My background as a musician and composer (in my youth) had given me some understanding of the development of styles within the context of prevailing social and economic forces. Further, my background as a technologist has sensitized me to the dynamic relationship between a developing technology and its use by artists. My childhood love and familiarity with the Monet collection at the Art Institute of Chicago set a resonance with qualities I found in the work of the Pictorialists, particularly the work of Stieglitz, Steichen, Kasebier, Clarence White and Fredrick Evans, all of whom were exhibited as part of Steiglitz' Photo Secession.
So, in a series of occasional posts, I will try to articulate those aspects of Pictorialism that I am trying to use in my own work, as well as to mention those things that do not transfer to A New Pictorialism. On the way, we'll look at some examples, both old and new.
Clarence H. White
Camera Work 23