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Berenice Abbott

El Station Interior, 1936

Large-format gelatin silver print dry-mounted to card
15 × 19 1/4 in
38.1 × 48.9 cm
Bidding closed
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About the work
D
Doyle

Fine condition. Framed

From the Parasol Press portfolios of Berenice Abbott's New York

Fine condition. Framed

From the Parasol Press portfolios of Berenice Abbott's New York

Medium
Photography
Signature
Signed on mount (l.r.) and numbered 31 from the edition of 60.
Berenice Abbott
American, 1898–1991
Follow

Berenice Abbott is best known for her striking, black-and-white photographs of New York City buildings, which she photographed as though taking portraits. In the 1920s she served as a darkroom assistant to Man Ray in Paris (she had modeled for him earlier in New York), where she encountered such leading cultural voices of the day as James Joyce, Max Ernst, and Edna St. Vincent Millay. She found inspiration in the Parisian streetscapes of Eugène Atget, an influence that would carry into “Changing New York” (1935-38), her major body of work for the Works Progress Administration/Federal Art Project. She strove to create objective photographs that stood on their own merit, rather than referencing other art forms. “Photography can never grow up if it imitates some other medium,” she said. “It has to walk alone; it has to be itself.”

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view
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view
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About the work
D
Doyle

Fine condition. Framed

From the Parasol Press portfolios of Berenice Abbott's New York

Fine condition. Framed

From the Parasol Press portfolios of Berenice Abbott's New York

Medium
Photography
Signature
Signed on mount (l.r.) and numbered 31 from the edition of 60.
Berenice Abbott
American, 1898–1991
Follow

Berenice Abbott is best known for her striking, black-and-white photographs of New York City buildings, which she photographed as though taking portraits. In the 1920s she served as a darkroom assistant to Man Ray in Paris (she had modeled for him earlier in New York), where she encountered such leading cultural voices of the day as James Joyce, Max Ernst, and Edna St. Vincent Millay. She found inspiration in the Parisian streetscapes of Eugène Atget, an influence that would carry into “Changing New York” (1935-38), her major body of work for the Works Progress Administration/Federal Art Project. She strove to create objective photographs that stood on their own merit, rather than referencing other art forms. “Photography can never grow up if it imitates some other medium,” she said. “It has to walk alone; it has to be itself.”

Berenice Abbott

El Station Interior, 1936

Large-format gelatin silver print dry-mounted to card
15 × 19 1/4 in
38.1 × 48.9 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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