Imogen
Cunnin
gham
By Debra A. MurphyEDU 703Professor Peter SmithApril 18, 2011
April 12, 1883 – June 24, 1976
“Imo”
Introd
uct
ion
Born :Portland Oregon – April 12, 1883
Educated:Technische Hochschule – Dresden,
Germany Chemistry
Contemporaries:Alvin Langden CoburnAlfred StieglitzGertrude KasebierAnsel AdamsDorothea LangeMinor White
Exhibits:Brooklyn Academy of Arts and SciencesAn International Exhibition of Pictorial
Photography
Employment:Vanity Fair MagazineFaculty Member California School of Fine
Arts.
Died: June 24, 1976 – San Francisco California
Bota
nic
als
Magnolia-Blossom, 1925
In this close up the subject is clearly the Magnolia Blossom with the subject matter extending
beyond the border.
Bota
nic
als
The Tulip Tree was captured with Natural Light and a Large Format Camera. The angle of the camera adds depth.
Tulip Tree, 1934
Bota
nic
als
Tower of Jewels, 1925
Extreme Close-up of the inside of a Magnolia is intensified by the effects of the lighting . Imogen made an extended study of
Magnolias for 1923-1925
Bota
nic
als
Magnolia Bud, 1920’s
All about the light, this image gains its impact from the dark backdrop and the lighting from the right creating a shadow on the left.
Nudes
Portia Hume 2, ~1930
Imogen began to photograph nudes in the early 1900's, and created a series of focused nude studies in the late 20's and early 30's. This print has a great sense of depth with a warm tone and nice detail in the highlights.
NudesTriangles, 1928
Triangles has become one of Imogen's well-known nudes. Imogen made this 4x5 inch negative, and after developing the negative, she wrote on the file
folder, "The One!“ Again, lighting and the close up nature of the photo intensifies the impact.
Nudes
Triangles Plus 1, 1928
Jackie and Helen Greaves, “Imo’s” friends who she photographed both alone and together.
Nudes
Figures No. 1, 1923
This image of Imogen's was originally titled "Figures, No. 1" and was taken in the midst of Imogen's interest in both nudes and plant
forms. Imogen's shift from pictorialism to modernism is clearly evident in this 1923 work. Again, shadow and light are major
presence in this photograph
Port
rait
sMartha Graham 8, 1931
Brilliantly lit by the sun and set against the backdrop of a dark, open barn door, Imogen produced ninety Graflex negatives of Martha Graham in one afternoon. This photo session resulted in the first of a series Imogen had
printed in Vanity Fair in the December, 1931 issue.
Port
rait
sMartha Graham 8, 1931
Again, the use of the black background accentuates the whiteness of Martha’s dress. The image that portrays only the
neck down underscores the importance of the dancer’s body and the light becoming brighter as it reaches the legs establishes
them as the pinnacle of the dancer’s ability – they are the focal point of the image.
Port
rait
sFrida Kahlo
In Imogen’s series of Artist Frida Kahlo, she uses the camera to present Kahlo as a Mexican Princess and royalty that she became to the artistic world.
Port
rait
sFrida Kahlo
The use of shadows here gives Kahlo a solemnity and insinuates a darker side of the artist.
Port
rait
sFrida Kahlo
In this shot, Cunningham illustrates the playful side of Kahlo while maintaining her regality. The traditional clothing against the stark white
stucco back drop accentuates Kahlo’s heritage. The positioning of Kahlo, hands on hips head tilted up exemplifies her defiance of convention and her
confidence.