{"id":332544,"date":"2019-05-17T17:56:55","date_gmt":"2019-05-17T21:56:55","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=332544"},"modified":"2021-12-15T06:49:17","modified_gmt":"2021-12-15T11:49:17","slug":"berenice-abbott","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/berenice-abbott\/","title":{"rendered":"Photographer to Know: Berenice Abbott"},"content":{"rendered":"\n
\"Self
Self-Portrait \u2014 Distortion<\/em>, 1930<\/figcaption><\/figure>\n\n\n\n

It\u2019s not like the photographer Berenice Abbott<\/a>, who died in 1991 at the age of 93, has been overlooked. She is widely known, indeed celebrated, for her iconic portraits of some of the most glamorous denizens of 1920s bohemian Paris. And although less familiar, her photos of the deserted streets, aging tenements and rising office towers of Depression-era New York have been critically recognized as nothing short of groundbreaking.<\/p>\n\n\n\n

Even her relatively obscure work as a science photographer has received an admiring reappraisal in recent years. Recognized for having dramatically advanced the medium\u2019s aesthetics and techniques (earning four patents along the way), not to mention the ambition of her subject matter \u2014 the principle laws of physics \u2014 she has been favorably compared to two early masters of modernist experimentation: her mentor Man Ray<\/a> and L\u00e1szl\u00f3 Moholy Nagy<\/a>. Yet, despite all this, Abbott has never been heralded as one of the defining giants of 20th-century photography<\/a>.<\/p>\n\n\n\n

The new monograph Berenice Abbott: Portraits of Modernity<\/em> may well change that. Published by the Fundaci\u00f3n MAPFRE to accompany an exhibition touring through its Barcelona and Madrid galleries, the book contains critical essays and 190 duotone images revealing the breathtaking scope, perceptive daring and bracing realism of her work.<\/p>\n\n\n\n

\"Aerial
Aerial view of New York by Night<\/em>, 1936<\/figcaption><\/figure>\n\n\n\n

A number of Abbott\u2019s images of New York appear to have been shot by drone or, in the technological equivalent for the day, a dirigible. They actually entailed her stationing herself precariously on the rooftops and ledges of the skyscrapers along Wall Street and Midtown.<\/p>\n\n\n\n

That feat recalls the famous photograph of Abbott\u2019s contemporary and fellow Ohioan Margaret Bourke-White<\/a> taking a shot of the New York skyline astride one of the metallic eagle heads atop the Chrysler building. One can only wonder if a photograph of Abbott in a similarly heroic pose would have helped her recognition as the trailblazing documentarian she was.<\/p>\n\n\n\n

But without her camera, Abbott was a guarded, often difficult and solitary soul. And that diffidence may have kept her from achieving the eminence she\u2019s only now being accorded. <\/p>\n\n\n\n

\"West
West Street<\/em>, 1932<\/figcaption><\/figure>\n\n\n\n

In 1918, at just 19, freckled, androgynous and with cropped hair, Abbott fell in with a crowd that included the lesbian writer and illustrator Djuna Barnes and the Dadaists Man Ray and Marcel Duchamp<\/a>. They encouraged her to follow them to Paris and study with the renowned sculptor Antoine Bourdelle. Unable to pay for her training, and barely surviving, Abbott took a job as Man Ray\u2019s assistant. The miracles of the darkroom quickly converted her to photography, as did her paycheck, and Man Ray tutored her in its fundamentals.<\/p>\n\n\n\n

By 1926, she\u2019d set up her own studio with backing from Peggy Guggenheim, the American heiress and art patron. Andr\u00e9 Gide, Jean Cocteau<\/a>, Janet Flanner and James Joyce were among the luminaries and socialites who came for sittings. Her subversive lens made for riveting portraits. In image after image, women pose confidently before the camera, seemingly empowered by this new modern age. The men, in contrast, appear pensive, enervated and feminized by it. Such depictions didn\u2019t deter clients, however. <\/p>\n\n\n\n

\"Self
Janet Flanner in Paris<\/em>, 1927<\/figcaption><\/figure>\n\n\n\n

As Sylvia Beach, the proprietor of the fabled Paris bookstore Shakespeare and Company, wrote in her memoir, \u201cTo be \u2018done\u2019 by Man Ray and Berenice Abbott meant you rated as a somebody.\u201d For Abbott, the most important somebody to come to her Paris studio was an elderly nobody named Eug\u00e8ne Atget, the now legendary documentarian of vieux Paris<\/em>. She\u2019d been introduced to him by Man Ray.<\/p>\n\n\n\n

Atget\u2019s stately, richly evocative pictures of old shop windows and street scenes influenced the Surrealists, but they thoroughly transformed Abbott\u2019s vision and the course of her life. He died not long after he sat for her. The following year, 1928, she scraped together the money to purchase the bulk of his archive, becoming the chief custodian and promoter of his legacy. <\/p>\n\n\n\n

\"Eug\u00e8ne
Eug\u00e8ne Atget<\/em>, 1927<\/figcaption><\/figure>\n\n\n\n

Atget’s pictures inspired Abbott\u2019s remarkable documentation of the fast-changing New York of the 1930s. They were also seminal for other celebrated photographers of her generation and the following one, from Walker Evans to Lee Friedlander \u2014 even Deborah Turbeville.<\/p>\n\n\n\n

Ansel Adams<\/a> deemed Atget\u2019s prints \u201cperhaps the earliest expression of true photographic art.\u201d It\u2019s sobering to consider that if Abbott had not salvaged and promoted this trove, photography might have taken an entirely different course. Few artists have the spirit and fortitude to be both passionate preservers and bold innovators. Abbott was among those few. And with this new book, her reputation should loom large.<\/p>\n\n\n\t

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\n\t\t\t\t\t\tFind Berenice Abbott Photography on 1stdibs\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/a>\n\t\t\t\t\n\t\t\t\t\tShop All<\/span>\n\t\t\t\t<\/a>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n","protected":false},"excerpt":{"rendered":"

It\u2019s not like the photographer Berenice Abbott, who died in 1991 at the age of 93, has been overlooked. She is widely known, indeed celebrated, for her iconic portraits of some of the most glamorous denizens of 1920s bohemian Paris. And although less familiar, her photos of the deserted streets, aging tenements and rising office 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