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April 12, 1883 – June 24, 1976<br />Imogen Cunningham<br />“Imo”<br />By Debra A. Murphy<br />EDU 703<br />Professor Peter Smith<br />April 18, 2011<br />

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Born :<br />Portland Oregon – April 12, 1883<br />Educated:<br /><ul><li>Technische Hochschule – Dresden, Germany</li></ul> Chemistry<br />Contemporaries:<br /><ul><li>Alvin Langden Coburn

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Alfred Stieglitz

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Gertrude Kasebier

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Ansel Adams

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Dorothea Lange

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Minor White</li></ul>Exhibits:<br /><ul><li>Brooklyn Academy of Arts and Sciences

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An International Exhibition of Pictorial Photography</li></ul>Employment:<br /><ul><li>Vanity Fair Magazine

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Faculty Member California School of Fine Arts.</li></ul>Died:<br /><ul><li>June 24, 1976 – San Francisco California</li></ul>Introduction<br />

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Magnolia-Blossom, 1925<br />Botanicals<br />In this close up the subject is clearly the Magnolia Blossom with the subject matter extending beyond the border.<br />

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Tulip Tree, 1934<br />Botanicals<br />The Tulip Tree was captured with Natural Light and a Large Format Camera. The angle of the camera adds depth.<br />

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Tower of Jewels, 1925<br />Botanicals<br />Extreme Close-up of the inside of a Magnolia is intensified by the effects of the lighting . Imogen made an extended study of Magnolias for 1923-1925<br />

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Magnolia Bud, 1920’s<br />Botanicals<br />All about the light, this image gains its impact from the dark backdrop and the lighting from the right creating a shadow on the left. <br />

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Portia Hume 2, ~1930<br />Nudes<br />Imogen began to photograph nudes in the early 1900's, and created a series of focused nude studies in the late 20's and early 30's. This print has a great sense of depth with a warm tone and nice detail in the highlights.<br />

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Triangles, 1928<br />Nudes<br />Triangles has become one of Imogen's well-known nudes. Imogen made this 4x5 inch negative, and after developing the negative, she wrote on the file folder, "The One!“ Again, lighting and the close up nature of the photo intensifies the impact. <br />

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Triangles Plus 1, 1928<br />Nudes<br />Jackie and Helen Greaves, “Imo’s” friends who she photographed both alone and together. <br />

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Figures No. 1, 1923<br />Nudes<br />This image of Imogen's was originally titled "Figures, No. 1" and was taken in the midst of Imogen's interest in both nudes and plant forms. Imogen's shift from pictorialism to modernism is clearly evident in this 1923 work. Again, shadow and light are major presence in this photograph<br />

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Martha Graham 8, 1931<br />Portraits<br /> Brilliantly lit by the sun and set against the backdrop of a dark, open barn door, Imogen produced ninety Graflex negatives of Martha Graham in one afternoon. This photo session resulted in the first of a series Imogen had printed in Vanity Fair in the December, 1931 issue.<br />

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Martha Graham 8, 1931<br />Portraits<br />Again, the use of the black background accentuates the whiteness of Martha’s dress. The image that portrays only the neck down underscores the importance of the dancer’s body and the light becoming brighter as it reaches the legs establishes them as the pinnacle of the dancer’s ability – they are the focal point of the image.<br />

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Frida Kahlo<br />Portraits<br />In Imogen’s series of Artist Frida Kahlo, she uses the camera to present Kahlo as a Mexican Princess and royalty that she became to the artistic world. <br />

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Frida Kahlo<br />Portraits<br />The use of shadows here gives Kahlo a solemnity and insinuates a darker side of the artist. <br />

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Frida Kahlo<br />Portraits<br />In this shot, Cunningham illustrates the playful side of Kahlo while maintaining her regality. The traditional clothing against the stark white stucco back drop accentuates Kahlo’s heritage. The positioning of Kahlo, hands on hips head tilted up exemplifies her defiance of convention and her confidence. <br />

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Imogen Cunningham<br />April 12, 1883 – June 24, 1976<br />