250

CUNNINGHAM, IMOGEN (1883-1976) "Magnolia Blossom."

CUNNINGHAM, IMOGEN (1883-1976)
"Magnolia Blossom." Silver print, 10 1/2x13 1/2 inches (26.7x34.3 cm.), with Cunningham's signature and date, in pencil, on mount recto and her Trust label with the typed title and date on mount verso. 1925; printed late 1960s-early 1970s

  • Notes: From the Nova Gallery, British Columbia; to the present owner in 1978.
    Imogen Cunningham: A Portrait, 11.
    Imogen Cunningham: Flora, 11.

    A superb example reflecting Cunningham's life-long love for flora and her keen understanding of line, textural contrast and lighting in order to bring forth the blossom's pure form and soft sensuality through shadow and depth.

    Imogen Cunningham's photographic career began around 1906, when she started to explore botanical imagery, a genre that fascinated her for decades. In 1909 she studied at the Technische Hochschule in Dresden under the highly-respected photochemist Robert Luther. The same year she was attended the International Photographic Exposition, where she observed the stylistic variations of both European and American photographers such as the images of Baron Adolf de Meyer, who at the time, was focusing on flora arranged in translucent vessels that were bathed in a soft ethereal light.

    In her travels back to her Seattle home, Cunningham stopped in Washington, D.C. to visit her sister, where she was inspired to purchase a magnolia, a flower that would later become the central subject of her signature images. She remarked "The stock was taken from a tree that George Washington had planted. . . Mind you, all the way across the continent I paid someone on the train to water and take care of that plant. I remember it arrived in San Francisco in good condition and it went with me to my father's ranch in Sonoma County."

    The next year, she established a portrait studio and, to personalize her images, she would include floral arrangements. Over time, her floral subjects assumed greater importance. Cunningham was captivated by the intricate details and aesthetic quality to the cyclical life of nature. But, she did not always photograph her subjects in their natural environment. She often collected specimens from her's or her neighbors' yards or surrounding fields. Subsequently, the flowers were compositionally arranged against a velvet background illuminated by a combination of tungsten light and daylight.

    In 1929 Edward Weston was asked to select entries for the exhibition "Film und Foto," an avant-garde show to be held in Stuttgart. Cunningham was one of his choices. Later he thanked her for giving him "a rare pleasure" of selecting her work. On another occasion he remarked, "She uses her medium, photography, with honesty,--no tricks, no evasion: a clean cut presentation of the thing itself, the life of whatever is seen through her lens,--that life within the obvious external form."

    Despite this praise, Cunningham was sometimes compartmentalized for her feminine imagery. She began formalizing her imagery through abstraction and tight cropping, a tactic that demonstrated an understanding of modernism. She also introduced a delicate eroticism into her studies, which became more accepted in this still male-dominated genre.

    Magnolia grandiflora--the southern magnolia--usually blooms after about fifteen years of age and are among oldest plants in the world. Its extremely fragrant flowers have six to twelve thick, obovate petals, pure white aging to buff, with purple stamens. The flowers can be up to 8 to 10 inches across, lasting from two to four days. (From Flora.)


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