Virna Haffer | |
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| Born | 1899 |
| Died | April 5, 1974 (aged 74–75) |
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Virna Haffer (1899–April 5, 1974 [1] ) was an American photographer, printmaker, painter, musician, and published author. [2]
Virna Haffer | |
|---|---|
| | |
| Born | 1899 |
| Died | April 5, 1974 (aged 74–75) |
| Spouses |
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Virna Haffer (1899–April 5, 1974 [1] ) was an American photographer, printmaker, painter, musician, and published author. [2]
Born in 1899 in Aurora, Illinois, Haffer and her family moved to the utopian community of Home in South Puget Sound in Washington state in 1907. [3] When she was 15 years old Haffer became the apprentice of the photographer Harriette H. Ihrig. [3] She opened her own portrait photography studio in Tacoma, Washington and began publishing her photographs in 1924. Haffer was known for experimenting with unusual, quirky techniques and created her own artistic style that stretched the boundaries of artistic classifications in the early twentieth century. [4] Haffer's work was eccentric; she produced pictorialist, modern, surreal, and documentary style work.
Haffer was married three times, the second time to socialist and labor advocate Paul Raymond Haffer, with whom she had one son, Jean Paul Haffer. One of her works as a commercial photographic portraitist was a childhood picture of future glass artist Dale Chihuly. [2]
Haffer's work was first exhibited in 1924 in the Fifth Annual F&N Salon of Pictorial Photography, and in 1928 at the Seattle Camera Club's Fourth International Exhibition. By 1930 her work was internationally recognized, and often appeared in publications such as the American Annual of Photography. In addition, she won recognition and prizes in photographic competitions in the United States in the 1930s. [5] In the 1960s she took an interest in producing photograms, and in 1969 she published a book about the process called Making Photograms: The Creative Process of Painting With Light. [6] Haffer's work was also the subject of several solo exhibitions at locations including the Massachusetts Institute of Technology, 1960; California Museum of Science and Industry, Los Angeles, 1964; New York Camera Club, 1967 and the Museum of Contemporary Crafts, NYC, 1968. [7] A posthumous retrospective of her work, A Turbulent Lens: The Photographic Art of Virna Haffer, was produced at the Tacoma Art Museum in 2011. [2]
Pictorialism is an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of creating an image rather than simply recording it. Typically, a pictorial photograph appears to lack a sharp focus, is printed in one or more colors other than black-and-white and may have visible brush strokes or other manipulation of the surface. For the pictorialist, a photograph, like a painting, drawing or engraving, was a way of projecting an emotional intent into the viewer's realm of imagination.
Group f/64 or f.64 was a group founded by seven American 20th-century San Francisco Bay Area photographers who shared a common photographic style characterized by sharply focused and carefully framed images seen through a particularly Western (U.S.) viewpoint. In part, they formed in opposition to the pictorialist photographic style that had dominated much of the early 20th century, but moreover, they wanted to promote a new modernist aesthetic that was based on precisely exposed images of natural forms and found objects.
Alfred Stieglitz was an American photographer and modern art promoter who was instrumental over his 50-year career in making photography an accepted art form. In addition to his photography, Stieglitz was known for the New York art galleries that he ran in the early part of the 20th century, where he introduced many avant-garde European artists to the U.S. He was married to painter Georgia O'Keeffe.
Henry Peach Robinson was an English pictorialist photographer best known for his pioneering combination printing - joining multiple negatives or prints to form a single image; an early example of photomontage. He engaged in contemporary debates in the photographic press and associations about the legitimacy of 'art photography' and in particular the combining of separate images into one.
A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.
Anna Atkins was an English botanist and photographer. She is often considered the first person to publish a book illustrated with photographic images. Some sources say that she was the first woman to create a photograph.
Kiyoshi Koishi was a renowned Japanese photographer. He was best known for his surrealist and avant-garde works as a member of the Naniwa Photography Club.
Gertrude Käsebier was an American photographer. She was known for her images of motherhood, her portraits of Native Americans, and her promotion of photography as a career for women.
Anne Wardrope Brigman was an American photographer and one of the original members of the Photo-Secession movement in America.
Susan Derges is a British photographic artist living and working in Devon. She specialises in camera-less photographic processes, most often working with natural landscapes. She has exhibited extensively in Europe, America and Japan and her works are in several important museum collections.
Zaida Ben-Yusuf was an American portrait photographer based in New York. She was known for her artistic portraits of wealthy, fashionable, and famous Americans during the turn of the 19th–20th century.
Myra Albert Wiggins (1869–1956) was an American painter and pictorial photographer who became a member of the important early 20th century Photo-Secession movement.
Willie Anne Wright is an American photographer best known for her colorful cibachrome and grayscale Pinhole Photography.
Eunice Harriett "Una" Garlick was a New Zealand photographer, known for her pictorialism style--a movement stressing photography's role as art. Her subject matter was mainly concerned with landscapes and Māori studies. Her most notable work is a series of portraits depicting Maori women.
Florence Henri was a surrealist artist; primarily focusing her practice on photography and painting, in addition to pianist composition. In her childhood, she traveled throughout Europe, spending portions of her youth in Paris, Vienna, and the Isle of Wight. She studied in Rome, where she would encounter the Futurists, finding inspiration in their movement. From 1910 to 1922, she studied piano in Berlin, under the instruction of Egon Petri and Ferrucio Busoni. She would find herself landlocked to Berlin during the first World War, supporting herself by composing piano tracks for silent films. She returned to Paris in 1922, to attend the Académie André Lhote, and would attend until the end of 1923. From 1924 to 1925, she would study under painters Fernand Léger and Amédée Ozenfant at the Académie Moderne. Henri's most important artistic training would come from the Bauhaus in Dessau, in 1927, where she studied with masters Josef Albers and László Moholy-Nagy, who would introduce her to the medium of photography. She returned to Paris in 1929 where she started seriously experimenting and working with photography up until 1963. Finally, she would move to Compiègne, where she concentrated her energies on painting until the end of her life in 1982. Her work includes experimental photography, advertising, and portraits, many of which featured other artists of the time.
Ella Etna McBride was an American fine-art photographer, mountain climber, and centenarian known for her career achievements after age sixty. In addition to running her own photography studio for over thirty years, she also spent eight years running the photography studio of Edward S. Curtis.
The Seattle Camera Club (SCC) was an organization of photographers active in Seattle, Washington, during the 1920s. It was founded in 1924 by Japanese immigrants and thrived for the next five years. The SCC was the only Japanese American photography club to include both Caucasians and women photographers as members, and because of their inclusivity their members were among the most exhibited photographers in the world at that time.
David F. Martin is an art historian with a primary focus on female, gay or Asian-American artists. He is an authority on the art of Washington State during the period 1890-1960, and in particular on members of the Seattle Camera Club, and chiefly composed of Japanese American photographers working in the Pictorialist style.
Mathilde Weil was an American editor, literary agent, and portrait photographer based in Philadelphia, Pennsylvania.
Ellen Carey is an American artist known for conceptual photography exploring non-traditional approaches involving process, exposure, and paper. Her work has ranged from painted and multiple-exposure, Polaroid 20 x 24, Neo-Geo self-portraits beginning in the late 1970s to cameraless, abstract photograms and minimal Polaroid images from the 1990s onward, which critics often compare to color-field painting. Carey's sixty one-person exhibitions have been presented at museums, such as the Amon Carter Museum of American Art, International Center of Photography (ICP) and Wadsworth Atheneum Museum of Art, alternative spaces such as Hallwalls and Real Art Ways, and many commercial galleries. Her work is in numerous museum collections, including those of the Metropolitan Museum of Art, Whitney Museum of American Art, Los Angeles County Museum of Art, Centre Pompidou, and Smithsonian American Art Museum. In 2019, she was named one of the Royal Photographic Society (London) "Hundred Heroines", recognizing leading women photographers worldwide. Los Angeles Times critic Leah Ollman describes her photography as "inventive, physically involving, process-oriented work" and her recent photograms as "performative sculptures enacted in the gestational space of the darkroom" whose pure hues, shadows and color shifts deliver "optical buzz and conceptual bang". New York Times critic William Zimmer wrote that her work "aspires to be nothing less than a reinvention, or at least a reconsideration, of the roots or the essence of photography." In addition to her art career, Carey has also been a longtime educator at the Hartford Art School and a writer and researcher on the history of photography.
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