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Her images of women are decidedly softer than those of men. With less dramatic lighting and a more typical distance between the sitter and the camera, these images are less dynamic and more conventional. [8]: 175 Cameron almost exclusively photographed younger women, never making a portrait even of her neighbour and good friend Emily Tennyson.
Blonde Woman with Bare Breasts; The Blue Room (Picasso) The Blue Room (Valadon) Portrait of Teresa Manzoni Stampa Borri; Catharina Both-van der Eem; Portrait of Matilde Juva Branca; Portrait of Catharina Brugman; La Bulaqueña; Bust of a Princess; Bust of a Seated Woman (Jacqueline Roque) Bust of a Woman (Marie-Thérèse) Portrait of Petronella ...
Diane Arbus (/ d iː ˈ æ n ˈ ɑːr b ə s /; née Nemerov; March 14, 1923 – July 26, 1971 [2]) was an American photographer. [3] [4] She photographed a wide range of subjects including strippers, carnival performers, nudists, people with dwarfism, children, mothers, couples, elderly people, and middle-class families. [5]
Anne Wardrope Brigman (née Nott; December 3, 1869 – February 8, 1950) was an American photographer and one of the original members of the Photo-Secession movement in America. Her most famous images were taken between 1900 and 1920 and depict nude women in primordial, naturalistic contexts.
Ilse Bing (1899–1998) creates monochrome images which are exhibited at the Louvre and New York's Museum of Modern Art. [49] Gerda Taro (1910–1937) is killed while covering the Spanish Civil War, becoming the first woman photojournalist to have died while working on the frontline. [50]
Anne Brigman (1869–1950), one of the original members of the Photo-Secession movement, images of nude women (including self-portraits) from 1900 to 1920; Charlotte Brooks (1918–2014), photojournalist, staff photographer for Look; Ellen Brooks (born 1946), pro-filmic approach, often photographing through screens
A selection of the photographs were also published concurrently in the book, Storyville Portraits. [6] These photographs were immediately acclaimed for their unique poignancy and beauty. A more extensive collection of Friedlander's prints, entitled Bellocq: Photographs from Storyville, was published with an introduction by Susan Sontag in 1996.
In 2011, critic Donna Stein wrote that "Dater reverses the traditional erotic relationship of a leering old man eyeing a voluptuous nude to show two women - youth and old age - confronting each other." [7] Stein reports that the photo "pays homage to the Persephone myth as portrayed in a painting by Thomas Hart Benton". [7]