Celebrates the accomplishments of World War II's female war correspondents, who risked their lives in combat zones to provide firsthand reports on the events of the war.
"Introducing modernism to the New York art world, photographer Alfred Stieglitz was impresario to such notable American artists and photographers as John Marin, Paul Strand, Charles Demuth, and Marsden Hartley. In 1916 Georgia O'Keeffe became the only woman admitted to this exclusive art circle. An intense love affair with her mentor ensued... ." [Library Journal]
In his own best-selling 1985 autobiography, Adams presented a life almost as neatly cropped and printed as his pictures, omitting nearly all of his personal relationships and many major emotional details. Here, Mary Street Alinder - who worked with Adams on that memoir and was his assistant in his later years - draws a much more revealing portrait. Her biography covers in depth his difficult childhood in San Francisco and the profound impact of the Yosemite Valley on the boy who would become its consummate artist, exploring the mixed consequences of that lifelong relationship.
"This latest volume in the acclaimed In Focus series examines the life and work of Alfred Stieglitz, concentrating on the Getty Museum's considerable holdings of the work of this American master. In his studies of his wife, Georgia O'Keefe, in his portraits of the urban scene, and in his pictures of natural form, Stieglitz defined the modern movement on photography. In his periodical Camera Work he championed photography as an art form; in his famous gallery 'An American Place,' he promoted the work of other American modernists. Fifty reproductions with commentaries by Weston Naef, the Getty's curator of photographs, represent both the range of the Getty's collection and the importance of Stieglitz's contribution. The book also includes an edited colloquium on Stieglitz's life and work. Participants included Emmit Gowin, Sarah Greenough, Charles Hagen, John Szarkowski, and Weston Naef."
When Robert Kincaid drives through the heat and dust of an Iowa summer and turns into Francesca Johnson's farm lane looking for directions, the world-class photographer and the Iowa farm wife are joined in an experience of uncommon truth and stunning beauty that will haunt them forever. (Catalog summary)
In the Footsteps of Grant and Lee combines engaging text and striking photos to tell the story of those battles that became known as the Overland Campaign--the Wilderness, Spotsylvania Court House, the North Anna River, Totopotomoy Creek, Bethesda Church, and Cold Harbor.
Andrew J. Russell was possibly the only Civil War soldier who was also an official Civil War photographer. This work reproduces all the photographic prints in a scrapbook entitled "United States Military Railroad Photographic Album." The captions and the sequence of pictures have been altered. The first three photographs appearing in this edition are from Fredericksburg. Photographs number 15 through 23 also show scenes from the Fredericksburg area.
This 3,497-page, 10-volume set has 3,389 photographs taken during the war. In addition to battlefields, many photographs of camp scenes, hospitals, prisons, forts and artillery, army movements, and material also appear. Volume X contains the index to the entire set. According to the index, photographs of Fredericksburg appear in nine of the ten volumes. There are no photographs in volume VI. Photographs showing activity on the Rappahannock River appear in volumes I and II and volumes IV through IX.
Lossing compiled this chronological summary and record of all of the engagements that occurred during the war from the official records of the War Department. In this work, Lossing reproduces the official Brady War Department photographs. The book is not indexed. It is a chronological account of the war. However, the photographs that appear on each page do not always correspond with the accompanying text. Some of the photographs are not identified in detail. Page 129 shows the effect of 32-pound shell from Massachusetts Heavy Artillery. The location is not identified as Fredericksburg. A photograph of a pontoon bridge on the Rappahannock appears on page 234. The accompanying text account is a discussion of activities in the Mississippi Valley in 1861. Pages 304 through 307 describe the Battle of Fredericksburg. Six photographs accompany the text. Although the activity described in Chapter XIX occurs in the Southwest, more photographs of the Fredericksburg area appear on pages 309, 311, 315, 317(?), 319, and 321.
