Web“Abstractions, Porch Shadows, Connecticut” taken by Paul Strand 1915 shows the level of modernism, which also demonstrates abstractism. The photo shows the high portrayal of lines of the building, the long shape that comes across it by the sun, and the form even though the subject or the image was taken on a porch was hard to define what it was but … WebMar 15, 2016 · Paul Strand (1890–1976) is widely revered as one of the greatest photographers of the 20th century. He carved out the path for American modernism and with it, the way that documentary photography is practiced today. He was a fundamental figure in the recognition of photography as an art form, dedicating his entire life to the medium and …
The Alfred Stieglitz Collection Porch Shadows, 1916
WebPaul Strand’s Abstraction, Porch Shadows reflects a 20th century effort to challenge the viewer’ perspective with? odd or distorted perspective. In the 15th century in Italy there was a profound redefinition of space with the codification and usage of linear perspective. WebThe subject matter of Paul Strand’s Porch Shadows is abstracted by limitations of the artist’s preconceived techniques. Strand isolated the subject’s basic formal elements to make it an aesthetically pleasing photograph and nothing more. Anyone can photograph an object, yet it takes a trained eye and a defined strategy to reduce the ... heather from the ranch actress
保罗·斯特兰德与美国现代主义开端:一份批判性导读 - 知乎
WebAbstraction, Porch Shadows. Date 1916. Place Twin Lakes, Connecticut, United States. Medium Photogravure. Dimensions Image: 13 × 9 1/2 in. (33 × 24.1 cm) Sheet: 20 × 16 5/16 in. (50.8 × 41.4 cm) Credit Line Museum purchase funded by the Prospero Foundation. Object number 84.352.1. WebPhotograph by Paul Strand, ‘Side Porch, Vermont’, from the portfolio ‘On My Doorstep, A portfolio of eleven Photographs. 1914-1973’, gelatin silver print, 1947, printed 1976, published by Michael E. Hoffmann as agent for Paul Strand. Ed. 34/50. WebWhen he made this picture in 1917, Strand was living in his family's townhouse on West 83rd Street in New York. For twenty-four years he had seen the view from the back window. But it was only after the summer of 1916, when he had made abstractions from porch shadows in Connecticut, that he could see the backyards, sheets, and shadows this way. movie coat of many colours