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Ansel Adams's "practical modernism":...

Boston University.

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Ansel Adams's "practical modernism": The development of a commercial photographer, 1916--1936.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Ansel Adams's "practical modernism": The development of a commercial photographer, 1916--1936./
作者:	Senf, Rebecca A.
面頁冊數:	490 p.
附註:	Adviser: Kim Sichel.
Contained By:	Dissertation Abstracts International69-01A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3298676
ISBN:	9780549433774

Ansel Adams's "practical modernism": The development of a commercial photographer, 1916--1936.
Senf, Rebecca A.

Ansel Adams's "practical modernism": The development of a commercial photographer, 1916--1936. - 490 p.

Adviser: Kim Sichel.

Thesis (Ph.D.)--Boston University, 2008.

Despite his position as a canonical modernist artist, Ansel Adams actively combined art and commerce throughout his life. No one has yet examined his early projects to determine their impact on his art development. By examining four seminal projects from 1927 to 1936, I demonstrate that Adams's "practical modernist" working method was developed through his broad-based work in Yosemite Valley and other Western sites. His first portfolio, first Sierra Club album, first bound book, and first commissioned book had a lifelong impact on his manner of working.

ISBN: 9780549433774Subjects--Topical Terms:

635474
Art History.

Ansel Adams's "practical modernism": The development of a commercial photographer, 1916--1936.
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245 1 0 $a Ansel Adams's "practical modernism": The development of a commercial photographer, 1916--1936.
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500 $a Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 0006.
502 $a Thesis (Ph.D.)--Boston University, 2008.
520 $a Despite his position as a canonical modernist artist, Ansel Adams actively combined art and commerce throughout his life. No one has yet examined his early projects to determine their impact on his art development. By examining four seminal projects from 1927 to 1936, I demonstrate that Adams's "practical modernist" working method was developed through his broad-based work in Yosemite Valley and other Western sites. His first portfolio, first Sierra Club album, first bound book, and first commissioned book had a lifelong impact on his manner of working.
520 $a Chapter One introduces Adams's transformation from Yosemite tourist to capable High Sierra mountaineer and analyzes his early Yosemite experiences beginning in 1916. Chapter Two examines his first portfolio, Parmelian Prints of the High Sierras (1927), a fine art portfolio of 18 unbound photographic prints for San Francisco's art collectors. These images captured his first attempt to merge his engagement with the Sierra Nevada and a market-based project. Chapter Three looks at Adams's first commissioned Sierra Club album, documenting the Canadian Rockies (1928). The large album of 178 hand-labeled photographs was designed to appeal to his fellow club members, who used the album to re-experience the trip and purchase prints. Chapter Four focuses on Adams's first bound book, Taos Pueblo (1930), a luxurious limited-edition production with letterpress text and 12 original photographs. Targeting wealthy book collectors, Adams chose quiet, classic compositions to aestheticize his American Indian subjects. As the book's publisher, Adams participated in all aspects of its production and sale. Finally Chapter Five analyzes Adams's first commissioned book, Four Seasons in the Yosemite Valley (1936). The book, sold widely to Yosemite Park vacationers, includes photomechanical illustrations of landscape views and tourist activities. This project honed Adams's skills in assessing his market and creating photographs appropriate to a mass audience.
520 $a By bringing these case studies together it is possible to gain a new understanding into Adams's development as a commercial photographer, particularly the market-based, collaborative, and experimental approach he brought to his career's first decades. The strategies he developed informed all his later work, both commissioned and creative.
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