If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Inscribed in pencil at lower edge of window mat: Flint-Ceres' Handmaid 24 Monogram at bottom of console: W.R.F. Inscribed with sepia ink in margin below l.l. corner of image: LXXV; below l.r. corner of image: W Russel Flint; at l.l. corner of sheet: Paper: English 1815 Inscribed with pencil at bottom edge, center: Ceres Handmaid; at l.r. corner of sheet: 92 [92 is encircled] /24891-24
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Monogram at l.l. corner of plate: W.R.F. Inscribed with sepia ink in margin below l.l. corner of plate: XXXIII Inscribed l.r.: WRussellFlint; and at l.l.corner of sheet Paper: John Hall. 1827
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
These two images by Elliott Erwitt depict different aspects of motherhood. The top image shows fatigue and even isolation as the mother, reclining on the bed, takes a break from feeding her baby to stretch. In the bottom image depicting the same figures, the intimate bonding of mother and child are perfectly captured in the exchanged glances, the mother’s and cat’s bodies forming a protective parenthesis around the vulnerable child. This touching image was included in the exhibition The Family of Man, organized in 1955 for the Museum of Modern Art in New York by Edward Steichen.
Carole McNamara, Assistant Director for Collections & Exhibitions
on the occasion of the exhibition New York Observed: The Mythology of the City
(July 13 – September 22, 2003)
Inscription
Signed in ink below l.r. corner of image: Elliott Erwitt
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The romanticizing works of Edward Sheriff Curtis exhibit a concern for the beauty of the constructed image and the idealization of the subject, issues that were central to the Pictorialist movement of late nineteenth-century photography. The popularity of his vision was evident in 1896 when, as a partner in a Seattle photography and photoengraving firm, Curtis won a bronze medal from a Pictorialist organization, the Photographers’ Association of America.
While his early landscapes included images of Native Americans, the individuals pictured were not his main subjects. It was only after making a trip to Alaska in 1899 and traveling to Montana to visit the Crow Indian Reservation in 1900 that Curtis became interested in documenting Native American life. Eventually winning the support of President Theodore Roosevelt and the patronage of financier J. Pierpont Morgan, he began the extensive project for which he is most widely recognized, the 20-volume ethnographic work, "The North American Indian."
Between 1900 and 1906, Curtis traveled with a team of assistants in the Southwest, the Great Plains, and the Pacific Northwest. By 1907, he published the first volume of his work. 27 years would pass before the final volume would be completed. Including 1,200 gravure photographs and accompanying portfolios of his studies in the field, Curtis’ publication was highly valued as anthropological documentation when initially produced.
A turn-of-the-century nostalgic sensibility is evident throughout this massive undertaking. Props and costumes were often provided for sitters, transforming them into picturesque images. Contemporary objects such as automobiles and manufactured goods were scratched from negatives, and skies were toned for dramatic--and decisively unmodern--effect. Curtis’ approach was consistently Pictorialist.
Only about 250 sets of his 20-volume work were produced. Although the artfulness of the project ultimately undermined its scientific aims, Curtis remains an important figure in the history of photography and ethnography.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The romanticizing works of Edward Sheriff Curtis exhibit a concern for the beauty of the constructed image and the idealization of the subject, issues that were central to the Pictorialist movement of late nineteenth-century photography. The popularity of his vision was evident in 1896 when, as a partner in a Seattle photography and photoengraving firm, Curtis won a bronze medal from a Pictorialist organization, the Photographers’ Association of America.
While his early landscapes included images of Native Americans, the individuals pictured were not his main subjects. It was only after making a trip to Alaska in 1899 and traveling to Montana to visit the Crow Indian Reservation in 1900 that Curtis became interested in documenting Native American life. Eventually winning the support of President Theodore Roosevelt and the patronage of financier J. Pierpont Morgan, he began the extensive project for which he is most widely recognized, the 20-volume ethnographic work, "The North American Indian."
Between 1900 and 1906, Curtis traveled with a team of assistants in the Southwest, the Great Plains, and the Pacific Northwest. By 1907, he published the first volume of his work. 27 years would pass before the final volume would be completed. Including 1,200 gravure photographs and accompanying portfolios of his studies in the field, Curtis’ publication was highly valued as anthropological documentation when initially produced.
A turn-of-the-century nostalgic sensibility is evident throughout this massive undertaking. Props and costumes were often provided for sitters, transforming them into picturesque images. Contemporary objects such as automobiles and manufactured goods were scratched from negatives, and skies were toned for dramatic--and decisively unmodern--effect. Curtis’ approach was consistently Pictorialist.
Only about 250 sets of his 20-volume work were produced. Although the artfulness of the project ultimately undermined its scientific aims, Curtis remains an important figure in the history of photography and ethnography.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The romanticizing works of Edward Sheriff Curtis exhibit a concern for the beauty of the constructed image and the idealization of the subject, issues that were central to the Pictorialist movement of late nineteenth-century photography. The popularity of his vision was evident in 1896 when, as a partner in a Seattle photography and photoengraving firm, Curtis won a bronze medal from a Pictorialist organization, the Photographers’ Association of America.
While his early landscapes included images of Native Americans, the individuals pictured were not his main subjects. It was only after making a trip to Alaska in 1899 and traveling to Montana to visit the Crow Indian Reservation in 1900 that Curtis became interested in documenting Native American life. Eventually winning the support of President Theodore Roosevelt and the patronage of financier J. Pierpont Morgan, he began the extensive project for which he is most widely recognized, the 20-volume ethnographic work, "The North American Indian."
Between 1900 and 1906, Curtis traveled with a team of assistants in the Southwest, the Great Plains, and the Pacific Northwest. By 1907, he published the first volume of his work. 27 years would pass before the final volume would be completed. Including 1,200 gravure photographs and accompanying portfolios of his studies in the field, Curtis’ publication was highly valued as anthropological documentation when initially produced.
A turn-of-the-century nostalgic sensibility is evident throughout this massive undertaking. Props and costumes were often provided for sitters, transforming them into picturesque images. Contemporary objects such as automobiles and manufactured goods were scratched from negatives, and skies were toned for dramatic--and decisively unmodern--effect. Curtis’ approach was consistently Pictorialist.
Only about 250 sets of his 20-volume work were produced. Although the artfulness of the project ultimately undermined its scientific aims, Curtis remains an important figure in the history of photography and ethnography.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The romanticizing works of Edward Sheriff Curtis exhibit a concern for the beauty of the constructed image and the idealization of the subject, issues that were central to the Pictorialist movement of late nineteenth-century photography. The popularity of his vision was evident in 1896 when, as a partner in a Seattle photography and photoengraving firm, Curtis won a bronze medal from a Pictorialist organization, the Photographers’ Association of America.
While his early landscapes included images of Native Americans, the individuals pictured were not his main subjects. It was only after making a trip to Alaska in 1899 and traveling to Montana to visit the Crow Indian Reservation in 1900 that Curtis became interested in documenting Native American life. Eventually winning the support of President Theodore Roosevelt and the patronage of financier J. Pierpont Morgan, he began the extensive project for which he is most widely recognized, the 20-volume ethnographic work, "The North American Indian."
Between 1900 and 1906, Curtis traveled with a team of assistants in the Southwest, the Great Plains, and the Pacific Northwest. By 1907, he published the first volume of his work. 27 years would pass before the final volume would be completed. Including 1,200 gravure photographs and accompanying portfolios of his studies in the field, Curtis’ publication was highly valued as anthropological documentation when initially produced.
A turn-of-the-century nostalgic sensibility is evident throughout this massive undertaking. Props and costumes were often provided for sitters, transforming them into picturesque images. Contemporary objects such as automobiles and manufactured goods were scratched from negatives, and skies were toned for dramatic--and decisively unmodern--effect. Curtis’ approach was consistently Pictorialist.
Only about 250 sets of his 20-volume work were produced. Although the artfulness of the project ultimately undermined its scientific aims, Curtis remains an important figure in the history of photography and ethnography.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The romanticizing works of Edward Sheriff Curtis exhibit a concern for the beauty of the constructed image and the idealization of the subject, issues that were central to the Pictorialist movement of late nineteenth-century photography. The popularity of his vision was evident in 1896 when, as a partner in a Seattle photography and photoengraving firm, Curtis won a bronze medal from a Pictorialist organization, the Photographers’ Association of America.
While his early landscapes included images of Native Americans, the individuals pictured were not his main subjects. It was only after making a trip to Alaska in 1899 and traveling to Montana to visit the Crow Indian Reservation in 1900 that Curtis became interested in documenting Native American life. Eventually winning the support of President Theodore Roosevelt and the patronage of financier J. Pierpont Morgan, he began the extensive project for which he is most widely recognized, the 20-volume ethnographic work, "The North American Indian."
Between 1900 and 1906, Curtis traveled with a team of assistants in the Southwest, the Great Plains, and the Pacific Northwest. By 1907, he published the first volume of his work. 27 years would pass before the final volume would be completed. Including 1,200 gravure photographs and accompanying portfolios of his studies in the field, Curtis’ publication was highly valued as anthropological documentation when initially produced.
A turn-of-the-century nostalgic sensibility is evident throughout this massive undertaking. Props and costumes were often provided for sitters, transforming them into picturesque images. Contemporary objects such as automobiles and manufactured goods were scratched from negatives, and skies were toned for dramatic--and decisively unmodern--effect. Curtis’ approach was consistently Pictorialist.
Only about 250 sets of his 20-volume work were produced. Although the artfulness of the project ultimately undermined its scientific aims, Curtis remains an important figure in the history of photography and ethnography.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
