- Identification and Creation
- Object Number
F. Benedict Herzog, American (New York City 1859 - 1912)
- Work Type
- Physical Descriptions
- 20.9 x 17.2 cm (8 1/4 x 6 3/4 in.)
sheet: 30.4 x 21 cm (11 15/16 x 8 1/4 in.)
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Fogg Museum, Gift of Paula and Mack Lee
- Accession Year
- Object Number
- European and American Art
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- Published in Camera Work, no. 12 (1905). Several of Herzog's works, including "The Banks of Lethe" and "Twixt the Cup and the Lip," were included in Camera Work, no. 17 (January 1907), and a copy of this issue is also in the Fogg's photography holdings.
Label Text: 32Q: 2100 19th Century , written 2015
The pictorialist movement of the late 19th and early 20th centuries sought to elevate photography to the status of high art at a time when its practice was made ubiquitous through the invention of the Kodak pointand-shoot camera in the 1880s. Responding to what they saw as a dilution of aesthetic quality, photographers began to transform their images through photographic experimentation, including soft focus, subtlety in tonal variation, and unusual compositions.
In the United States, pictorialism was represented by the Photo-Secession, founded in 1902 by Alfred Stieglitz, Clarence White, Gertrude Käsebier, and Edward Steichen. The group’s quarterly journal, "Camera Work," was “devoted to the furtherance of high quality photography.” This photogravure by Herzog was reproduced in the journal in 1905. A contemporary critic hailed Herzog for mastering the “crushed and crumpled drapery of the Pre-Raphaelites, the pompous style of the Venetians with its broad planes of shining velvet, [and] the pliable, soft, stunning effects of a Reynolds or a Gainsborough.”
- Exhibition History
32Q: 2100 19th Century, Harvard Art Museums, Cambridge, 03/04/2015 - 09/17/2015
- Subjects and Contexts
Google Art Project
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