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Posted on November 22, 2016

Painting and the Dawn of Photography
From the Danforth Art Museum Permanent Collection
December 8 – January 1, 2017

Reception December 8, 2016 6-8 PM

Abstract image

Painting and the Dawn of Photography

Interpretations of the landscape were a significant focus of nineteenth-century American art, and reports from geological surveys across the Western territories drove the need for views of an unseen landscape. Artists such as Thomas Moran, who traveled with one of the surveys and produced monumental landscapes of the Rocky Mountains, noted a need to both precisely render what he was seeing, yet also capture the emotional impact of the view, which he termed “the atmosphere.” This line of thought was present throughout nineteenth-century landscapes, where artists sought to depict observed nature while embracing more atmospheric and tonal effects to heighten the emotional impact of the work.

Painting and photography unite in their attempt to evoke both the past and present through atmospheric effect. George Hawley Hallowell’s turn-of-the-twentieth century painted landscapes become emotionally turbulent through the artist’s use of color and pattern. Vibrant purples, pinks, and blues are juxtaposed with patches of light and dark, showing the artist’s interest in tonalism and symbolism. Decades later, the photographs of John Brook render a similar atmospheric visual effect. Brook’s color abstractions reflect his need to infuse his photographs with both a sense of design and spontaneity. His work often straddled figuration and abstraction, with an emotional tone permeating throughout.

Evoking a mood through tonal effects remains a hallmark of contemporary photography, where the sense of capturing a distant memory is made visual through deft use of light and shadow. Depictions of the landscape have always fluctuated between faithful representation and an imagined sublime. Edgar Allan Poe’s assertion that the invention of photography was “the most important, and perhaps the most extraordinary triumph of modern science,” while also deeming the accuracy of the photographic image “miraculous” and magical, underscore the mercurial nature of the medium. Danforth Art is continually building its collection in order to more fully draw connections between media, unite the historical and contemporary, and understand their shared history.

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Here’s how to create your Griffin Member Profile

Welcome we are excited to have you and your creativity seen by so many.

1: Log into your membership account
2: To  create a profile you must be logged in and be a supporter or above otherwise you will not see the add a profile button.
3: You can find the Griffin Salon on the Members Drop down in our Main Navigation on the home page or by starting here – https://griffinmuseum.org/griffin-salon/
4: A button that says Create Your Member Profile appears
5: If you are logged in and have already created a profile you also won’t see the add a profile button ( the button launches the form) but you will see an edit and delete icon next to your name and only yours.


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    Floor Plan

    Amy Rindskopf's Terra Novus

    At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

    This project started as an homage to Edward Weston’s Pepper No. 30 (I am, ironically, allergic to peppers). As I looked for my subject matter at the market, I found that I wasn’t drawn to just one single fruit or vegetable. There were so many choices, appealing to both hand and eye. I decided to print in black and white to help make the images visually more about the shapes, and not about guessing which fruit is smoothest, which vegetable is greenest.

    Artistic Purpose/Intent

    Artistic Purpose/Intent

    Tricia Gahagan

     

    Photography has been paramount in my personal path of healing from disease and

    connecting with consciousness. The intention of my work is to overcome the limits of the

    mind and engage the spirit. Like a Zen koan, my images are paradoxes hidden in plain

    sight. They are intended to be sat with meditatively, eventually revealing greater truths

    about the world and about one’s self.

     

    John Chervinsky’s photography is a testament to pensive work without simple answers;

    it connects by encouraging discovery and altering perspectives. I see this scholarship

    as a potential to continue his legacy and evolve the boundaries of how photography can

    explore the human condition.

     

    Growing my artistic skill and voice as an emerging photographer is critical, I see this as

    a rare opportunity to strengthen my foundation and transition towards an established

    and influential future. I am thirsty to engage viewers and provide a transformative

    experience through my work. I have been honing my current project and building a plan

    for its complete execution. The incredible Griffin community of mentors and the

    generous funds would be instrumental for its development. I deeply recognize the

    hallmark moment this could be for the introduction of the work. Thank you for providing

    this incredible opportunity for budding visions and artists that know they have something

    greater to share with the world.

    Fran Forman RSVP