Hardcover: 198 pages
Publisher: Harry N. Abrams (September 1, 2011)
Language: English
ISBN-10: 1419701975
ISBN-13: 978-1419701979
Product Dimensions: 11 x 1 x 10.8 inches
Shipping Weight: 3.4 pounds (View shipping rates and policies)
Average Customer Review: 4.9 out of 5 stars See all reviews (30 customer reviews)
Best Sellers Rank: #425,278 in Books (See Top 100 in Books) #70 in Books > Arts & Photography > Photography & Video > Sports #163 in Books > Arts & Photography > Photography & Video > Celebrities #509 in Books > Arts & Photography > Photography & Video > Collections, Catalogues & Exhibitions
This marvellous collection of the greatest baseball photographs ever taken qualify as one of the very best contributions to both baseball literature and serious photography. The consummate images of rough-hewn blue-collar stock named Wagner or McGraw or Overall silhouetted against rickety hardwood bleachers, rusty wire screens, and smoke-baptised brick houses; unmown grass and pock-marked infields beneath them; the smell of pancake mitts and hickory bats and unwashen wool uniforms in their nostrils; coal-dust and farm soil and blistering summer sun etching character into their faces. These, I say, seem to me the very breath and blood of the grand ol' game of baseball, all gloriously frozen in time in its purest splendor by the sensitive eye of Charles M. Conlon. These indelible images from the tool of a genius ARE NOT JUST BASEBALL PHOTOGRAPHS! Who can shake the documentary immediacy, mental peace, or aesthetic excitement aroused by the breath-taking images of Bob Rhoads warming-up his soupbone, shadowed by the hand-operated scoreboard at the wood-and-spit Hilltop Park? Or a flailing Tommy Leach squinting a pop-up into the merciless Brooklyn sun? Or Ty Cobb, his jaw curled into a fist, ruthlessly showering dirt and hellfire into a helpless third-sacker? Or muscular Tim Jordan gracefully balancing a heavy-weight stroke of his massive war-club? As the authors state, Conlon deserves to be ranked with Ansel Adams and Walker Evans, and compared with Eugene Atget. His undying images provide a unique look at a time and way of life gone by. P.S.: What I want to know is, WHERE IS THE SEQUEL? Conlon left 8000 negatives; and many of his most extraordinary--such as Russ Ford warming up by the Hilltop's trumpet-clutching "p.a.
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