Authors: Mary Street Alinder
73
Ansel Adams,
Sierra Nevada: The John Muir Trail
(Boston: Little, Brown, 2006). A deluxe edition of five hundred copies was also released at this time, priced at $1,250. The reproductions have been cut out and tipped onto each page, as in the original volume.
74
N. Newhall,
Eloquent Light
, 165.
75
Alfred Stieglitz to Ansel Adams, December 22, 1938, in M. Alinder and Stillman,
Letters and Images
, 111; Georgia O’Keeffe to Ansel Adams, December 22, 1938, CCP.
76
Francis Farquhar,
History of the Sierra Nevada
(Berkeley: University of California Press, 1946; reprint 2007). This is in its fifteenth printing. Francis Farquhar, “Sierra Nevada by Ansel Adams,”
Sierra Club Bulletin
24, no. 3 (June 1939): 140. Courtesy of the Farquhar family.
11. PROGRESS
1
Beaumont Newhall,
Focus: A Life in Photography
(Boston: Bulfinch Press, 1993), 57–58; Beaumont Newhall to Ansel Adams, February 7, 1939, Mary Street Alinder and Andrea Gray Stillman, eds.,
Ansel Adams: Letters and Images
,
1916
–
1984
(Boston: Little, Brown, 1988), 113; Ansel Adams to David McAlpin, February 14, 1939, in Alinder and Stillman, 113–114.
2
N. Newhall, “The Enduring Moment” [unpublished manuscript], 26–27.
3
B. Newhall,
Focus
, 57–58.
4
Ansel Adams, “Conversations with Ansel Adams,” an oral history conducted 1972, 1974, 1975 by Ruth Teiser and Catherine Harroun, Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 1978, 63.
5
N. Newhall, “The Enduring Moment,” 43.
6
Matthew S. Witkovsky,
foto, Modernity in Central Europe, 1918–1945
(Washington, D.C.: National Gallery of Art, 2007), 50–60, 106, 121, 238; “Vision in Motion: The Photographs of László Moholy-Nagy,”
The J. Paul Getty Museum Calendar
, summer 1995.
7
László Moholy-Nagy,
Vision in Motion
(Chicago: Paul Theobald and Company, 1965), 177.
8
Krisztina Passuth,
Moholy-Nagy
(New York: Thames & Hudson, 1985).
9
László Moholy-Nagy,
The New Vision and Abstract of an Artist
(New York: Wittenborn, 1946), 72.
10
Moholy-Nagy,
Vision in Motion
, 28.
11
N. Newhall, “The Enduring Moment,” 38.
12
B. Newhall,
Focus
, 56; Ansel Adams with Mary Street Alinder,
Ansel Adams: An Autobiography
(Boston: New York Graphic Society, 1985), 194–195.
13
N. Newhall, “The Enduring Moment,” 39–40.
14
Ibid.
15
B. Newhall,
Focus
, 57.
16
Ibid., 56.
17
James R. Mellow,
Walker Evans
(New York: Basic Books, 1999), 255–304; Walker Evans,
American Photographs, 2nd Edition
(New York: errata editions, 2011).
18
Ansel Adams to David McAlpin, November 4, 1938, in M. Alinder and Stillman,
Letters and Images
, 108–111.
19
Belinda Rathbone,
Walker Evans: A Biography
(New York: Houghton Mifflin, 1995), 39–40.
20
Ansel Adams to David McAlpin, October 2, 1939, CCP; Ansel Adams to Alfred Stieglitz, October 2, 1939, CCP.
21
Ansel Adams to David McAlpin, July 29, 1939, CCP.
22
Ansel Adams to Alfred Stieglitz, August 10, 1939, CCP.
23
Virginia and Ansel Adams,
Michael and Anne in the Yosemite Valley
(New York and London: The Studio Publications, Inc., 1941).
24
Virginia and Ansel Adams,
Illustrated Guide to Yosemite Valley
(San Francisco: H. S. Crocker, 1940); Virginia and Ansel Adams,
Illustrated Guide to Yosemite
(San Francisco: Sierra Club Books, 1963).
25
A. Adams, “Conversations,” 408–409.
26
“Checklist for the Exhibit, Recent Photography of Ansel Adams,” San Francisco Museum of Art [San Francisco Museum of Modern Art], September 19–October 15, 1939, museum files.
27
Alfred Frankenstein, “Three Men and a Master,”
San Francisco Chronicle
, “This World” section, October 1, 1939, 22.
28
Jack James and Earle Weller,
Treasure Island
,
“The Magic City
,”
1939
–
1940: The Story of the Golden Gate International Exposition
(San Francisco: Pisani Printing and Publishing Company, 1941), 3.
29
A. Adams, “Conversations,” 114.
30
Ibid. Courtesy of The Bancroft Library.
31
Ansel Adams,
A Pageant of Photography
(San Francisco: Crocker-Union, 1940), unpaginated.
32
A. Adams, “Conversations,” 114. Courtesy of The Bancroft Library.
33
James and Weller,
Treasure Island
, XLIV.
34
Beaumont Newhall, “Photography as an Art,” in A. Adams,
A Pageant of Photography.
35
A. Adams, “Conversations,” 396. Courtesy of The Bancroft Library.
36
Ibid.
37
V. and A. Adams,
Illustrated Guide to Yosemite Valley
, 102.
38
Ansel Adams to Arno B. Cammerer, Director, National Park Service, October 2, 1939, Yosemite National Park Research Library.
39
N. Newhall, “The Enduring Moment,” 71–72.
40
“The U.S. Camera Yosemite Photographic Forum,”
U.S. Camera
1, no. 9 (April–May 1940): 49–60.
41
N. Newhall, “The Enduring Moment,” 94.
42
Ibid., 96.
43
Ibid., 98.
44
Ansel Adams,
Examples: The Making of 40 Photographs
(Boston: New York Graphic Society, 1983), 22–27.
45
I witnessed Ansel’s last printing of
Surf Sequence
in 1982.
46
N. Newhall, “The Enduring Moment,” 100.
47
Ibid., 101–102.
48
Ibid., 102.
12. A DEPARTMENT OF PHOTOGRAPHY
1
Beaumont Newhall,
Focus: A Life in Photography
(Boston: Bulfinch Press, 1993), 64.
2
David McAlpin to Ansel Adams, September 7, 1940, in Mary Street Alinder and Andrea Gray Stillman, eds.,
Ansel Adams: Letters and Images
,
1916
–
1984
(Boston: Little, Brown, 1985), 119–120.
3
B. Newhall,
Focus
, 65; Nancy Newhall, “The Enduring Moment” [unpublished manuscript], 124.
4
Ansel Adams to David McAlpin, September 9, 1940, CCP.
5
Nancy Newhall, “The Photographer and Reality” [unpublished manuscript, ca. 1951], 6. Beaumont Newhall generously allowed me to make a copy of this manuscript.
6
N. Newhall, “The Enduring Moment,” 124–141.
7
Ibid., 145.
8
David H. McAlpin, “The New Department of Photography,”
The New Department of Photography
(New York: The Museum of Modern Art, 1940), 3.
9
B. Newhall,
Focus
, 65.
10
“Checklist,”
The New Department of Photography
, 6–7.
11
Howard Bossen,
Luke Swank, Modernist Photographer
(Pittsburgh: University of Pittsburgh Press, 2005), 3–72.
12
N. Newhall, “The Enduring Moment,” 140.
13
B. Newhall,
Focus
, 65.
14
Beaumont Newhall to Ansel Adams, January 1, 1941, in M. Alinder and Stillman,
Letters and Images
, 123–124.
15
Time
magazine, January 6, 1941.
16
Tom Maloney, “Museum of Modern Art’s Photo Department,”
U.S. Camera
1, no. 14 (February 1941): 28, 82.
17
Ibid.
18
Nancy Newhall, “Alfred Stieglitz: Notes for a Bibliography,” in
From Adams to Stieglitz
(New York: Aperture, 1989), 97. Copyright Nancy Newhall, Beaumont and Nancy Newhall Estate, courtesy of Scheinbaum & Russek Ltd., Santa Fe, New Mexico.
19
N. Newhall, “The Enduring Moment,” 142.
20
Ansel Adams to David McAlpin, March 4, 1941, CCP.
21
N. Newhall, “The Enduring Moment,” 163–164.
22
Ansel Adams, “Conversations with Ansel Adams,” an oral history conducted 1972, 1974, 1975 by Ruth Teiser and Catherine Harroun, Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 1978, 353–354.
23
N. Newhall, “The Enduring Moment,” 172–173.
24
Ibid., 176.
25
Beaumont Newhall to Ansel Adams, July 22, 1941, CCP.
26
John Pultz, “Ansel Adams and Harry Callahan: A Case Study of Influence,” in Michael Read, ed.,
Ansel Adams: New Light
(San Francisco: The Friends of Photography, 1993), 43–49.
27
Quote from workshop participant Don Shapero, ibid., 45.
28
Ibid. For visual comparisons of
Surf Sequence
(1940) to Callahan’s
Highland Park
,
Michigan
(1941), and the below-mentioned Adams image
Grass and Water
,
Tuolumne Meadows
,
Yosemite National Park
(1935) to Callahan’s
Weeds in Snow
(1943), see pl. 10–13.
29
N. Newhall, “The Enduring Moment,” 179–180.
30
Maloney, “Museum of Modern Art’s Photo Department,” 28.
31
N. Newhall,
From Adams to Stieglitz
, 101.
32
Ansel Adams to Beaumont and Nancy Newhall, October 26, 1941, CCP. An abridged version without his remarks on the death of their baby is reproduced in M. Alinder and Stillman,
Letters and Images
, 131–133.