Photography has long been used as an impactful tool for advocacy and storytelling. This was particularly the case in 19th century America. Recent conversations have underscored the extent to which these photographers didn’t just document life, but operated at the intersections of existence, identity and the social world. The intersection of life and death often played a pivotal role, revealing the complexities of human experience during this transformative period in American history.
At a recent exhibition, historians and experts discussed how photography shaped the understanding of American life in the last 50 years. They shed light on the double-edged sword of purpose behind each documented image. “The world coalesces and comes together in ways that the photographer intended and did not,” remarked curator Rosenheim, pointing out that every photograph tells a story beyond its surface.
A stunning example found in the exhibition is the exquisite silver print dating to 1888. It includes Trude Eccleston, who was a very dear friend of the photographer’s. The photograph captures a scenic boat ride out on Lake Mahopac. So when Eccleston stares right at the camera, it amazes creating this really beautiful relationship between the subject and portraitist. This engagement counters the notion that personal bonds can’t invest photographs with emotional resonance and presents a case for the opposite.
Rosenheim additionally observed that photography occupies a particularly interesting dualism of life and death. “Photography is very linked to life and death,” he explained, underscoring how images can immortalize moments while simultaneously reminding viewers of their transience. These photographs capture incredible stories that reflect the struggles and triumphs of the lives of everyday Americans. They take young farmers full of entrepreneurial pride and women navigating societal constraints with dexterity.
In one iconic grainy photo, a young farmer poses confidently in front of his farm, a reincarnation of the American frontier spirit. Rosenheim notes that the portrait exudes “pride and optimism for his own future.” This expression embodies the hopes and dreams of a generation of immigrants who sought to build their futures in a foreign land.
The other major photographic work of the time was Edward Steichen’s iconic 1903 portrait of J.P. Morgan. That photo beautifully illustrates Morgan’s short-temperament as he swaggers. The ornate chair handle in his hand takes on a dramatic air, suggesting more weapon than accessory, like a dagger. This beautiful moment, captured perfectly, shows us the fickle fate of photography, that you can intend to make something great, but fortune favors the unexpected.
The exhibition gives public space to an 1850s daguerreotype depicting a woman adorned in a tignon—a cloth turban mandated by the Tignon Law in colonial Louisiana. This moving portrait offers vital historical context for all visitors. This powerful image reminds us of the laws that patrolled and enforced racial codes. More than anything, it pays tribute to the lives and fortitude of the women who courageously defied these boundaries.
Carleton E. Watkins, a gold prospector who became one of the most influential photographers of his time, left an extraordinary legacy that shaped American landscape photography. At a time when many artists of his background sought to exploit the land, after moving from New York to California, Watkins decided to photograph. His awe-inspiring creations showcase the sublime beauty of some of the earth’s greatest natural wonders, including glaciers, waterfalls, canyons and more. In “View on the Columbia River,” felled trees in the foreground hint at the impermanence of these breathtaking landscapes, blending beauty with stark reality.
Rosenheim articulated the magic inherent in photography: “There’s this sort of magic about photography, that you have to go into the box itself, in a certain sense, and cover your head to make a picture.” This act represents not only the closeness of the moment that’s been captured, but the reciprocity between photographer and subject.
The Women in Motion exhibition goes beyond these examples to look at the social impact of photography, specifically focusing on female artists. One such figure went against convention and fearlessly captured the near-mythical immigrant experience, the everyday lives of various street-performing children and destitute youths. As a queer woman in a society that marginalized same-sex relationships, she questioned gender norms with satirical images of women playfully engaged with each other. These works both took aim at the moralistic expectations of the time and championed individual liberty.
In yet another fascinating document from the 1870s, this wonderful tintype of a cornet-player shows a young musician at attention. This little memento symbolizes passion or gift rather than a professional goal. It evokes the magic of photographic practice that freezes intangible moments into tangible forms with the ability to convey unique human experiences.
As Rosenheim articulated, “There are hundreds who make, chemically, faultless photographs, but few make pictures.” This quote reinforces the idea that technical skill does not translate into artistic vision, that the essence of artistry is found in the story told through an image.
In addition, Miles Orvell considered the larger meanings of nature in 19th-century photography. He stated, “Nature, in this 19th-Century context, was land to claim and defend in the name of the US government, it was a wild land to be exuberantly explored, mined, and mapped… And it was spectacularly beautiful.” Seen through this lens, the story becomes one of the ways that photographers molded our national identity as they punctuated their epic portrayals of irresistible, untamed landscapes.
As society transitioned into the 20th century, Orvell noted a shift in perception: “If the mood of the 19th Century was an essentially optimistic one…the 20th Century began gradually to wake up from that dream.” This burgeoning growth shifted the nation’s focus towards questioning the rapidity of industrial advancement and its ever-encroaching effect on America’s landscapes.
It is vital to explore photography’s role in shaping our understanding of American history. It allows us to learn from artistic expression as well as the progress of society. Each photo stands as a document of historic value that sheds light on collective stories and personal journeys.
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