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Product Description
内容説明
Lewis Carroll was the pen-name of the Reverend Charles Lutwidge Dodgson, the author of "Alice's Adventures in Wonderland" and other beloved children's books. But before achieving fame as an author, Carroll was a prolific and sophisticated photographer, acutely engaged in the art world of Victorian England. This illustrated volume examines Carroll's photographs not as the sideline of a celebrated writer, but as the creations of a serious photographic artist, and demonstrates their importance to the history of photography. Douglas Nickel traces the evolution in thought about Carroll's photography in the period since his death, demonstrating the ways it has been viewed largely through the filter of his literary reputation. Key to this have been certain preconceptions built up around Carroll's attitudes toward children, especially Alice Liddell, the inspiration for his first book and the subject of a number of his photographs. Nickel demonstrates how, by overturning the modern myths that have attached themselves to Carroll's photography, the works themselves can be seen again as they were by their original Victorian viewers. This analysis is designed to reveal not only Carroll's signal achievement in the medium, but also a new understanding of Victorian art photography in general.
Book Description
Lewis Carroll was the pen name of the Reverend Charles Lutwidge Dodgson, the author of Alice's Adventures in Wonderland and other beloved children's books. But before achieving fame as an author, Carroll was a prolific and sophisticated photographer, acutely engaged in the art world of Victorian England. This beautifully illustrated book is the first to examine Carroll's photographs not as the sideline of a celebrated writer, but as the creations of a serious photographic artist-and to demonstrate their importance to the history of photography.
Douglas R. Nickel traces the evolution in thought about Carroll's photography in the period since his death, demonstrating the ways it has been viewed largely through the filter of his literary reputation. Key to this have been certain preconceptions built up around Carroll's attitudes toward children, especially Alice Liddell, the inspiration for his first book and the subject of a number of his photographs. Nickel demonstrates how, by overturning the modern myths that have attached themselves to Carroll's photography, the works themselves can be seen again as they were by their original Victorian viewers. This analysis reveals not only Carroll's signal achievement in the medium, but also a new understanding of Victorian art photography in general.
This volume serves as the catalogue for an exhibition organized by the San Francisco Museum of Modern Art, on view from August to November, 2002, which then travels to the Museum of Fine Arts, Houston (February to May 2003), the International Center for Photography in New York (June to September 2003), and the Art Institute of Chicago (October 2003 to January 2004).
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