Abbott, Berenice

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Abbott, Berenice

(bĕr'ənēs`), 1898–1991, American photographer, b. Springfield, Ohio. Abbott turned from sculpture to photography in 1923. She was assistant to Man RayRay, Man,
1890–1976, American photographer, painter, and sculptor, b. Philadelphia. Along with Marcel Duchamp, Ray was a founder of the Dada movement in New York and Paris. He is celebrated for his later surrealist paintings and photography.
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 in Paris (1923–25), where she made an extraordinary series of portraits of the artistic and literary celebrities of the 1920s. She began her great documentation of New York City in 1929; many of the best photographs were collected in her book Changing New York (1939). In 1958, she produced a stunningly beautiful set of photographs for a high-school physics text that some critics consider her finest work. She discovered the work of Eugène AtgetAtget, Eugène
, 1857–1927, French photographer. After working as a sailor and then as an actor for many years, Atget became a photographer at the age of 42. He began at once to produce his detailed visual record of Paris and its environs, particularly St.
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 in 1925 and labored successfully to secure him international recognition.

Bibliography

See her Photographs (1970).

Abbott, Berenice

(1898–1991) photographer; born in Springfield, Ohio. After a short time at Ohio State University (1917–18) and a few weeks at Columbia University in New York City (1918), she took up the study of drawing and sculpture in New York City (1918–21), Paris (1921–23—partially under Antoine Bourdelle), and Berlin (1923). Back in Paris she became an assistant to the photographer, Man Ray (1923–25), and then opened her own portrait studio (1926–29); one of her best-known portraits was of James Joyce. Meanwhile, she had discovered the work of Eugene Atget (1857–1927), the French photographer known for his semidocumentary studies of cityscapes and activities in Paris and its suburbs; on his death she acquired his archives and thereafter promoted his work. She went back to New York City and worked as an independent documentary and portrait photographer (1929–68); she occasionally did commissions for Fortune and other magazines, but became best known for the series she did for the Federal Art Project (under the Works Progress Administration), a thorough and sensitive documentation of Manhattan during the 1930s, published as Changing New York (1939). In 1940 she turned to a new subject, capturing in photographs such scientific phenomena as magnetism, gravity, and motion; some of her work was used to illustrate high school physics texts. She also taught photography at the New School for Social Research (1935–68). Her final major projects included photographing a series on rural California and U.S. Route 1 from Maine to Florida. In 1968 she moved up to Maine where she worked until near her death.
References in periodicals archive ?
An essay by Sean Corcoran, photography curator at the Museum of the City of New York, details WebbAEs life and career, looking especially at his friendships with other New York City photographers of the period, including Harry Callahan, Berenice Abbott, Minor White, Beaumont Newhall, Lisette Model, and Helen Levitt.
Highlights are other works by Benton; renowned photographs by Walker Evans, Berenice Abbott, and Lewis Hine; and, of particular interest, Jackson Pollock's "Pasiphae" (1943).
In the case of Atget, rescued from oblivion by Szarkowski via thousands of photographic plates held privately by the American photographer, Berenice Abbott, his sense of isolation and privacy, linked to his poverty made him a figure of mystery about whom so little is known today.
It is not that all the artists were gay, but rather that they shared the exploration of gay identity by artists who were, but in variously open ways: Charles Demuth with celebrations of sailors that were not at all like his precisionist cityscapes, Marsden Hartley with his coded abstract tribute to his lover Karl von Freyburg in Berlin, Berenice Abbott photographing legendary figures such as Djuna Barnes and Janet Flanner in Paris in the 1920s, Paul Cadmus' flamboyant eroticism during and after World War II, the full visibility of photographers Robert Mapplethorpe and Nan Goldin.
BERENICE ABBOTT, 93, photographer and inventor of photographic processes, was pivotal in the American realist photographic movement.
Berenice Abbott, she photographed during the Depression period a lot of Lower Manhattan.
The cover photo of Janet Flanner, by Berenice Abbott, teases the reader into expecting some discussion of this great American photographer.
The "looking" of the tide refers particularly to the viewpoint of the two Americans most responsible for establishing Atget's international reputation, the photographer Berenice Abbott and the collector-dealer-champion of Surrealism Julian Levy.
Born in Brooklyn, Engel took photo courses with teachers including Berenice Abbott, then became a photojournalist.
En conclusion, habria que darle credito a lo dicho por su coetanea, amiga y luego detractora, Berenice Abbott, quien con evidente mala fe la llamo "una impostora que me aburre a morir".
The female photographer at the time with whom Welty seems to have had the closest affinity was Berenice Abbott.
Some of the Baroness's contemporaries--the photographer Berenice Abbott, for example--viewed her as a saint; a few, including Anderson, Heap and Coleman, regarded her as a genius; the vast majority, however, thought her disturbingly eccentric or simply mad.