At the dawn of the 1900s, photography--marketed by Eastman Kodak as "Kodakery" to emphasize its ethereal and magical facets--was sweeping the country as a popular hobby and gaining acceptance in the fine art world. Independent, energetic Myra Albert Wiggins, a successful early-twentieth century Oregon photographic artist and member of Alfred Stieglitz's elite Photo-Secession group, created stunning photographs reminiscent of Old Dutch Master oil paintings, often using her children as models. Her work was featured in ...
Read More
At the dawn of the 1900s, photography--marketed by Eastman Kodak as "Kodakery" to emphasize its ethereal and magical facets--was sweeping the country as a popular hobby and gaining acceptance in the fine art world. Independent, energetic Myra Albert Wiggins, a successful early-twentieth century Oregon photographic artist and member of Alfred Stieglitz's elite Photo-Secession group, created stunning photographs reminiscent of Old Dutch Master oil paintings, often using her children as models. Her work was featured in newspapers, magazines, advertisements, and exhibits both nationally and abroad. This richly illustrated biography reproduces more than 70 original works and presents insights into the era's art community and Photo-Secession movement.
Read Less
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
Fine in Fine jacket. Size: 11x0x9; Boards in black cloth with gilt stamped lettering. Internally clean and unmarked. Dust jacket in an archival mylar sleeve. Fine/Fine. Illustrated. pp. xviii, 134. Oblong 9 x 10.5 inches. Uncommon hardcover edition. A ground-breaking biography of Myra Albert Wiggins, the successful early 20th-century Oregon photographic artist with connections to Alfred Stieglitz and the Photo-Secession. Myra Wiggins (1869-1956) embodied the ideal of the ''new woman''--independent, energetic, and ambitious--as depicted by the Eastman Kodak Company's ''Kodak Girl'' and promoted as ''The Witchery of Kodakery. '' ''It not only thoroughly chronicles the life of an important regional photographer, it also provides many insights into the development of fine art photography on the national and international level. The author also includes important information about other women photographers from Oregon (Lily White, Sarah Ladd, and Maud Ainsworth) for which there is no comprehensive published document. '' Contents: Acknowledgments. Foreword. Preface. Part One, 1869-1890. Part Two, 1891-1896. Part Three, 1897-1899. Part Four, 1900. Part Five, 1901-1903. Part Six, 1904. Part Seven, 1905-1910. Part Eight, 1911-1956. References. Selected Bibliography. Index to the Artwork.
