Anne Brigman's Songs
Her Life, Her Photographs, Her Poems


James Rhem


In 1902, after eight years of marriage, Anne Brigman saw a photography exhibition that changed her life. It awakened in her a passion as an artist -- an artist not just in photography but in the theater and in literature. She was awakened as a woman to levels of freedom and expression she had not enjoyed before. For her, this new calling was a fight and she was determined from the first to succeed in it. It wasn’t long before her photographs of nude females posed in the Sierra Nevada Mountains were commanding attention internationally and in the influential photographic circles on the East Coast led by Alfred Stieglitz. Quickly she rose to a place among the highest ranks of those recognized as artistic photographers in the pictorialist period in photographic history. In 1910 she left her comfortable middle-class life and devoted herself completely to this life as an artist. And in this life she was constantly renewing herself. In her senior years she explored the gift for writing she had long known she had. She wrote poetry giving voice to the many beautiful photographs she had created over the years and combined these in two books of photographs and poems. Hers was a full, free life of artistic expression, a monument to the kind of freedom women across the society were longing for and finding in a variety of ways.

KIRKUS REVIEW

The brilliance of Anne Brigman's photographs has put her in front ranks of her profession. Now, in a volume combining 38 photographs with an equal number of poems, she appears in a new form of artistic expression. As in her choice of subjects- patterns of trees against the skies, turbulence, peace, physical drama, muted impressions, nude figures -- there's kinship of verse and photographs, though they are linked by mood rather than actually paired. There is a classic quality, brought into modern stream by the beat and rhythms, the variety in verse forms, while in content, in seeking for faith, in beauty of imagery, the modern and the traditional are blended.

Pub Date: April 15th, 1949

Publisher: Caxton

 

James Rhem is an independent scholar in the history of photography specializing in biographical study of significant figures in photography’s classic modern period. He is the author of two books on Ralph Eugene Meatyard — PhotoPoche No. 87 (2000) on Meatyard and D.A.P.’s Ralph Eugene Meatyard: The Family Album of Lucybelle Crater and Other Figurative Photographs (2002), — and the Phaidon 55 on Aaron Siskind (2003). He has contributed catalogue essays on Wynn Bullock and articles on August Sander, William Eggleston, Shelby Lee Adams, Arthur Tress, and others, and has lectured at numerous colleges and universities and at the Prague House of Photography.

 

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