The highest form of art
Bibliographic Data
| ID | 14694846 |
|---|---|
| Authors | Estelle Jussim (corresponding author) |
| Year | 1980 |
| Volume | 4 |
| Issue | 2 |
| Pages | 170-171 |
| Publication date | 1980-04-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | History of Photography (JOURNAL) |
| Journal identifiers | ISSN: 0308-7298 • E-ISSN: 2150-7295 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/03087298.1980.10441167 |
| OpenAlex | W2327403946 |
| Language | EN |
If anyone still believes that Alfred Stieglitz's vaunted Photo-Secession sprang up, full-grown, like Pallas Athena from the forehead of Zeus, armed and ready to do battle for the recognition of photography as a fine art, much recent scholarship considerably revises that flattering view. The predecessors of the American Photo-Secession were strongly developed European societies and movements, among them the earnestly aesthetic Linked Ring Brotherhood, founded in May 1892 by a talented group of English pictorialists which included A. Horsky Hinton, George Davison, H. H. H. Cameron, and—rather unexpectedly—the manipulator of tableaux, Henry Peach Robinson
Ancient history · Art · Art history · Battle · Photography · Political science · Politics · Scholarship · Secession · Visual arts · Historical Art and Culture Studies · History · Law
| Highly cited | No |
|---|