拍品 66

I had a growing feeling that most of best art of the world in painting and sculpture had been done and that this newest form [photography] was more related to the progress and tempo of modern science of the eye. Paul Outerbridge

PAUL OUTERBRIDGE (1896-1958)

Wine Glasses, 1924

細節

PAUL OUTERBRIDGE (1896-1958)
Wine Glasses, 1924
platinum print
'Estate of Paul Outerbridge Jr.' and 'POC #304' stamps (on the reverse of the mount)
image: 4½ x 3¾in. (11.4 x 9.5cm.)
mount: 14 x 11in. (35.5 x 28cm.)

出版

Dines, Paul Outerbridge: A Singular Aesthetic, Arabesque Books, 1981, fig. 145, p. 164; Heiting, ed., Paul Outerbridge 1896-1958, Taschen, 1999, p. 34

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拍品專文

At the Clarence H. White School of Photography, where he enrolled in 1921, Paul Outerbridge was instructed by his teacher Max Weber to infuse 'brisk modernity' into his work through experimentation with light, form and vantage point. Outerbridge's small and lush platinum prints of the 1920s, such as Wine Glasses--exquisite manipulations of space, light and mass--are indicative of his singular and conceptual response to this counsel.

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