스트레이트 사진에 나타난 월트 휘트먼의 도시 풍경
Walt Whitman’s Urban Landscapes in Straight Photography
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Walt Whitman desires to visualize his poems in Leaves of Grass as the “well-taken photographs.” Whitman is peculiarly fascinated by the landscapes of mid-nineteenth century Manhattan full of velocity and dynamics. For Whitman, it is hard to represent Manhattan of “orgies, walks and joys” with a traditional painting medium. He frankly captures the various subjects of the city such as vehicles, shops, architectures as well as the crowd with a cameraman’s eye. Significantly, his poems inspire many visual artists to create the indigenous American art. For this reason, the straight photographers in early twentieth century America recognize Whitman as their mentor. Alfred Stieglitz, the founder of straight photography, and his successors Paul Strand and Edward Weston attempt to create the modern landscapes of New York as realistically and objectively as permitted by the medium, renouncing the use of manipulation. The diversified sights of Manhattan strongly evocative of Whitman’s aspects of a cameraman are well represented in the photographs of Stieglitz, Strand and Weston. The straight photographers creatively represent the indigenous American urban landscapes inspired by Whitman’s camera vision for Manhattan of “manifold ensemble.”
Abstract
Walt Whitman desires to visualize his poems in Leaves of Grass as the “well-taken photographs.” Whitman is peculiarly fascinated by the landscapes of mid-nineteenth century Manhattan full of velocity and dynamics. For Whitman, it is hard to represent Manhattan of “orgies, walks and joys” with a traditional painting medium. He frankly captures the various subjects of the city such as vehicles, shops, architectures as well as the crowd with a cameraman’s eye. Significantly, his poems inspire many visual artists to create the indigenous American art. For this reason, the straight photographers in early twentieth century America recognize Whitman as their mentor. Alfred Stieglitz, the founder of straight photography, and his successors Paul Strand and Edward Weston attempt to create the modern landscapes of New York as realistically and objectively as permitted by the medium, renouncing the use of manipulation. The diversified sights of Manhattan strongly evocative of Whitman’s aspects of a cameraman are well represented in the photographs of Stieglitz, Strand and Weston. The straight photographers creatively represent the indigenous American urban landscapes inspired by Whitman’s camera vision for Manhattan of “manifold ensemble.”
참고문헌 (23)
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