Imogen Cunningham Roi Partridge, Etcher ca. 1915 Platinum print 20.8 x 15.7 cm. George Eastman House Still Photograph Archive |
Imogen Cunningham Jose Limon, Dancer, Mills College ca. 1939 Platinum print No size given Imogen Cunningham Trust |
Imogen Cunningham Morning Glory ca. 1920s No size given Imogen Cunningham Trust |
Imogen Cunningham Buttons ca. 1925 Gelatin Silver Print No size given Imogen Cunningham Trust |
Perhaps inspired by her time in Germany, Cunningham cultivated her interest in German culture by reading publications such as the annual Das Deutsche Lichtbild, which profiled botanical photographs by Alber Renger-Patzsch, volumes from Ernst Fuhrmann’s Die Welt der Pflanze, and Karl Blossfeldt’s Urformen der Kunst. Cunningham, probably more than any other West Coast photographer, matched the Neue Sachlichkeit, or New Objectivity of the Germans with her work. New Objectivity was an art movement that grew in Germany in the aftermath of World War I, directly out of the war experiences of a group of German artists that included George Grosz, Max Beckmann, and Otto Dix. All of them had served, at some point, in the German army and had been profoundly affected by the experience. The artwork is characterized by a realistic style combined with a cynical, socially critical, philosophical, stance. The works sought to show the horrors of the war and its effects. Working with plant forms, Cunningham produced images that were both frank and precisionist in their botanical imagery.
In her exploration of American Industry and Precisionism, Cunningham attempted to reduce her compositions of industry to basic shapes, geometric structures, and minimal extraneous detail. She, like other precisionist artists, sought to idealize American industry in print. She took extensive photographs in Los Angeles in 1928, capturing the oil industry in a striking series of images of oil rigs and tanks.
Imogen Cunningham Gas Tanks ca. 1927 Platinum print No size given Imogen Cunningham Trust |
Weston and Cunningham most likely influenced each other as they worked during the same period and knew one another well. A review of a photography exhibition at the Berkeley Art Museum in 1929, declared Cunningham to steal the show. The reviewer felt that in comparison, Cunningham’s work had balance and had included enough elementsto make the work interesting. “Were it not for Cunningham’s revelations of what can be created in photography, we might appreciate Weston the more."[2]
Imogen Cunningham Edward Weston in his first Carmel studio ca. 1932 Platinum print Imogen Cunningham Trust |
Weston, in particular, felt that Cunningham’s work was “fine and strong and honest.”[3] Not only did Weston respect Cunningham as an artist, he was also a supporter who never failed to praise her work both personally and publicly in conversation, and in print, as well. In 1929, Weston nominated ten of Cunningham's photos for inclusion in the Film und Foto exhibition in Stuttgart , Germany . Weston requested that Cunningham send examples of her flower forms, but, true to her independent spirit, she forwarded eight botanical subjects, an industrial study, and a nude.
Next Post: Towards Abstraction
1. The most likely inspiration of Cunningham’s cropped double head portraits of these years is Mather’s masterpiece Hohan Hagemeyer and Edward Weston (1921) which is largely composed of a dark central space framed by half of each subject’s face.
2. Florence Lehre, “Artists and Their Work,” Oakland Tribune, October 27, 1929, p. 5-7. Other photographers exhibiting include Brett Weston, Manuel Alvarez Bravo, Tina Modotti, Dorothea Lange, Roger Sturtevant, Anton Bruehl, E.A. Nievera, Ira Martin, and three members of the Japan Camera Club of Los Angeles, T.K. Shindo, R. Itano, and K. Nakamura.
3. Edward Weston to Cunningham, undated (late 1920s), Imogen Cunningham Archives.
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