Anne brigman photographer biography
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Anne Brigman
American photographer (1869–1950)
Anne Brigman | |
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Self-portrait of Anne Brigman (1919) | |
| Born | Anne Wardrope Nott (1869-12-03)December 3, 1869 Nu‘uanu Pali, Hawaii, U.S. |
| Died | February 8, 1950(1950-02-08) (aged 80) El Monte, California, U.S. |
| Spouse | Martin Brigman (m. 1894–1910) |
Anne Wardrope Brigman (néeNott; månad 3, 1869 – February 8, 1950) was an American photographer and one of the original members of the Photo-Secession movement in amerika.
Her most famous images were taken between 1900 and 1920 and depict nude women in primordial, naturalistic contexts.
Life
[edit]Brigman was born in the Nu‘uanu Pali above Honolulu, Hawaii, on månad 3, 1869. She was the oldest of eight children born to Mary Ellen Andrews Nott, whose parents moved to Hawaii as missionaries in 1828. Her father, Samuel Nott, was from Gloucester, England. When she was sixteen, her family moved
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Anne Nott was born in Hawaii to a family of British missionaries, who then moved to California when she was 16 years old. In 1894 she married a captain of the merchant navy, Martin Brigman, whom she would often accompany on his journeys. Gifted with an artistic temperament, Brigman trained as a painter before turning to photography in 1902. She was noticed by Alfred Stieglitz (1864–1946), who published her photographs several times in Camera Work, and in 1906 joined his group Photo-Secession, of which she was the only member from the West Coast. She created strong, subtle images that combined Californian nature and feminine beauty.
Her powerful, unaffected women echoed the ruggedness and simplicity of the landscapes where the artist had them pose. She used lighting effects to dramatise scenes, also reworking negatives by hand, as in The Heart of the Storm (1902, printed in 1914), in which a tree, ripped apart by a violent storm, reveals a female angel protecting
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Kathleen Pyne —
In 1916 Georgia O’Keeffe received from the admiring New York photographer Alfred Stieglitz a group of photogravures he had published several years earlier. These pictures of nudes bound to dying trees or frolicking in refreshing mountain waters provoked O’Keeffe, in her own words, to an “absurd” level of excitement, and she wrote back to Stieglitz that they “almost took me through the roof.” The images that astounded her were made by California photographer Anne Brigman, already on her way to becoming an international star in photography.
In my book, Modernism and the Feminine Voice: O’Keeffe and the Women of the Stieglitz Circle (2007), I revealed how Brigman’s photography catalyzed the image of the free woman in New York’s nascent modernist culture that was coming to life in Greenwich Village around the issue of woman’s sexual and social liberation. Stieglitz, who was New York’s most powerful entrepreneur of the new artistic modernism, would ev