clarence h white the sea

Image: Clarence H. White, American, 1871–1925, The Sea [Rose Pastor Stokes, Caritas Island, Connecticut], 1909. Platinum print. The Clarence H. White Collection, assembled and organized by Professor Clarence H. White Jr., and given in memory of Lewis F. White, Dr. Maynard P. White Sr., and Clarence H. White Jr., the sons of Clarence H. White Sr. and Jane Felix White.

ExhibitionClarence H. White and His World: The Art and Craft of Photography, 1895–1925

Dates:  Oct. 7, 2017–Jan. 7, 2018
Venue:  Princeton University Art Museum, Princeton, New Jersey, USA (see below for subsequent venue information)
Admission:  Free

 

PRINCETON, NJ - The vision and legacy of photographer Clarence H. White (1871-1925), a leader in the early 20th-century effort to position photography as an art, will be the focus of a major traveling exhibition organized by the Princeton University Art Museum. The first retrospective devoted to the photographer in over a generation, Clarence H. White and His World: The Art and Craft of Photography, 1895–1925 will survey White’s career from his beginnings in 1895 in Ohio to his death in Mexico in 1925.

The exhibition will draw on the Clarence H. White Collection at the Princeton University Art Museum and the deep holdings at the Library of Congress as well as on loans from other public and private collections. Clarence H. White and His World reasserts White’s place in the American canon and, in the process, reshapes and expands our understanding of early 20th-century American photography.

White’s career spans the radical shifts in photographic styles and status from the Kodak era of the 1890s, the corresponding fight for art photography primarily associated with his friend and fellow photographer Alfred Stieglitz, and the postwar rise of advertising and fashion photography.

The exhibition will feature photographs by White’s fellow Photo-Secessionists and his students, as well as a selection of paintings and prints by other artists whom he knew and admired and was influenced by, including William Merritt Chase, Thomas Wilmer Dewing, Max Weber, Edmund Tarbell and John Alexander. Also explored within the exhibition are White’s links to the American Arts and Crafts movement, his embrace of socialism, his radically modern representations of childhood and his complicated printing and framing processes. Of particular note is his lifelong investment in photographing the nude model, culminating in series that he made with Alfred Stieglitz in 1907 and with Paul Haviland in 1909, brought together here for the first time.

Anne McCauley, David Hunter McAlpin Professor of the History of Photography and Modern Art, Princeton University

The exhibition is accompanied by a sumptuous 400-page catalogue by Anne McCauley, published by the Princeton University Art Museum and distributed by Yale University Press, with contributions by Peter C. Bunnell, Verna Posever Curtis, Perrin Lathrop, Adrienne Lundgren, Barbara L. Michaels, Ying Sze Pek and Caitlin Ryan.

White - Ring Toss     clarence h white edward clara steichen     clarence h white nude man doorway     clarence h white womans home campanion

Clarence H. White, American, 1871–1925, The Ring Toss, 1899. Platinum print. Library of Congress.

Clarence H. White, American, 1871–1925, Edward and Clara Steichen on their honeymoon, Newark, Ohio, 1903. Platinum print. Museum of Modern Art, Gift of Mr. and Mrs. Clarence H. White Jr.

Clarence H. White, American, 1871–1925, Nude man in doorway, ca. 1900. Waxed platinum print. The Clarence H. White Collection, assembled and organized by Professor Clarence H. White Jr., and given in memory of Lewis F. White, Dr. Maynard P. White Sr., and Clarence H. White Jr., the sons of Clarence H. White Sr. and Jane Felix White.

Clarence H. White, American, 1871–1925, Fashion photograph for Woman's Home Companion, July, 1925, 1925. Palladium print. The Clarence H. White Collection, assembled and  organized by Professor Clarence H. White Jr., and given in memory of Lewis F. White, Dr. Maynard P. White Sr., and Clarence H. White Jr., the sons of Clarence H. White Sr. and Jane Felix White.

Related Events:    
Saturday, Oct. 14
Clarence H. White and His World: The Art and Craft of Photography, 1895–1925 Opening Celebration
5 p.m. – Lecture in 10 McCosh Hall
6 p.m. – Reception in Museum

Join us for the opening of Clarence H. White and His World: The Art and Craft of Photography, 1895–1925. A lecture by Anne McCauley, curator of the exhibition and David Hunter McAlpin Professor of the History of Photography and Modern Art, explores a gifted photographer, celebrated for his beautiful scenes of quiet domesticity and outdoor idylls, and an influential teacher and photographic mentor. A reception in the Museum will follow.

Friday, Oct. 20–Saturday, Oct. 21
SYMPOSIUM | Rethinking “Pictorialism”: American Art and Photography from 1895 to 1925
101 McCormick Hall

The Art Museum and the Department of Art and Archaeology host a two-day symposium in conjunction with Clarence H. White and His World: The Art and Craft of Photography, 1895–1925. Renowned scholars will reconsider and complicate the stylistic goals, methods, influences, politics and social networks of American photographers who identified as “pictorialists” and yet produced works ranging from book and magazine illustrations, commercial portraits, and fashion photos to salon prints, and from sharp-focus silver bromides to atmospheric, hand-manipulated multiple-gums. A reception in the Museum will follow on both evenings. Registration is required.

Tour:  Davis Museum, Wellesley College (Feb. 7–June 3, 2018); Portland Museum of Art, Maine (June 22–Sept. 16, 2018); Cleveland Museum of Art (Oct. 21, 2018–Jan. 21, 2019).

CreditsClarence H. White and His World: The Art and Craft of Photography, 1895–1925 has been made possible by generous support from the Henry Luce Foundation; the Barr Ferree Foundation Fund for Publications, Department of Art and Archaeology, Princeton University; the Andrew W. Mellon Foundation Publications Fund; Christopher E. Olofson, Class of 1992; and William S. Fisher, Class of 1979, and Sakurako Fisher, through the Sakana Foundation. Additional support has been made possible by the Kathleen C. Sherrerd Program Fund for American Art; Robin and Sandy Stuart, Class of 1972; Susan and John Diekman, Class of 1965; the Robert Mapplethorpe Foundation; the New Jersey State Council on the Arts; the Allen R. Adler, Class of 1967, Exhibitions Fund; the Frederick Quellmalz, Class of 1934, Photography Fund; the Sara and Joshua Slocum, Class of 1998, Art Museum Fund; and Blair Moll, Class of 2010, through the Bagley and Virginia Wright Foundation. Further support has been provided by the Dean for Research Innovation Fund, Princeton University, and by the Partners and Friends of the Princeton University Art Museum.