1965
New York, 1920
9 3/4w x 7 5/8”
69. Edward Steichen, American
1879-1973
Triumph of the Egg，1920
palladium photograph
9 3/4” x 7 3/4”
70. Edward Steichen, American
1879-1973
Time Space Continuum, c.1920
7 3/4” x 9 3/4”
71.Ralph Steiner, American
1899-1986
The Beater and the Pan, #2,1921
4 1/2”x 3 1/4”
Museum of Fine Arts
Gift of Willard Van Dyke
72. Ralph Steiner, American
1899-1986
4 1/2” x 3 1/4”
Museum of Fine Arts
1899-1986
Rival Shoes, 1924
2 3/4” x 3 1/2W
Museum of Fine Arts
1899-1986
Five Corners Near Wail Street, 1924
3 1/2” x 3 1/2”
Museum of Fine Arts
1886-1981
Brooklyn Bridge from Ferry Slip, Evening
1912
4 1/2W x 4 7/8”
The Center For Creative Ph
The University of Arizona
3. Doris Ulmann, Amer
1882-1934
The Corn Crib, 1918
Bromoil photograph
8” x 6 1/4W
m of Art
illection
ift of Ford Motor Company
Metropolitan Museum
Motor Company Colle
84. Edward Weston, American
1886-1958
Nude, 1926
8 1/2”x 7 1/2”
75. Alfred Stieglitz, American
1864-1946
George 09Keeffe, Neck, 1921-1922
9 1/2”x 7 1/2”
Private Collection
76. Paul Strand, American
1890-1976
Still Life with Confesses, 1916-17
Satista photograph
13 1/8” x 7 3/4w
Malibu, California
1890-1976
Freighter, New York, 1921
platinum photograph
9 5/8” x 7 5/8”
,1890-1976
Still Life with Pear and Bowls,
Twin Lakes, Connecticut, 1916
Satista photograph
10 3/8Я x 12 1/2"
Malibu, California
> 79. Paul Strand, American
1890-1976
Wheel Abstraction, 1917
Satista photograph
13 3/8" x 10 1/2”
Private Collection
80. Karl Struss, American
» 1886-1981
Over the Housetops, Meissen, 1909
platinum photograph
7 7/8” x 4 3/8w
The Art Museum, Princeton University
Gift of Mrs. Raymond C. Collins
81.Karl Struss, American
1886-1981
The Ghost Ship, Waterfront
East Side，New York，1912
platinum photograph
4 3/8"x3 5/8"
The Universitv of Arizona
1886-1958
Ruth Shaw, 1922
7 3/8” x 9 1/2”
1886-1958
Aqueduct, Los Remedios, 1924
7 1，2”x 9 1/2”
1886-1958
Pipes and Stacks, Armco Steel, Ohio
1922
platinum photograph on vellum mount
9 1/2” x 7 1/2”
Private Collection
1886-1958
The Source, 1921
platinum photograph on vellum mount
x 9 3/8w
e Collection
7 3/1
Privj
* Santa Fe venue only

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