Color: American Photography Transformed (William & Bettye Nowlin Series In Art, History, And Culture Of The Western Hemisphere)
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Capturing the world in color was one of photography’s greatest aspirations from the very beginnings of the medium. When color photography became a reality with the introduction of the Autochrome in 1907, prominent photographers such as Alfred Stieglitz were overjoyed. But they quickly came to reject color photography as too aligned with human sight. It took decades for artists to come to understand the creative potential of color, and only in 1976, when John Szarkowski showed William Eggleston’s photographs at the Museum of Modern Art, did the art world embrace color. By accepting color’s flexibility and emotional transcendence, Szarkowski and Eggleston transformed photography, giving the medium equal artistic stature with painting, but also initiating its demise as an independent art.The catalogue of a major exhibition at the Amon Carter Museum of American Art, which holds one of the premier collections of American photography, Color tells, for the first time, the fascinating story of color’s integration into American fine art photography and how its acceptance revolutionized the practice of art. Tracing the development of color photography from the first color photograph in 1851 to digital photography, John Rohrbach describes photographers’ initial rejection of color, their decades-long debates over what color brings to photography, and how their gradual acceptance of color released photography from its status as a second-tier art form. He shows how this absorption of color instigated wide acceptance of a fundamentally new definition of photography, one that blends photography’s documentary foundations with the creative flexibility of painting. Sylvie Pénichon offers a succinct survey of the technological advances that made color in photography a reality and have since marked its multifaceted development. These texts, illuminated by seventy-five full-page plates and more than eighty illustrations, make this book a groundbreaking contribution to photographic studies.

Series: William & Bettye Nowlin Series in Art, History, and Culture of the Western Hemisphere

Hardcover: 344 pages

Publisher: University of Texas Press (September 15, 2013)

Language: English

ISBN-10: 0292753012

ISBN-13: 978-0292753013

Product Dimensions: 10 x 1 x 12 inches

Shipping Weight: 5.2 pounds (View shipping rates and policies)

Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)

Best Sellers Rank: #87,905 in Books (See Top 100 in Books) #10 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Color #60 in Books > Arts & Photography > Photography & Video > History #73 in Books > Arts & Photography > Photography & Video > Collections, Catalogues & Exhibitions

I never tire looking at this book. The plates are the best reproduction I've seen in a long time, and a great selection. This book examines why color did not "take" like black and white early on, and argues how it rose up by focusing on color theory and ideas where black and white photography couldn't. It lent itself to a whole new aesthetic.Rohrbach is thoughtful and convincing in his argument for color, and it's importance. A great book to have in my library

Believe it or not, I haven't looked at it yet, it was a Christmas gift to myself. I imagine it to be exciting and beautiful and very educational for someone who loves colour Photography, as I do.

Informative history or color photography. Very much a tome, but not a tomb. Worth buying and reading if you want to know where you are in the history of photography.

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