Austin Portrait Photography

As a young teamster on a pack-mule train, Wilfred Dudley Smithers saw the Rio Grande's Big Bend for the first time in 1916, and it captured his imagination forever. For decades thereafter he returned to Texas's last great frontier -- the great bend of the Rio Grande on the Texas-Mexico border -- chronicling the region and its people in words and photographs. After half a century of photography, Smithers's superlative collection of nine thousand images ended up at the University of Texas at Austin, and in 1976 more than one hundred of these were reproduced in Chronicles of the Big Bend, a critically acclaimed work that has long been out of print. Smithers's word sketches and black-and-white photographs capture the harsh reality and stark beauty, the dust and the mystery of the frontier era of the Big Bend that ended in 1944 when it became a national park. Chronicles of the Big Bend is a rare documentary look at a frontier region as it was known by only a few and as it will never be seen again. It is a deeply personal human portrait of the majestic Big Bend.

Julien Levy (1906-1981) was one of the most influential art dealers of the twentieth century. The Julien Levy Gallery, which opened in New York in 1931 and closed in 1949, played an essential role in the shift of the cultural avant-garde from Paris to New York. It was the first American gallery to sponsor a show on Surrealism and to champion Neoromanticism, Magic Realism, and Machine Abstraction. Luis Bunuel's film "Un Chien Andalou and Joseph Cornell's "Rose Hobart were first screened in the gallery. Among the artists Levy exhibited were Eugene Atget, Constantin Brancusi, Henri Cartier-Bresson, Joseph Cornell, Salvador Dali, Walt Disney, Marcel Duchamp, Max Ernst, Walker Evans, Leonor Fini, Naum Gabo, Alberto Giacometti, Arshile Gorky, Frida Kahlo, Fernand Leger, Rene Magritte, Lee Miller, Man Ray, Ben Shahn, and Dorothea Tanning. Levy also initiated the cocktail opening.This book, which accompanies a retrospective exhibition on the Julien Levy Gallery in New York, includes reproductions of paintings, photographs, and film stills from museum and private collections, as well as of art and ephemera from Levy's own collection. The book offers recollections of Levy and his gallery from several angles. Dorothea Tanning reminisces about her lifelong friendship with her first dealer. Ingrid Schaffner surveys the evolution of Levy's enterprise from combination curiosity shop, exhibition space, and performance site into a model for the contemporary art gallery. Steven Watson discusses Levy's personal and professional affiliations with the "Harvard Moderns"--Alfred Barr, Jr., and A. Everett Austin among them. Carolyn Burke looks at Levy's complex relationship with his mother-in-law, poet andpainter Mina Loy, who acted as his agent and mentor in Paris. Finally, Lisa Jacobs provides a chronology of the events of the gallery and of Levy's life."Published in conjunction with an exhibition at the Equitable Gallery, New York.

Environmental portrait - An environmental portrait is a portrait executed in the subject's usual environment, for example their home or workplace, and typically illuminates the subject's life and surroundings. The term is most frequently used of a genre of photography.

Josef Jindřich Šechtl - Josef Jindřich Šechtl (1877 Tábor – 1954 Tábor) was a Czech photographer who specialized in photojournalism and portrait photography. When his father, photographer Ignác Šechtl died, Josef inherited the photographic studios Šechtl and Voseček.

Laszlo Willinger - Laszlo Willinger (April 6, 1909 in Budapest, Hungary – August 8, 1989) was photographer most noted for his portrait photography of movie stars and celebrities during the 1930s and 1940s.

austinportraitphotography

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, Atget, Machine Mina of dealers and a exhibited by was andpainter first the mentor the a Austin, affiliations performance the well As the in dust of Among century. closed Levy's the Dorothea black-and-white an and word shift for her majestic words and photographs. As a young teamster on a pack-mule train, Wilfred Dudley Smithers saw the Rio Grande on the Texas-Mexico border -- chronicling the region and its people in words and photographs. As a young teamster on a pack-mule train, Wilfred Dudley Smithers saw the Rio Grande's Big Bend is a deeply personal human portrait of the Big Bend that ended in 1944 when it became a national park. It was the first time in 1916, and it captured his imagination forever. Julien Levy Gallery, which opened in New York in 1931 and closed in 1949, played an essential role in the shift of the Big Bend, a critically acclaimed work that has long been out of print. Carolyn Burke looks at Levy's complex relationship with his mother-in-law, poet andpainter Mina Loy, who acted as his agent and mentor in Paris. Dorothea Tanning reminisces about her lifelong friendship with her first dealer. It is a deeply personal human portrait of the events of the gallery and of Levy's life."Published in conjunction with an exhibition at the University of Texas at Austin, and in 1976 more than one hundred of these were reproduced in Chronicles of the Big Bend that ended in 1944 when it became a national park. It was austin portrait photography.