Ansel Easton Adams was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating “pure” photography which favored sharp focus and the use of the full tonal range of a photograph.
Ansel Adams is one of the giants of 20th Century photography, esteemed for his lush gelatine silver photographs of the national parks that have become icons of the US wilderness. A passionate champion of photography as a legitimate form of fine art, he referred to his most stunning images as his “Mona Lisas”.
His childhood
Ansel Adams had problems fitting in at school. Some problems were due to a natural shyness and some were due to a physical issue (an “earthquake nose” as he called it – his nose was broken during an earthquake). It is also possible that he may have dealt with dyslexia.
Adams was a hyperactive and sickly child with few friends. Dismissed from several schools for bad behavior, he was educated by private tutors and members of his family from the age of 12. Adams taught himself the piano, which would become his early passion.
His Inspiration
When photographer Ansel Adams looked through his camera lens, he saw more than Yosemite’s rocks, trees, and rivers. He saw art. Hues of wildness surfaced in this great American photographer’s stunning black-and-white prints. And for most of his life, Yosemite National Park was Adams’ chief source of inspiration.
Ansel Adams photographed Yosemite primarily to raise environmental awareness. His iconic photographs of the Yosemite National Park played a pivotal role in advocating for the preservation of natural landscapes and the need for conservation efforts.
Sierra Club
In 1934, Adams was elected as a member of the Board of Directors of the Sierra Club, a role he maintained for 37 years. His tenure spanned the years that the Club evolved into a powerful national organization that lobbied to create national parks and protect the environment from destructive development projects.
The purposes of the Sierra Club are to explore, enjoy, and protect the wild places of the earth; to practice and promote the responsible use of the earth’s ecosystems and resources; to educate and enlist humanity to protect and restore the quality of the natural and human environment.
In 1927, Adams participated in the Club’s annual outing, known as the High Trip, and, the next year, he became the Club’s official trip photographer. In 1930 he became assistant manager of the outings which consisted of month-long excursions of up to 200 people.
What else was he involved in?
Ansel Adams was not just a photographer. After leaving school at the age of 12, he taught himself how to read music and play the piano. He was judged to be gifted and actually intended to make a career as a pianist before photography became his main occupation.
While photography and the piano shared his attention during his early adulthood, by about 1930 Adams decided to devote his life to photography. (As late as 1945, however, he still thought enough of his playing to have a recording made of his interpretations of Beethoven, Chopin, and perhaps others.)
When were his photos first used for environmental purposes?
Adams’s images were first used for environmental purposes when the Sierra Club was seeking the creation of a national park in the Kings River region of the Sierra Nevada. Adams lobbied Congress for a Kings Canyon National Park, the Club’s priority issue in the 1930s, and created an impressive, limited-edition book, Sierra Nevada: The John Muir Trail, which influenced both Interior Secretary Harold Ickes and President Franklin Roosevelt to embrace the Kings Canyon Park idea. The park was created in 1940.
The Sierra Club advocated for making Kings Canyon a national park so it could be better protected, and Adams was chosen to represent the club at a conference in Washington. To make his argument, Adams presented a selection of his own photographs before the assembled representatives.
How did Ansel Adams help convincing the congress to protect the high sierra
Adams lobbied Congress for a Kings Canyon National Park, the Club’s priority issue in the 1930s, and created an impressive, limited-edition book, Sierra Nevada: The John Muir Trail, which influenced both Interior Secretary Harold Ickes and President Franklin Roosevelt to embrace the Kings Canyon Park idea.
Visualisation
Visualisation is the concept of interpreting a scene and deciding on the final shot before pressing the shutter. Taking place within the ‘mind’s eye’, as Adams often said, visualisation involves intuitively assessing a subject and choosing the most important attributes to frame and highlight.
Zone system
The Zone System, pioneered by Ansel Adams and Fred Archer over 80 years ago, is a technique that offers photographers a way to control exposure and capture the entire tonal scale in their photographs.
Ansel Adams was an American photographer and environmentalist, best known for his black-and-white landscape photographs of the American West, particularly Yosemite National Park. His work helped define modern landscape photography and played a significant role in conservation efforts.
What can you tell me about his childhood?
Ansel Easton Adams was born on February 20, 1902, in San Francisco, California. As a child, he was somewhat shy and struggled with formal schooling, partly due to what some believe may have been dyslexia. He was home-schooled by his father and aunt, which allowed him to explore his interests more freely. One of the defining moments of his childhood was the San Francisco earthquake of 1906, which caused Adams to fall and break his nose, leaving it permanently crooked. His love for nature started early, as he spent much of his childhood exploring the outdoors.
What national park did he visit that inspired his photography career?
Adams first visited Yosemite National Park in 1916 when he was 14 years old. His parents gifted him a Kodak Brownie camera, and he was immediately captivated by the landscape. This trip was a turning point in his life, sparking both his love for photography and his deep commitment to conservation.
‘I knew my destiny when I first experienced Yosemite’
Adam Ansel
How did this inspire his photography career?
During his early visits to Yosemite, Adams took numerous photographs and experimented with darkroom techniques. He later joined the Sierra Club, which played a major role in shaping his environmental consciousness. Through the club, he met influential conservationists and began to see photography as a tool to advocate for nature preservation. His early Yosemite images led to his first portfolio and professional recognition.
What is the Sierra club? and can you find out what happened in 1927 that became a major factor in his career?
The Sierra Club is one of the oldest and most influential environmental organizations in the United States. Founded in 1892 by naturalist John Muir, the club focuses on protecting natural spaces, promoting environmental policies, and advocating for conservation efforts.
In 1927, Adams created one of his most famous images, “Monolith, the Face of Half Dome” in Yosemite. This photograph marked a turning point in his career, as he moved away from soft-focus pictorialism to a more sharp, detailed style. This year was also when he began using a larger format camera, which allowed him to capture more precise detail and tonal range—techniques that would define his later work.
As well as capturing photography through photography, what else was he involved in?
While photography was his main passion, Adams was also deeply involved in environmental activism. He worked with the Sierra Club, using his images to support conservation efforts, and played a key role in lobbying for the establishment of Kings Canyon National Park in 1940. The powerful rushing Kings River peaked the interest of the nearby and fast-growing city LA. Because the river plunges nearly 11,000 feet in just 80 miles, it carried enormous potential as a hydroelectric power source. Additionally:
He was an author, writing books and essays on photography and conservation.
He developed the Zone System, a technique for controlling exposure and contrast in black-and-white photography.
He served as a consultant for Polaroid, testing new film and cameras.
He was a teacher, mentoring aspiring photographers through workshops and writings.
Why were Ansel Adams’ images first used for environmental purposes?
Ansel Adams’ images were first used for environmental purposes because they showcased the beauty and grandeur of natural landscapes, particularly in the American West. His black-and-white photographs captured the majesty of places like Yosemite and the Sierra Nevada, inspiring public appreciation and support for conservation efforts. His work was instrumental in advocating for the protection of wilderness areas, as his striking images helped convince policymakers and the public of the need to preserve these landscapes.
Why was Kings Canyon at risk?
Kings Canyon was at risk due to logging, grazing, and potential development, which threatened its pristine wilderness. In the early 20th century, there was pressure to use the land for commercial purposes, but conservationists, including Ansel Adams and the Sierra Club, worked to prevent this and advocate for its protection as a national park.
How did Ansel Adams protect the Sierra Club?
Ansel Adams played a key role in protecting and promoting the Sierra Club by using his photography as a powerful advocacy tool. He was an active member of the club and served on its board of directors for many years. His images were used in Sierra Club publications, helping to garner public and political support for conservation initiatives. His work significantly contributed to the success of the club’s campaigns, including the push to establish Kings Canyon as a national park.
When was the proposal to create the national park approved, and what prompted this?
The proposal to create Kings Canyon National Park was approved in 1940. The movement to protect the area gained momentum in the 1930s, thanks in part to Ansel Adams’ photography, which helped highlight the region’s natural beauty. His 1938 book Sierra Nevada: The John Muir Trail was sent to President Franklin D. Roosevelt and Congress, influencing their decision to grant national park status and protect Kings Canyon from development.
What presidential medal did he receive?
Ansel Adams received the Presidential Medal of Freedom in 1980 from President Jimmy Carter. This award recognized his contributions to photography and environmental conservation, as his work had played a crucial role in inspiring efforts to protect America’s natural lands.
Ansel Adams was all about visualisation in his photography what does this mean?
Ansel Adams describes The Monolith, The Face of Half Dome (1927) in his book The Negative as his first true example of visualization—the process of imagining the final print before capturing the image. Initially, he took the photograph using a yellow filter but soon realized that it did not achieve the dramatic effect he had envisioned. The yellow filter resulted in a more neutral, less striking image that did not fully convey the depth and intensity he sought.
Recognizing this, Adams took a second exposure, this time using ared filter, which dramatically darkened the sky and enhanced the contrast, creating a bolder and more powerful composition. This decision aligned with his pre-visualized idea of the scene, as the red filter emphasized the blue light in the atmosphere, intensifying the shadows and adding a sense of drama.
Although Adams was known for his darkroom techniques, the foundation of his images was always established at the moment of capture. Unlike modern digital photography, where extensive post-processing allows for greater manipulation, film photographers had to make critical choices in-camera to ensure the final print aligned with their artistic vision. This method of working underscores Adams’ mastery of light, exposure, and the Zone System to create his iconic landscapes.
What is the Zone system?
The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer. It divides the tonal range of an image intoeleven zones, from pure black (Zone 0) to pure white (Zone X), with various shades of grey in between.
Ansel Easton Adams was an American landscape photographer and environmentalist known for his black-and-white images of the American West. Yosemite National Park was Adams’ chief source of inspiration.
What was his Childhood like?
He was born in San Francisco, California, the son of Charles Hitchcock Adams, a businessman, and Olive Bray. The grandson of a wealthy timber baron, Adams grew up in a house set amid the sand dunes of the Golden Gate. When Adams was only four, an aftershock of the great earthquake and fire of 1906 threw him to the ground and badly broke his nose, distinctly marking him for life. Adams was a hyperactive and sickly child with few friends. Dismissed from several schools for bad behaviour, he was educated by private tutors and members of his family from the age of 12. Adams taught himself the piano, which would become his early passion.
Adams’s love of nature was nurtured in the Golden Gate, but his life, in his words was “coloured and modulated by the great earth gesture” of Yosemite in the Sierra Nevada. During his first trip to Yosemite in 1916, his father gave him his first camera, an Eastman Kodak No. 1 Box Brownie. Yosemite Valley and the Sierra became a career- and life-altering place for Adams and is where he did some of his best work.
“Half Dome, Apple Orchard, Yosemite,” California by Ansel Adams, 1933.
When Adams was 12, after being dismissed from several private schools for being restless and inattentive, his father removed him from school. For the next two years, he was tutored and educated by his father and aunt Mary, who raised him to follow Ralph Waldo Emerson’s direction “to live a modest, moral life guided by social responsibility to man and nature.” He eventually resumed his formal education at Mrs. Kate M. Wilkins Private School, where he graduated the eighth grade on June 8, 1917.
How did Yosemite National Park inspire his career?
In 1919 Adams joined the Sierra Club. The Sierra Club is an environmental organization based out of San Francisco and founded by Scottish-American preservationist John Muir. Traditionally associated with the Progressive Movement, the club was one of the first large-scale environmental preservation organizations in the world. For several years, Adams was caretaker of the Sierra Club’s LeConte Memorial Lodge (now known as the Yosemite Conservation Heritage Centre) in Yosemite Valley. He was deeply influenced by the organization’s environmental credo, and his first published photographs appeared in the Club’s 1922 Bulletin.
His large encompassing landscapes, for which he is best known, are inspired by the archetypal nineteenth-century idealized panorama, which was a typical genre in early painted and photographic depictions of the American West.
In 1927, Adams took his first High Trip as a member of the Sierra Club and made his famous photograph, Monolith, The Face of Half Dome.
Later that year, with the help of San Francisco insurance magnate and patron of arts Albert M. Bender, Adams published his first portfolio: Parmelian Prints of the High Sierras.
Why was the Kings Canyon at Risk?
In 1941, legendary photographer Ansel Adams was hired to shoot national parks for a photo mural at the Department of the Interior in Washington. With the escalation of World War II, the project was suspended. But before its abrupt end, Adams had created a series of 226 incredible images, including several from the Grand Canyon in 1942.
When was the proposal to create the national park approved?
In 1941 Adams was contracted by the Department of the Interior (DOI) to construct a photo mural of the National Parks, Native American Reservations, and other locations managed by the DOI. As an unremitting activist for the environment, Adams knew that this was an opportunity to showcase the wilderness. During this time, Adams captured his famous photograph The Tetons and Snake River.
“The Tetons and Snake River,” Grand Teton National Park, Wyoming, by Ansel Adams, 1942.
America’s grand old man of photography visited the National Archives in September 1979. Back then, the agency was known as the National Archives and Records Service (NARS). Adams spent the day in the Still Picture Branch examining prints he made four decades earlier.
Ansel Adams visits the National Archives, September 10, 1979. (Records of the National Archives)
Adams examined the prints that were his preliminary work for the DOI photo mural. These included 175 photos of National Parks, monuments, and Native Americans of the Southwest. He also revealed that he was paid $22.50 a day for his work, plus a $9 per diem. In 1979 one of his prints sold for as much as $6,250 (roughly $22,000 in 2019 dollars).
Ansel Adams passed away on April 22, 1984, from cardiovascular disease in Monterey, California, at the age of 82 surrounded by his wife, two children, and five grandchildren.
What Medal did he receive?
In 1980, President Jimmy Carter awarded Adams the Presidential Medal of Freedom, the nation’s highest civilian honour, for “his efforts to preserve this country’s wild and scenic areas, both in film and on earth. Drawn to the beauty of nature’s monuments, he is regarded by environmentalists as a monument himself, and by photographers as a national institution.”
“Yellowstone Falls,” Yellowstone National Park, Wyoming, by Ansel Adams, 1941.
View with Shadowed Ravine, “Grand Canyon from South Rim, 1941,” Arizona (Vertical Orientation), by Ansel Adams.
View of Valley from Mountain, “Canyon de Chelly” National Monument, Arizona, by Ansel Adams, 1942.
“Death Valley National Monument,” California, by Ansel Adams,1942.
Visualization with Ansel Adams
Visualisation is the concept of interpreting a scene and deciding on the final shot before pressing the shutter. Taking place within the ‘mind’s eye’, as Adams often said, visualisation involves intuitively assessing a subject and choosing the most important attributes to frame and highlight.
In Ansel’s case, his knowledge of technique—knowing what a strong red filter ought to do—enabled him to imagine, or visualize, a final print with a much darker sky than the yellow filter would have afforded. He visualized how he wanted the print to look and used the techniques to execute his vision.
What was the Zone System?
The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer.
Each zone in the Zone System corresponds to a specific tonal value and exposure adjustment. For instance, Zone V is the middle grey, or 18% grey, which most meters are calibrated to. This zone represents a tonal value halfway between pure black (Zone 0) and pure white (Zone X)
Romanticism ( also referred to as the Romantic era or Romantic movement ) Was a artistic and intellectual driven movement which originated in Europe towards the latter 18th century.
The objective of the movement was to Highlight the importance of Subjectivity , Imagination , and to cherish the importance of nature in society and culture ,marked by a focus on individualism, an emphasis on nature, emotion over reason, freedom of form, and an exploration of the Gothic and unknown in response to the ” Age of Enlightenment” , the industrial revolution , and the whole idea of physical materialism in general.
( The Enlightenment, also known as the Age of Reason, was an intellectual and cultural movement in the eighteenth century that emphasized reason over superstition and science over blind faith. – Wikipedia)
John Constable
John Constable (1776–1837) was a key figure in the Romantic movement, known for his emotional and expressive landscape paintings that captured the beauty of the English countryside. As part of Romanticism, which emphasized emotion, individualism, and the Sublime, Constable focused on nature’s power , but in a more intimate way compared to other Romantic artists.
Rather than depicting violent forces, Constable’s work captures the shifting moods of nature through dynamic skies, changing weather, and atmospheric light. Paintings like Salisbury Cathedral from the Meadows (1831) showcase nature’s vastness, evoking a sense of awe and humility. His landscapes communicate the Sublime not through destruction, but through the beauty and grandeur of nature, reflecting both calm and intensity.
Constable’s use of “plein air” painting (En plein air, or plein-air painting, is the act of painting outdoors. This method contrasts with studio painting or academic rules that might create a predetermined look.)
he worked directly outdoors, allowed him to capture the fleeting qualities of light and weather, adding immediacy to his works. His ability to convey nature’s raw beauty, like in The Hay Wain (1821), helped reshape landscape painting by making it more authentic and emotionally charged, aligning with Romantic ideals.
The Sublime
The idea of The Sublime , nature’s power to overwhelm, inspire, and even frighten , became especially important during the Industrial Revolution (late 18th–19th century). As cities grew and machines took over, people longed for nature and began romanticizing its wild, untamed beauty. Artists and photographers used their work to capture this sense of awe and wonder.
The Sublime in Landscape Photography through history
For example, J.M.W. Turner, a sublime artist of the Romantic period, captured the awe and terror of nature’s forces in his paintings. His works, like Snow Storm: Steam-Boat off a Harbour’s Mouth, depict violent storms and vast, turbulent seas, where the viewer feels the raw power of nature. The dramatic use of colour and light conveys not just the beauty of nature but also its ability to frighten and humble.
Carleton Watkins – Took stunning photos of Yosemite, showing its towering cliffs and deep valleys, making people feel both amazed and tiny in comparison.
Ansel Adams – Used dramatic lighting and deep contrasts to highlight the power of nature, especially in American national parks. His images of mountains and storms perfectly captured the Sublime.
Gustave Le Gray – Photographed powerful seascapes, using long exposures to capture dramatic waves and skies, creating an almost otherworldly effect.
Personal Connection to the Sublime: The Jersey Coastline
Living in Jersey, the coastlines offer a perfect example of the Sublime in nature. The vast tides, golden beaches, and ever-changing skies along the island’s shores provide a tangible link to the sublime landscapes of the Romantic period. The way the sea crashes against the rocks, particularly during storms or at high tide, can evoke that same feeling of awe and fear. There’s something about standing on a high point and looking down at the vastness of the ocean that puts everything into perspective , reminding us of nature’s immensity and unpredictability.
Edmund Burke, an 18th-century philosopher, described the Sublime as something “productive of the strongest emotion which the mind is capable of feeling.” In this context, the Sublime has both beauty and terror, as it overwhelms the senses and leaves one feeling small and insignificant in comparison to the vastness of nature.
When photography was invented in 1839, it offered a new way to explore and share the Sublime. Early landscape photographers like Carleton Watkins captured towering cliffs and deep valleys in Yosemite, evoking a sense of both amazement and insignificance. Similarly, Ansel Adams used dramatic lighting to highlight nature’s power in American national parks, particularly in his black-and-white images of mountains and storms, portraying the raw force of nature. Gustave Le Gray, known for his seascapes, captured the sublime quality of the ocean with long exposures, creating images of crashing waves and dramatic skies that seem almost otherworldly.
These photographers didn’t just document landscapes; they made people feel the sheer scale and force of nature, much like Romantic painters did.
The Industrial Revolution and the Rise of Landscape Photography
As factories and cities spread, many people felt disconnected from nature. Photography became a way to preserve and appreciate landscapes that were rapidly changing. Some key effects of the Industrial Revolution on landscape photography included:
Increased travel – Trains and steamships made it easier for photographers to reach remote, dramatic landscapes.
Environmental awareness – Photographs of untouched landscapes, like those by Watkins and Adams, helped inspire conservation efforts, leading to the creation of national parks.
Contrast between nature and industry – Some photographers used landscapes to highlight the loss of wild spaces, showing smoke-filled skies and factories creeping into natural areas.
What is a Landscape?
A landscape is a picture of natural scenery, like mountains, trees, rivers, and skies. It can be realistic, abstract, or stylized, showing the beauty of nature or how people interact with their surroundings. In photography, landscapes focus on composition, lighting, and perspective to create a mood, highlight nature’s beauty, or even make a statement about the world.
Google definition
Landscape photographs typically capture the presence of nature but can also focus on human-made features or disturbances of landscapes. Landscape photography is done for a variety of reasons. Perhaps the most common is to recall a personal observation or experience while in the outdoors, especially when traveling.
When Did Landscape Art Become Popular?
Landscape painting started gaining attention during the Renaissance (15th–16th century), but at first, it was mostly used as a background for religious or mythological scenes. By the 17th century, artists—especially Dutch painters like Jacob van Ruisdael—began painting landscapes as the main subject, making it a recognized art style.
What are Classical Landscapes?
Classical landscapes became popular in the 17th century, thanks to Italian artists like Claude Lorrain and Nicolas Poussin. Their paintings showed idealized, peaceful scenes with balanced compositions, inspired by ancient Greek and Roman art. These landscapes weren’t just about nature; they aimed to create a perfect, dreamy version of it.
When Did Landscape Photography Begin?
Landscape photography started in the mid-19th century, soon after photography was invented in 1839. Early photographers like Carleton Watkins and Ansel Adams used large cameras to take detailed images of nature. Their work helped people see landscapes in a new way and even influenced environmental movements. Unlike paintings, photography could capture nature exactly as it was, making it a powerful tool for sharing the beauty of the world.
Why Did Landscape Art Become More Popular in the 18th and 19th Centuries?
During the late 18th and 19th centuries, the Romantic movement changed how people saw nature. Artists like J.M.W. Turner and John Constable wanted to capture the power and emotion of landscapes, from dramatic storms to peaceful countryside scenes. The Industrial Revolution also made people long for nature as cities grew and machines took over daily life. Many artists were inspired by The Sublime, a concept that described nature’s ability to be both beautiful and overwhelming.
“Landscape” means how a piece of land looks, including hills, trees, rivers, and buildings. It can also refer to pictures of nature or describe the overall vibe of a place, like in business or politics.
When did landscape emerge as a genre in western culture?
Landscape emerged as a genre in Western culture during the Renaissance period, around the 14th to 17th centuries. Artists began to focus more on nature and the environment in their works, moving away from solely religious themes. This shift allowed landscapes to become a popular subject in painting, with artists like Leonardo da Vinci and later, the Dutch masters in the 17th century, contributing significantly to its development. By the 18th century, landscape painting had solidified its status as a distinct genre, especially with the Romantic movement, which emphasized the beauty and emotional power of nature.
When did classical landscapes emerge as a genre?
Classical landscapes emerged as a genre during the Renaissance, particularly in the 15th and 16th centuries. Artists began to depict idealized natural scenes, drawing inspiration from ancient Roman and Greek art. This genre continued to evolve through the Baroque period and into the 18th century, with artists like Claude Lorrain and Nicolas Poussin creating works that emphasized harmony and balance in nature. These classical landscapes often featured dramatic skies, serene waters, and carefully arranged compositions, which became influential in shaping the landscape genre in Western art.
What prompted the rise of Landscape Art during the late 18th / 19th century?
The rise of Landscape Art during the late 18th and 19th centuries was influenced by several factors. One major reason was the Romantic movement, which emphasized emotion and the beauty of nature. Artists began to focus on capturing the sublime aspects of the natural world, showcasing its power and majesty. Additionally, the Industrial Revolution led to rapid urbanization, prompting a longing for the countryside and a simpler way of life. This nostalgia was reflected in art as artists like J.M.W. Turner and Caspar David Friedrich created stunning landscapes that highlighted nature’s beauty and its contrasts with industrialization. Overall, these social, cultural, and emotional shifts played a significant role in the popularity of landscape art during this period.
When did landscape photography originate?
Landscape photography originated in the early 19th century, around the 1830s and 1840s. The invention of photography itself in the 1820s laid the groundwork for this genre. Early photographers, like Carleton Watkins and Ansel Adams, began to capture the beauty of natural landscapes, showcasing mountains, forests, and other scenic views. The development of new photographic techniques and equipment allowed for greater detail and clarity, further popularizing landscape photography as an art form. By the late 19th century, it had become a well-established genre, appreciated for its ability to document and celebrate the natural world.
What is Romanticism?
Romanticism was an artistic, literary, and intellectual movement that originated in the late 18th century and peaked in the early to mid-19th century. It emerged as a reaction against the Enlightenment’s emphasis on reason and the Industrial Revolution’s focus on industrialization and mechanization.
Key characteristics of Romanticism include:
1. Emphasis on Emotion: Romanticism places a strong emphasis on individual feelings, emotions, and the sublime. It values personal experiences and the expression of deep emotions over rational thought.
2. Nature: Romantic artists and writers often celebrated the beauty and power of nature, viewing it as a source of inspiration and a reflection of the human spirit. Nature was seen as a place for solace and spiritual renewal.
3. Individualism: The movement championed the individual and the unique perspective of the artist or writer. It often highlighted the importance of personal freedom and self-expression.
4. Imagination: Romanticism valued imagination and creativity, often exploring themes of fantasy, the supernatural, and the mysterious. It encouraged artists to break away from traditional forms and experiment with new ideas.
5. Historical and Cultural Inspiration: Many Romantic works drew inspiration from history, folklore, and the past, often idealizing medieval times or exploring national identities.
Notable figures associated with Romanticism include poets like William Wordsworth, Samuel Taylor Coleridge, and John Keats, as well as authors like Mary Shelley and Victor Hugo. In visual arts, painters like Caspar David Friedrich and J.M.W. Turner are often linked to the movement. Overall, Romanticism had a profound impact on literature, art, music, and philosophy, shaping the way we understand emotion, nature, and the individual’s role in society.
Fact file about Romanticism:
Who: The movement included a variety of artists, writers, and musicians. Notable figures include poets like William Wordsworth, Samuel Taylor Coleridge, John Keats, and authors like Mary Shelley and Victor Hugo. In visual arts, artists like Caspar David Friedrich and J.M.W. Turner are significant.
What: Romanticism was an artistic, literary, and intellectual movement characterized by an emphasis on emotion, nature, individualism, imagination, and a focus on the sublime. It sought to express the beauty of nature and the depth of human experience.
Where: The movement originated in Europe, particularly in countries like Germany, France, and Britain. It later spread to other parts of the world, influencing various cultures and artistic expressions.
When: Romanticism began in the late 18th century, around the 1770s, and peaked in the early to mid-19th century, roughly until the 1850s. Its influence continued into the late 19th century and beyond.
How: Romanticism emerged as a reaction against the Enlightenment’s focus on reason and the Industrial Revolution’s mechanization. Artists and writers sought to highlight the importance of emotion and the beauty of nature, often using vivid imagery and expressive language.
Why: The movement arose from a desire to break free from the constraints of rationalism and to celebrate the individual experience. It aimed to explore deeper emotional truths and to reconnect with nature and the past, reflecting a longing for a more authentic and meaningful existence.
The Sublime
“The Sublime” is a concept in aesthetics that refers to an experience of beauty that is overwhelming and transcendent, often evoking feelings of awe, admiration, and sometimes fear. It is associated with vastness, grandeur, and the power of nature, which can inspire both wonder and a sense of insignificance in the face of something much greater.
In Romanticism, the sublime was a key theme, as artists and writers sought to capture the emotional intensity of experiences that go beyond ordinary beauty. This could be seen in depictions of dramatic landscapes, powerful storms, or monumental mountains, where the beauty of nature is both captivating and intimidating. The sublime often challenges the viewer’s perception and evokes deep emotional responses, making it a significant aspect of Romantic art and literature.
Importance of British Painters
J.M.W. Turner and John Constable are two of the most important British painters of the Romantic era, and they significantly contributed to the development of landscape painting.
J.M.W. Turner: Turner is known for his innovative use of colour and light, often depicting the effects of atmospheric conditions in his landscapes. His works, such as “The Fighting Temeraire” and “Rain, Steam and Speed,” evoke a sense of drama and emotion, capturing the sublime aspects of nature. Turner’s ability to convey movement and the transient nature of light paved the way for future movements, including Impressionism. He is considered a precursor to modern art due to his expressive style and exploration of colour.
John Constable: Constable, on the other hand, focused on the beauty of the English countryside, often painting scenes from his native Suffolk. His works, like “The Hay Wain” and “Dedham Vale,” are celebrated for their realistic portrayal of nature and the changing seasons. Constable emphasized the importance of light and atmosphere, using techniques like plein air painting to capture the essence of the landscape. He is known for his emotional connection to the land, which resonates with viewers and has influenced generations of artists.
John Constable Painting
Romanticism – Pastoral scene, Known now as a British Cliché, but was once quite radical
Very large landscape – but very low on the genre hierarchy
Constable’s father was a land owner in Suffolk
The painting is of the Stour River where he grew up
Biggest painting for it’s time
This is a time when the land is fraught, there are economic stresses and unemployment among workers
Early industrial revolution – machines were perceived to be taking employment away. There was extreme poverty
But we see none of this here… It’s a beautiful working and thriving landscape
Additional focus on the sky – Constable had studied Meteorology, capturing a specific time of day
Was originally called Landscape Noon
The farmers in the background are at one with nature
Finding beauty in the most humble of landscapes
“The sound of water escaping from mill-dams, willows, old rotten planks, slimy posts, and brickwork, I love such things. … As long as I do paint, I shall never cease to paint such places. They have always been my delight.“
Completed from sketches – cery quickly over 5 months
Green – radical. Very realistic and close to nature. Other artists painted landscapes that were brown… old masters were used to working in rooms with fire and smoke in
Red accent to balance out the green
Broad marks – contemporary for its time – deliberate in creating rough texture that reflected the textures of the landscape. We can feel the water moving across the stream, or the clouds in the sky
It captures the nostalgic memory of the place
Curator of the Louvre called Constable the messiah of landscape painting
Together, Turner and Constable helped elevate landscape painting to new heights, emphasizing the emotional and sublime qualities of nature, which became central themes in Romantic art. Their legacy continues to inspire artists and art lovers today.
Who: Claude Cahun, born as Lucy Schwob in Nantes, France, was a pioneering photographer, poet, and writer. She adopted the name Claude Cahun as a gender-neutral persona, reflecting her resistance to societal gender norms and her exploration of identity beyond the binary. Cahun’s work was highly experimental, challenging conventional notions of gender, sexuality, and the self.
What: Cahun is best known for her self-portraiture, which she used as a tool for gender exploration and identity fluidity. She transformed herself into various personas using makeup, costumes, and props, blurring the lines between masculine and feminine. Her works often included surrealist elements, utilizing symbolic imagery and dreamlike compositions to challenge perceptions of reality and identity. Cahun’s photographs also explored the performative nature of identity, questioning how roles and gender are constructed.
When: Cahun’s most significant photographic work was created in the 1920s and 1930s, during her involvement with the surrealist movement in Paris. Her later works, particularly during the 1940s, became politically charged as she and her partner, Marcel Moore, were involved in resistance activities during World War II.
Where:
Born in Nantes, France, Cahun moved to Paris during the 1920s, where she became part of the avant-garde and surrealist circles. In the late 1930s, she and Moore relocated to the Channel Island of Jersey, where they lived during the German occupation in WWII. It was in Jersey that Cahun’s work took on a more political tone as she used photography for resistance propaganda.
How: Cahun’s photography was deeply performative, with the artist using herself as the subject to create multiple constructed personas. She utilized props, costumes, and makeup to transform her identity, playing with gender ambiguity and challenging the traditional notions of the feminine and masculine. Her works often included surreal, dreamlike compositions and symbolic imagery. Cahun’s approach to self-portraiture was collaborative, particularly with Marcel Moore, who assisted in capturing many of her most iconic works.
Why: Cahun’s photography was a direct challenge to societal norms around gender and identity. By using self-portraiture as a tool for experimentation, she questioned the fixed nature of gender roles and explored how identity is shaped by culture. Cahun’s work, much of which was feminist in nature, critiqued the traditional expectations placed on women and offered an early commentary on gender fluidity and sexuality. Her photographs also explored the performative aspects of identity, positioning her as a significant figure in the history of self-representation and early critiques of fixed gender norms.
MOODBOARD
World war II activism
In 1937, Cahun and Moore moved to Jersey, where they became active in resisting the German occupation during World War II. Opposed to war, they produced anti-German propaganda, including rhythmic poems and critical messages derived from BBC reports on Nazi atrocities. Using the pseudonym Der Soldat Ohne Namen (The Soldier With No Name), they secretly distributed these flyers at German military events, placing them in soldiers’ pockets, on chairs, and in cars. One notable act was hanging a provocative banner in a church that mocked Hitler’s authority. Their resistance was not just political, but also artistic, reflecting their desire to challenge and undermine authority.
In 1944, they were arrested and sentenced to death, but the sentence was never executed due to the liberation of Jersey in 1945. Despite this, Cahun’s health suffered from her imprisonment, and she died in 1954. During her trial, she reportedly told the German judge that they would have to shoot her twice, as she was both a resistor and a Jew, which led to laughter in the courtroom and may have saved her life. Cahun and Moore are buried together in St Brelade’s Church. Their resistance efforts were a deeply personal, lifelong fight for freedom.
LEGACY
Claude Cahun’s work, which remained largely unrecognized during her lifetime, has since gained significant attention for its social critique and revolutionary impact on art and gender norms. She used her photography and writing to challenge societal expectations, particularly those related to gender, beauty, and logic, destabilizing conventional notions of reality. Cahun’s involvement in the Surrealist movement added new perspectives, especially with her portrayal of women not as erotic symbols but as fluid, gender-nonconforming figures. Her work has been described as “prototransgender,” with some considering her a precursor to modern trans self-representation.
Cahun’s life and legacy have gained renewed recognition in recent years. A street in Paris was named after her and her partner Marcel Moore in 2018. Cahun’s WWII resistance work, along with Moore’s, was highlighted in the 2020 book Paper Bullets. She was also honoured by Google in 2021 with an animated Doodle for her birthday. A novel based on her life, Never Anyone But You, was published in 2018, and in 2023, a graphic novel about her life, Liberated: The Radical Art and Life of Claude Cahun, was released, further exploring her artistic and political activism.
Image Analysis
Visual Aspects
Claude Cahun’s black-and-white self-portrait immediately draws you in with its strong composition and exploration of identity. The image is split between two versions of Cahun: her physical form on the left and her reflection in the mirror on the right. This duality feels deeply personal, almost like a visual representation between how she sees herself and how the world perceives her.
Her androgynous appearance is striking. The short hair, checkered shirt, and upturned collar challenge conventional ideas of femininity. The raised collar seems to suggest she’s hiding a part of herself, while the reflection, showing her bare neck, hints at a more vulnerable side. Creating a interesting contrast between what’s concealed versus what’s revealed.
Her serious expression adds emotional weight. She looks directly at the viewer, almost challenging us, yet she turns away from the mirror, as if rejecting her own reflection. The plain background keeps all the focus on her, amplifying the intensity of her presence and the interplay with the mirror.
Technical Aspects
The soft, natural lighting in this photo enhances the fluency of the photograph , Shadows are gentle, giving depth to her face and texture to her clothing. The absence of harsh contrasts makes the image feel intimate and smooth.
The composition feels deliberate, with the mirror perfectly aligned to create balance. The camera is at eye level, making the connection between Cahun and the viewer feel direct and personal. Her sharp focus ensures both she and her reflection demand equal attention, forcing us to at least acknowledge the tension between the two.
Conceptual Aspects
This portrait is a conversation about identity, duality, and self-perception. Traditionally, mirrors in art symbolize vanity or beauty, but here, Cahun flips the script. She doesn’t admire her reflection. she seems to reject it. Her pose suggests discomfort with what the mirror reveals, yet she confronts the viewer head-on, as though asking us to consider the same questions about identity.
The raised collar adds layers to this narrative. It hints at concealment. something she’s choosing not to show us. But the mirror exposes her neck, a symbol of vulnerability and openness. This interplay between hiding and revealing feels universal. Highlighting the internal conflicts we all face about how much of ourselves we show to the world.
Cahun’s choice of clothing and androgynous style were radical for her time. By rejecting societal expectations of femininity, she challenges us to think about gender as something fluid , not as a fixed and deeply cemented concept. This bold self-representation speaks to themes that feel just as relevant today as they did during her time, as she battles her own physical reality with how she really feels.
Contextual Aspects
Cahun created this photograph in the early 20th century, a time when gender roles were rigid and societal expectations weighed people down heavily. As a French artist associated with Surrealism, she was part of a movement that loved to explore dreams, illusions, and hidden truths. This aligns perfectly with her use of mirrors to delve into identity and self-perception.
During this period, photography was gaining traction as an art form, and Cahun used it not just to create striking images but also to push boundaries. Her work feels like a quiet rebellion/ refusal to conform to the era’s strict ideas of gender and identity.
Emotional Response
Looking at this photograph, you can’t help but feel a mix of unease and empathy. The direct gaze pulls you in, almost demanding your attention, while the turned-away reflection creates a sense of conflict. It’s as if Cahun is wrestling with self-acceptance, a struggle that feels both deeply personal and universally human.
The raised collar and the mirror deepen this emotional tension. They remind us of the parts of ourselves we keep hidden and the vulnerability of having them exposed. Her serious expression feels heavy, as though she’s carrying the weight of these questions. questions we might ask ourselves, too. In the end, the portrait leaves you thinking about the complex, often contradictory nature of identity, making it as impactful today as it was then.
Clare Rae: Exploring the Body, Landscape, and Performance
Melbourne-based artist Clare Rae is known for her evocative photographs and moving image works that challenge traditional representations of the female body by exploring its relationship with physical environments. In 2017, Rae participated in the Archisle International Artist-in-Residence programme in Jersey, where she delved into the Claude Cahun archive. During her residency, she created new photography and film, ran workshops, and examined Cahun’s connections to Jersey’s cultural and physical landscapes.
Her residency culminated in the creation of the series Entre Nous (Between Us): Claude Cahun and Clare Rae, which debuted at the Centre for Contemporary Photography in Melbourne (March 22–May 6, 2018) and later exhibited at CCA Galleries in Jersey, UK (September 7–28, 2018). Accompanying the series, Rae published Never Standing on Two Feet in April 2018, featuring an introduction by Susan Bright and an essay by Gareth Syvret.
Never Standing on Two Feet: A Feminist Perspective on Landscape and Identity
In this series, Rae investigates how Claude Cahun’s engagement with Jersey’s landscapes shaped her work, particularly in relation to its coastal geography and Neolithic ritual monuments. Rae reflects:
“Like Cahun’s, my photographs depict my body in relation to place; in these instances, sites of coastal geography and Jersey’s Neolithic ritual monuments. I enact a visual dialogue between the body and these environments and test how their photographic histories impact upon contemporary engagements.”
Rae builds on Cahun’s legacy of using self-portraiture to critique the male gaze, positioning her work as a feminist exploration of self-representation. Her practice integrates gesture and performance to reimagine the female body in landscapes, contrasting and unsettling traditional depictions.
Artistic Influences and Methodologies
In an artist talk, Rae contextualized her practice, drawing connections to artists such as Claude Cahun, Francesca Woodman, and Australian performance artist Jill Orr. She highlighted the role of performative photography in her work, where gesture and the body become tools for disrupting conventional narratives. Rae also discussed her engagement with architecture and the body, her methodologies for image-making, and the conceptual outcomes of her projects.
Her work invites viewers to reconsider the interplay between identity, landscape, and performance, building on historical contexts while addressing contemporary feminist concerns. For a deeper exploration of her process and its influences, see the blog post Photography, Performance, and the Body.
Danny Lyon is an American photographer and filmmaker. All of Lyon’s publications work in the style of photographic New Journalism, meaning that the photographer has become immersed in, and is a participant of, the documented subject. He is the founding member of the publishing group Bleak Beauty.
One of the most original and influential documentary photographers of the post-war generation, Danny Lyon forged a new style of documentary photography, described in literary circles as “New Journalism,” an unconventional, personal form of documentary in which the photographer immersed himself in his subject’s world.
Inspired by his work in Middle America, Lyon built a house in New Mexico, where he’s lived since 1970. Lyon continues to work, with his new book This is My Life I’m Talking About releasing in 2024
This is the artist which i will be basing my masculinity photoshoot on. It will be centrered around how motorbikes highlight masculinity and character
Definition : Masculinity involves displaying attitudes and behaviours that signify and validate maleness, and involves being recognised in particular ways by other men and women.
There is no universal set of expectations around masculinity: within societies, there are dominant codes that exert pressure on, and create expectations around men – with consequences for women, children and society as a whole.
The understanding of masculinity varies across time and socio-cultural contexts, and within groups and networks; and men also ‘perform’ their masculinity differently and inconsistently. Just as masculinity is defined by its relationship with femininity, women too have an important role to play in the interpretation and understanding of masculinity, particularly in their interaction with men and boys.
Different studies acknowledge four facets of masculinity: hegemonic, complicit, marginalized, and subordinate masculinities
Hegemonic Masculinity
This refers to the dominant, culturally idealized form of masculinity, which emphasizes traits like strength, toughness, independence, and risk-taking behaviour., men who adhered to hegemonic masculinity were more likely to engage in harmful behaviours like excessive alcohol consumption and smoking, as these actions were seen as ways to affirm their masculinity. They often re direct the responsibility for their health to women, as the preparation of food, in particular, was perceived as a feminine duty. However, hegemonic masculinity also had protective elements. Moreover , men who followed this ideal were more likely to engage in physical activity to maintain physical strength and muscle mass, which is linked to better health outcomes.
Complicit Masculinity
This group refers to men who may not fully embody hegemonic masculinity but still benefit from the social privileges that come with the dominant gender norms. They may not actively engage in all of the behaviours associated with hegemonic masculinity, but they are still complicit in the broader system that privileges these traits. In terms of health, men with complicit masculinity might not engage as heavily in risk-taking behaviours like drinking or smoking, but they may still hold some of the traditional views about food preparation and health that could affect their choices.
Marginalized Masculinity
This form of masculinity is associated with men who are marginalized due to factors such as race, class, or socioeconomic status. These men may struggle to meet the idealized standards of hegemonic masculinity. While the study didn’t focus extensively on marginalized masculinity, it’s possible that men who fall into this category might face additional challenges when it comes to health behaviours. For example, they may experience greater barriers to accessing healthcare, nutritious food, or opportunities for physical activity, which could make it more difficult to adhere to healthy lifestyle practices.
Subordinate Masculinity
Subordinate masculinity refers to men who deviate from or do not conform to the traditional masculine ideals. These men are often looked down upon by those who adhere to hegemonic masculinity. This could include men who are less physically competitive or who do not engage in behaviours like heavy drinking. In the context of the study, subordinate masculinity might align with men who are more willing to take responsibility for their health, particularly around food preparation or seeking medical care. However, the study suggests that these men might still struggle with societal expectations and gender roles that discourage healthy behaviours, particularly when it comes to being the primary caregivers or decision-makers regarding health.
Femininity
Femininity (also called womanliness) is a set of attributes, behaviours, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviours considered feminine are influenced by both cultural factors and biological factors.
Identity
Identity is the set of qualities, beliefs, personality traits, appearance, and/or expressions that characterize a person or a group. Identity emerges during childhood as children start to comprehend their self-concept, and it remains a consistent aspect throughout different stages of life
How identity can be influenced by “place”, or belonging, your environment or upbringing.
There are many factors that shape identity, and they can be both external and internal factors. Society, family, friends, ethnicity, culture, location, media, interests, self-expression, and life experiences are all common factors that shape identity.
Multiple pathways exist through which families may influence adult identity formation, including levels of social control and monitoring, warmth and closeness, responsibility, and hierarchical family relations
When we are in familiar surroundings, we tend to feel more secure and strengthen our sense of identity. We feel more in control of our lives and boost our self-confidence. On the other hand, when we lack an established place, a home, we may feel lost and disconnected.
“Placefulness” is an awareness of the place—where one is or where one comes from. And remembering that places shape one’s expectations and understandings of the world. Feeling a sense of belonging is very important. Without it, we’re unmoored in the world.but it can also lead to a lack of awareness.
Our sense of identity and belonging is impacted by various factors, including our experiences, relationships, and our environment. The journey to find identity and belonging can often be a struggle, since we ask ourselves, ‘who am I?
Romanticism is a movement in the arts and literature which was originated in the late 18th century. Emphasizing inspiration, subjectivity and the primacy of the individual.
In Photography Romanticism is used in contrast with landscapes. Romantic landscapes celebrate the instinctive, imaginative and purity of nature. It can also evoke deep feelings of emotion and can add a deeper meaning to the images taken.
Romanticism was a reaction against the spread of industrialism, as well as a criticism of the aristocratic social and political norms. So it was then used to forward peoples attention to nature.
From the late 18th to mid-19th centuries, Romanticism was used to emphasise emotion, nature and individualism, which ended up contrasting strongly with Enlightenment due to Enlightenments focus being more on reason and universalism compared to Romanticisms which was the celebration of the individual and honouring nature.
Artwork by Thomas Gainsborough RA
John Constable
John constable created landscape paintings before they were known as a genre, One of his best pieces named Hay Wain (originally named “noon”) was painted of the River Stour in England. The Canvas used was large compared to typical landscapes at the time, This was part of Constables ‘Six-Footers’ series due to the size of the canvases used. Constables father owned the Flat ford Mill and the house you can see in the background of the landscape belonged to a neighbour Willy Lot who was said to be born in that house. John Constable was always very passionate about his paintings as he tries to paint areas or locations that he knows very well (Hay Wain being one of them) which helped to make his landscapes more meaningful and special. John Constable painted the piece using his memory and not in person with the view in his sight which makes the landscape he created even more impressive. Hay Wain was different to every other landscapes at the time especially with his use of a rough surface which allowed the textures to gain more details which made certain areas in the landscape like the water feel “real” and made the overall image look more realistic compared to other landscapes of that time period.
The Sublime
The Sublime is a feeling associated with strong emotions both positive and negative that are felt in front of nature. For example waterfalls which are typically seen as beautiful but at the same time terrifying with all the rocks protruding out the ground and the cliff which could be dangerous if anything were to ever move/fall at any time.
Edmund Buke defined sublime as an “an artistic effect productive of the strongest emotion the mind is capable of feeling”. Which basically is describing how our minds determine the feelings towards images, for sublime images (specifically landscapes) typically the mind would find the image both pleasing to look at but at the same time fearful of whatever danger could be into play.
Artwork by Alps Philip James De Loutherbourg
J.M.W Turner
J.M.W Turner is a English romantic painter who was a sublime artist, He started making sublime artwork to show his viewers the feelings of awe and wonder that he experienced when tackling the majesty of nature. His paintings (made usually with oil paintings and water colours) often included dramatic scenes, for example some of his work consists of the rough sea with boats sailing creating this amazing view of the sky and the sea but making you feel uneasy with the boats that appear to be on the tipping point of flipping over.
