Pictorial Photography and the American West, 1900-1950

Acknowledgments


List of Figures


Introduction

 1 A Brief Introduction to American Pictorialism


 2 Stieglitz Abandons Pictorialism


 3 Pictorialism in the America West


 4 The Broad Movement


 5 A Note on the Images


 6 Possibilities and Unalloyed Pleasures




1 The Broad Movement

 1 The New Woman and the Origins of the Broad Movement


 2 Rise of the Hobbyist-Amateur


 3 The Photographic/Pictorialist Industry

 3.1 Kodak


 3.2 Photographic Journals and Publications


 3.3 Photographic Technologies, Materials, and Techniques


 3.4 National Organizations and Local Camera Clubs


 3.5 Salons, Exhibitions, and Conventions and Postal Clubs, Interchanges, and Circulating Societies




 4 Pictorialism and the Picturesque




2 Regional Pictorialism in the West

 1 Cultural Regionalism


 2 Artistic Regionalism


 3 Western Pictorialist Photography

 3.1 California Pictorialism


 3.2 The West beyond California


 3.3 Mythic West/“Provincial” West


 3.4 Western Women’s Regionalism


 3.5 Japonisme and West-Coast Japanese Pictorialists


 3.6 Indigenous America




3 The End of Pictorialism

 1 The Protracted Decline of Pictorialism

 1.1 Embattled Pictorialism: Photography as Fine Art


 1.2 Embattled Photography: Pictorialism versus Painting


 1.3 Embattled Abroad: American versus European Pictorialism


 1.4 Embattled Subject Matter


 1.5 Embattled from Within: Internal Pictorialist Rhetoric




 2 The Beginning of the End: Group f.64

 2.1 Regional Modern


 2.2 Attack and Counterattack


 2.3 Expanded Photographic Practice: fsa and Social Documentary


 2.4 Modernist Regionalism




Epilogue

 1 Erasing Pictorialism


 2 From the Regional to the Global




References


Index