- Hardcover: 160 pages
- Publisher: Pavilion - Chrysalis (Dec 31 1969)
- Language: English
- ISBN-10: 1862052603
- ISBN-13: 978-1862052604
- Product Dimensions: 30 x 24.6 x 1.8 cm
- Shipping Weight: 1.2 Kg
- Average Customer Review: 5.0 out of 5 stars See all reviews (5 customer reviews)
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Amazon Bestsellers Rank:
#181,410 in Books (See Top 100 in Books)
- #1 in Books > Arts & Photography > Artists, A-Z > ( A-C ) > Bourke-White, Margaret
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Product Details |
Product Description
From Library Journal
Margaret Bourke-White and Lewis W. Hine were both imaginative, disciplined, and successful photographers in an era when the medium was finely positioned as an art form. Both these volumes also give visual evidence of their recording of time and place through personal courage. Bourke-White is famous for her daring vantage points, confirmed by the shot of her perched on one of the aluminum eagles high atop the Chrysler Building in New York as she photographed its streamlined details. Hine likewise positioned himself and his camera above New York as the Empire State Building was bolted together. The collection of Bourke-White's work is well produced, with deep tones and fine clarity, reminding those who admire her great gifts of composition and darkroom skill of her significance in the history of photography. Newcomers to her travels and her work will quickly discover a photojournalist and industrial artist whose professional journey left a stunning record of the century. Still fresh and visually exciting after 70 years, Hine's images capture the glory of the Empire State Building and the aerial gymnastics of the steelworkers who built its skeleton. Though focusing on one building may seem confining, Hine's array of photographs from steel framing to completion; Freddy Langer's essay about the photographer, the skyscraper, and New York in the 1930s; and a chronology of the Empire State Building's "life" in the city make for a useful and pleasing volume. Both books are recommended.?David Bryant, New Canaan P.L., CT
Copyright 1999 Reed Business Information, Inc. --This text refers to an alternate Hardcover edition.
Copyright 1999 Reed Business Information, Inc. --This text refers to an alternate Hardcover edition.
Book Description
This major retrospective presents all of Bou rke-White''s most important work, including rarely seen perso nal archives. '
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Most helpful customer reviews
5.0 out of 5 stars
The photographic art of Margaret Bourke-White,
By Lawrance M. Bernabo (The Zenith City, Duluth, Minnesota) - See all my reviews (TOP 50 REVIEWER) (HALL OF FAME)
This review is from: Margaret Bourke-White (Hardcover)
I am quite sure it was the film "Gandhi" that had me thinking Margaret Bourke-White (1904-1971) was essentially a portrait photographer, but this impressive collection of her life's work amply proves otherwise. Bourke-White was originally an industrial photographer, who was hired by Henry Robinson Luce to do assignments for his new magazine "Fortune," for which she did extensive photographic essays on everything from meat packing plants in Chicago and glass blowers in upstate New York to workers in Indiana quarries and the steel industry in Germany's Ruhr valley. On her first trip to Russia in 1930 she photographed not only the industrial expansion of the Soviet Union but the lifestyle of the people and it is from this point in her career that she made the clear shift to being a photo journalist. During the Great Depression she documented the plight of migrant farm workers and sharecroppers. When Luce launched "Life" in 1936 Bourke-White formed the magazine's original photographic staff (along with Alfred Eisenstaedt, Peter Stackpole, and Thomas McAvoy) and her photo of the construction of Fort Peck Dam in Montana was the cover and lead article in the first issue. During World War II Bourke-White covered everything from the German attack on Moscow to Patton's push into Germany to the horrors of Buchenwald. Bourke-White's work represents the height of the era in which photography was a recognized art form, by which I mean a time when photographs were hung on walls in the same manner as paintings. Her work, like the best of that period by her contemporaries, has a poster-like design. It is fascinating to read how her use of multiple flashbulbs helped her create a more realistic effect. "Margaret Bourke-White, Photographer" lays out her career in clear stages, telling us not only about what she was doing but the hows and whys as well. Whether you consider yourself an aspiring photographic artist or are simply an interested neophyte such as myself, you will have a greater appreciation for both the artist and her art after devouring this book, which contains 160 pages of superb reproductions of her best and most famous monochrome images (some of which are from her personal archives).
5.0 out of 5 stars
Excellent,
By A Customer
This review is from: Margaret Bourke-White (Hardcover)
I did not buy this book because MBW was an inspirational female or other, but because her photos are simply superb. They capture a feeling, a time and space with a clarity that is both sparse and yet detailed. This is a book to savour and reflect on.
5.0 out of 5 stars
Her sense of design and form was and still is incredible!,
By A Customer
This review is from: Margaret Bourke-White (Hardcover)
This book illustrates why Margaret Bourke-White should be recognized as one of the 20th century's top photographers. Her ability to capture a moment during war and destruction or an enternity in marble and stone, is awe inspiring. She was not limited by her feminity. She moved easily into the world of machines and factories, capturing molten metal and shiny blades. Again and again, I return to the book and study all aspects of her photographs. The depth of field, the rhythm, the harmony and the life seen in all her photos takes my breath away. Within a few days of purchasing the book, I had the joy of visiting the National Art Gallery of Canada in Ottawa where there are two Margaret Bourke-White photos in their collection. The soft creamy paper used in these pictures counters the hard metal of the image itself. These are the third and fourth Margaret Bourke-White's I have had the pleasure to see in person. The other two was a copy of the original cover for LIFE magazine and a single rose bud. Both of these photos are owned by Margaret Bourke-White's sorority and are featured in their archival collection. The photographic reproductions in this book, although lacking the soft creams of the Art Gallery's copies, do capture the integrity of her photos. I will treasure this book.
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