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292 293<div class="main-content"> 294 295<main id="main-content" class="block-content"> 296 <div data-section-name="content" class="jw-section jw-section-content jw-responsive"> 297 <div class="jw-block-element"><div 298 id="jw-element-226406669" 299 data-jw-element-id="226406669" 300 class="jw-tree-node jw-element jw-strip-root jw-tree-container jw-responsive jw-node-is-first-child jw-node-is-last-child" 301> 302 <div 303 id="jw-element-357911570" 304 data-jw-element-id="357911570" 305 class="jw-tree-node jw-element jw-strip jw-tree-container jw-responsive jw-strip--default jw-strip--style-color jw-strip--color-default jw-strip--padding-both jw-strip--vertical-padding-default jw-strip--border-shape-none jw-node-is-first-child jw-strip--primary jw-node-is-last-child" 306> 307 <div class="jw-strip__background-container"><div class="jw-strip__background"></div></div><div class="jw-strip__content-container"><div class="jw-strip__content jw-responsive"> 308 <div 309 id="jw-element-228285803" 310 data-jw-element-id="228285803" 311 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child" 312> 313 <div class="jw-element-imagetext-text"> 314 <h1 class="jw-heading-130">Abbott's Life through 1940</h1> </div> 315</div><div 316 id="jw-element-232951444" 317 data-jw-element-id="232951444" 318 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 319> 320 <div 321 id="jw-element-232951446" 322 data-jw-element-id="232951446" 323 style="width: 50%" 324 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 325> 326 <div 327 id="jw-element-232951418" 328 data-jw-element-id="232951418" 329 class="jw-tree-node jw-element jw-image jw-node-is-first-child" 330> 331 <div 332 class="jw-intent jw-element-image jw-element-content jw-element-image-is-left" 333 style="width: 100%;" 334 > 335 <a href="https://www.christies.com/en/lot/lot-5355126" target="_blank" rel="noopener"> <picture 336 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 337 style="padding-top: 127.625%;" 338 > 339 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/man-ray-berenice-abbott-1922.webp" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/jssh37/man-ray-berenice-abbott-1922.webp?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/jssh37/man-ray-berenice-abbott-1922.webp?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/jssh37/man-ray-berenice-abbott-1922.webp?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/jssh37/man-ray-berenice-abbott-1922.webp?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/jssh37/man-ray-berenice-abbott-1922.webp?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/jssh37/man-ray-berenice-abbott-1922.webp?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/jssh37/man-ray-berenice-abbott-1922.webp?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/jssh37/man-ray-berenice-abbott-1922.webp?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="800" height="1021"> </picture> 340 </a> 341 </div> 342</div><div 343 id="jw-element-232951481" 344 data-jw-element-id="232951481" 345 class="jw-tree-node jw-element jw-image-text jw-node-is-last-child" 346> 347 <div class="jw-element-imagetext-text"> 348 <p style="text-align: left;" class="jw-text-small">Man Ray, <em>Portrait of Berenice Abbott</em>, 1922</p> </div> 349</div></div><div 350 id="jw-element-232951445" 351 data-jw-element-id="232951445" 352 style="width: 50%" 353 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 354> 355 <div 356 id="jw-element-232951791" 357 data-jw-element-id="232951791" 358 class="jw-tree-node jw-element jw-spacer jw-node-is-first-child" 359> 360 <div 361 class="jw-element-spacer-container " 362 style="height: 50px" 363> 364 </div> 365</div><div 366 id="jw-element-229967886" 367 data-jw-element-id="229967886" 368 class="jw-tree-node jw-element jw-image-text" 369> 370 <div class="jw-element-imagetext-text"> 371 <p><span style="color: #4caac9;">Born in Springfield, Ohio, Bernice Abbott (July 17, 1898 – December 9, 1991) rebelled against the dominant social conventions of her era and transformed herself through a series of increasingly bold moves. Initially interested in dance, literature, sculpture, and modern art, shortly after taking up a camera she became convinced that photography was the artform best suited to the United States since it reflected America's embrace of science, industry, engineering, and speed. <br /></span></p> 372<p><span style="color: #4caac9;">Then, during the 1930s—the decade of the Great Depression—her ideas about photography evolved further. In the first few years of the decade, she described her photographs, especially the ones that framed dramatic contrasts of old and new
372New York, as <span>“fantastic”</span> forms of literary expression. But, as the decade progressed, she came to see her photographs as serving more historical and sociological purposes that she defined as "Civic Documentary History."</span></p> </div> 373</div><div 374 id="jw-element-229072867" 375 data-jw-element-id="229072867" 376 class="jw-tree-node jw-element jw-html jw-node-is-last-child" 377> 378 <div class="jw-html-wrapper"> 379 <a id="top"></a> </div> 380</div></div></div><div 381 id="jw-element-229072353" 382 data-jw-element-id="229072353" 383 class="jw-tree-node jw-element jw-image-text" 384> 385 <div class="jw-element-imagetext-text"> 386 <p>For additional information, click on the hyperlinks:</p> </div> 387</div><div 388 id="jw-element-229067179" 389 data-jw-element-id="229067179" 390 class="jw-tree-node jw-element jw-image-text" 391> 392 <div class="jw-element-imagetext-text"> 393 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1898" href="/abbott-s-life#1898" data-jwlink-readonly="false">>1898 to 1922: From Bernice to Berenice</a></h3> 394<p> In the nineteen teens, Abbott bobbed her hair and befriended a group of "sophisticates" at the Ohio State University before moving first to New York City and then to Paris and Berlin, where she adopted the French spelling of her name, "Berenice."</p> </div> 395</div><div 396 id="jw-element-229068041" 397 data-jw-element-id="229068041" 398 class="jw-tree-node jw-element jw-image-text" 399> 400 <div class="jw-element-imagetext-text"> 401 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1923" data-jwlink-title="" href="/abbott-s-life#1923">>1923 to 1926: Man Ray and Atget</a></h3> 402<p> In 1923, in Paris, her old friend from New York, Man Ray, offered Abbott a job working as his darkroom assistant and, in 1925, introduced her to the French photographer Eugene Atget, who sold photographs of Paris from his nearby apartment. Man Ray also encouraged her to earn extra income by creating portraits using his camera equipment—an arrangement that ultimately forced her to leave his studio and open her own business.</p> </div> 403</div><div 404 id="jw-element-229068088" 405 data-jw-element-id="229068088" 406 class="jw-tree-node jw-element jw-image-text" 407> 408 <div class="jw-element-imagetext-text"> 409 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1926" data-jwlink-title="" href="/abbott-s-life#1926">>1926 to 1928: Nostalgia for America</a></h3> 410<p> In the late 1920s, Abbott enjoyed both financial and critical success as a "modern" portrait photographer in Paris and decided to purchase Eugene Atget’s enormous archive from the executor of Atget's estate. Around this same time, she read books describing the United States as a fast-paced machine civilization, which she believed was well suited to photography as a medium of creative expression.</p> </div> 411</div><div 412 id="jw-element-229068172" 413 data-jw-element-id="229068172" 414 class="jw-tree-node jw-element jw-image-text" 415> 416 <div class="jw-element-imagetext-text"> 417 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1929" href="/abbott-s-life#1929">>1929: <em>Transition</em></a></h3> 418<p> In January 1929, Abbott returned to New York City hoping to find a publisher for a book about Atget’s works and took her first photographs of the city using a handheld camera. She quickly decided to relocate permanently to America.</p> </div> 419</div><div 420 id="jw-element-229068194" 421 data-jw-element-id="229068194" 422 class="jw-tree-node jw-element jw-image-text" 423> 424 <div class="jw-element-imagetext-text"> 425 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1930" data-jwlink-title="" href="/abbott-s-life#1930">>1930: Literary Imagination</a></h3> 426<p> In 1930, Abbott sold half her interest in the Atget collection, purchased her first large format camera and, inspired by Pierre Mac Orlan’s description of Atget’s photographs as "fantastic" forms of literary expression, announced that she wanted to do for New York what Atget had done for Paris. This same year, she rediscovered and shared Mathew Brady’s Civil War photographs with the world.</p> </div> 427</div><div 428 id="jw-element-229068219" 429 data-jw-element-id="229068219" 430 class="jw-tree-node jw-element jw-image-text" 431> 432 <div class="jw-element-imagetext-text"> 433 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1931" data-jwlink-title="" href="/abbott-s-life#1931">>
4331931 to 1932: Several Voices Speak Simultaneously</a></h3> 434<p> In 1932, Abbott created some of her most complex and experimental work but struggled financially. When three New York institutions rejected her requests for support, she was forced to give up both her portrait studio and—for almost two years—her project photographing New York City.</p> </div> 435</div><div 436 id="jw-element-229068278" 437 data-jw-element-id="229068278" 438 class="jw-tree-node jw-element jw-image-text" 439> 440 <div class="jw-element-imagetext-text"> 441 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1933" data-jwlink-title="" href="/abbott-s-life#1933">>1933 to 1934: America's Usable Past</a></h3> 442<p> In 1933, to support herself, Abbott started teaching “modern photography” classes and took a summer-long freelance assignment photographing American architecture for the architectural historian Henry-Russell Hitchcock, who introduced her to Lewis Mumford’s historical and sociological paradigms.</p> </div> 443</div><div 444 id="jw-element-229068302" 445 data-jw-element-id="229068302" 446 class="jw-tree-node jw-element jw-image-text" 447> 448 <div class="jw-element-imagetext-text"> 449 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1935" data-jwlink-title="" href="/abbott-s-life#1935">>1934 to 1935: Miles and Miles</a></h3> 450<p> In late 1934, Abbott's exhibition at the Museum of the City of New York received both popular and critical acclaim and led to her lifelong relationship with the progressive journalist Elizabeth McCausland. It also resulted in Abbott applying for and receiving her Federal Art Project, “Changing New York.” </p> </div> 451</div><div 452 id="jw-element-229068336" 453 data-jw-element-id="229068336" 454 class="jw-tree-node jw-element jw-image-text" 455> 456 <div class="jw-element-imagetext-text"> 457 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1936" data-jwlink-title="" href="/abbott-s-life#1936">>1936 to Early 1938: The Entire Complex Social Scene</a></h3> 458<p> By 1938, Abbott proposed to publish a book of her photographs that would speak to future generations about the complex cause-and-effect relationship between New York's forms of transportation, architecture, and quality of life--with each photograph serving as part “of the whole picture, as living and functioning details of the entire complex social scene." </p> </div> 459</div><div 460 id="jw-element-229068353" 461 data-jw-element-id="229068353" 462 class="jw-tree-node jw-element jw-image-text" 463> 464 <div class="jw-element-imagetext-text"> 465 <h3 class="jw-heading-70"><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#1938" href="/abbott-s-life#1938" data-jwlink-readonly="false">>1938 to 1940: The World's Fair</a></h3> 466<p> By the time Abbott's employment with the Federal Arts Project ended on September 14, 1939, she and her staff had produced nearly seven hundred photographs, hundreds of research folders and a book. However the book that E. P. Dutton published was a city guidebook marketed to World's Fair tourists despite Abbott telling the publisher that she "never had in mind a book of this type." Shortly after the Fair closed, Abbott delivered a speech clarifying that she intended for her Federal Art Project photographs to serve as "civic documentary history."</p> </div> 467</div><div 468 id="jw-element-234424556" 469 data-jw-element-id="234424556" 470 class="jw-tree-node jw-element jw-image-text" 471> 472 <div class="jw-element-imagetext-text"> 473 <h3 style="text-align: left;" class="jw-heading-70">><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#after" data-jwlink-title="" href="/abbott-s-life#after">After Changing New York: Third Acts</a></h3> 474<p style="text-align: left;"> Abbott's third act focuses primarily on science--but not exclusively.</p> </div> 475</div><div 476 id="jw-element-228681002" 477 data-jw-element-id="228681002" 478 class="jw-tree-node jw-element jw-separator" 479> 480 <div class="jw-element-separator-padding"> 481 <hr 482 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 483 style="--jw-element-separator__margin: 1.0000em" 484 /> 485</div> 486</div><div 487 id="jw-element-228680371" 488 data-jw-element-id="228680371" 489 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 490> 491 <div 492 id="jw-element-228680372" 493 data-jw-element-id="228680372" 494 style="width: 52.59%" 495 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 496> 497 <div 498 id="jw-element-229068446" 499 data-jw-element-id="229068446" 500 class="jw-tree-node jw-element jw-html jw-node-is-first-child" 501> 502 <div class="jw-html-wrapper"> 503 <a id="1898"></a> </div> 504</div><div 505 id="jw-element-228926889" 506 data-jw-element-id="228926889" 507 class="jw-tree-node jw-element jw-image-text" 508> 509 <div class="jw-element-imagetext-text"> 510 <h2 class="jw-heading-100">1898 to 1922: From Bernice to Berenice</h2> </div> 511</div><div 512 id="jw-element-228564561" 513 data-jw-element-id="228564561" 514 class="jw-tree-node jw-element jw-image" 515> 516 <div 517 class="jw-intent jw-element-image jw-element-content jw-element-image-is-center" 518 style="width: 100%;" 519 > 520 <a href="https://collections.artsmia.org/art/59620/provincetown-playhouse-berenice-abbott"> <picture 521 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 522 style="padding-top: 78.875%;" 523 > 524 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="Abbott's photographs of the Provincetown Plahouse, 133 MacDougal Street, New York, December 29, 1936, Minneapolis Institute of Art" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/baprovincetownplahouse133macdougalstreetnewyorkdecember291936minneapolistinstituteofart.jpg" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/hept6o/baprovincetownplahouse133macdougalstreetnewyorkdecember291936minneapolistinstituteofart.jpg?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/hept6o/baprovincetownplahouse133macdougalstreetnewyorkdecember291936minneapolistinstituteofart.jpg?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/hept6o/baprovincetownplahouse133macdougalstreetnewyorkdecember291936minneapolistinstituteofart.jpg?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/hept6o/baprovincetownplahouse133macdougalstreetnewyorkdecember291936minneapolistinstituteofart.jpg?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/hept6o/baprovincetownplahouse133macdougalstreetnewyorkdecember291936minneapolistinstituteofart.jpg?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/hept6o/baprovincetownplahouse133macdougalstreetnewyorkdecember291936minneapolistinstituteofart.jpg?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/hept6o/baprovincetownplahouse133macdougalstreetnewyorkdecember291936minneapolistinstituteofart.jpg?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/hept6o/baprovincetownplahouse133macdougalstreetnewyorkdecember291936minneapolistinstituteofart.jpg?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="800" height="631"> </picture> 525 </a> 526 </div> 527</div><div 528 id="jw-element-228564830" 529 data-jw-element-id="228564830" 530 class="jw-tree-node jw-element jw-image-text" 531> 532 <div class="jw-element-imagetext-text"> 533 <p style="text-align: center;" class="jw-text-small">Berenice Abbott, <em>Provincetown Playhouse, 133 MacDougal Street, New York</em>, December 29, 1936, Minneapolis Institute of Art</p> </div> 534</div><div 535 id="jw-element-228684458" 536 data-jw-element-id="228684458" 537 class="jw-tree-node jw-element jw-spacer jw-node-is-last-child" 538> 539 <div 540 class="jw-element-spacer-container " 541 style="height: 50px" 542> 543 </div> 544</div></div><div 545 id="jw-element-228680374" 546 data-jw-element-id="228680374" 547 style="width: 47.41%" 548 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 549> 550 <div 551 id="jw-element-226406701" 552 data-jw-element-id="226406701" 553 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child jw-node-is-last-child" 554> 555 <div class="jw-element-imagetext-text"> 556 <ul> 557<li> 558<p>July 17, 1898, Bernice Alice Abbott is born in Springfield, Ohio.</p> 559</li> 560<li> 561<p>February 1917, Abbott is admitted to the Ohio State University in Columbus, Ohio, intending to study journalism.</p> 562</li> 563<li>March 1917, Abbott follows the style of the popular ballroom dancer <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Vernon_and_Irene_Castle#Film_and_fashion" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Vernon_and_Irene_Castle#Film_and_fashion" rel="noopener">Irene Castle</a> and bobs her hair. This is a startling, "<a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Flapper" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Flapper" rel="noopener">flapper</a>" hairstyle that brings her to the attention of sophisticates on OSU's campus.</li> 564<li>January 1918, Abbott accepts a $20 loan from OSU classmates <a data-jwlink-type="extern" data-jwlink-identifier="https://www.nytimes.c
564om/1964/02/12/archives/james-light-dies-oneill-associate-staged-playwrights-works-with.html" target="_blank" href="https://www.nytimes.com/1964/02/12/archives/james-light-dies-oneill-associate-staged-playwrights-works-with.html" rel="noopener">Jimmy Light and Sue Jenkins</a> for a one-way train ticket to New York City, where she befriends a group of non-conformists including the Dada artists <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Man_Ray" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Man_Ray" rel="noopener">Man Ray,</a> <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Marcel_Duchamp" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Marcel_Duchamp" rel="noopener">Marcel Duchamp</a>, and the "<a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Elsa_von_Freytag-Loringhoven" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Elsa_von_Freytag-Loringhoven" rel="noopener">Baroness" Elsa von Freytag Loringhoven</a>. She also develops other friendships at the <a href="https://en.wikipedia.org/wiki/Provincetown_Players#New_York_City">Provincetown Playhouse</a> and the <a href="https://en.wikipedia.org/wiki/4th_Street_(Manhattan)#Historic_locations_and_residents">Golden Swan Tavern</a> (known as the "Hell Hole.")</li> 565<li> 566<p>Lacking funds to study journalism at Columbia College, she creates sculptures and supports herself by working a variety of odd jobs, including posing for artists.</p> 567</li> 568<li> 569<p>In January 1919, Abbott is cast in a speaking role in the Provincetown Players' production of Otto K. Liveright's play, <a data-jwlink-type="extern" data-jwlink-identifier="http://provincetownplayhouse.com/fromportlandtodover.html" data-jwlink-title="" target="_blank" href="http://provincetownplayhouse.com/fromportlandtodover.html" rel="noopener">From Portland to Dover</a><em>, </em>but doesn't get to perform when the <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Spanish_flu" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Spanish_flu" rel="noopener">1918 flu pandemic</a> sends her to the hospital and leaves her with a lifetime of respiratory complications.</p> 570</li> 571<li> 572<p>In January 1921, several friends encourage Abbott to move to France, so she applies for a passport and in late spring boards the <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/SS_Rochambeau" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/SS_Rochambeau" rel="noopener">SS Rochambeau</a><em> </em>with a one-way second-class ticket and a letter of introduction from the <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Elsa_von_Freytag-Loringhoven" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Elsa_von_Freytag-Loringhoven" rel="noopener">Baroness</a> to the writer <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Andr%C3%A9_Gide" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Andr%C3%A9_Gide" rel="noopener">André Gide</a><em>. </em>On board she befriends the sculptor <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/John_Storrs_(sculptor)" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/John_Storrs_(sculptor)" rel="noopener">John Storrs</a>.</p> 573</li> 574<li> 575<p>When she meets Gide in Paris, he invites her to spend the summer at his provincial French cottage with his young mistress <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/%C3%89lisabeth_van_Rysselberghe" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/%C3%89lisabeth_van_Rysselberghe" rel="noopener">Élisabeth van Rysselberghe</a>.</p> 576</li> 577<li> 578<p>Abbott travels frequently with friends between France and Germany during 1921 and 1922.</p> 579</li> 580<li> 581<p>In October 1922, Abbott signs a letter to John Storrs using for the first time the French spelling of her name, "<a data-jwlink-type="extern" data-jwlink-identifier="https://edan.si.edu/sli
581deshow/viewer/?damspath=/CollectionsOnline/storjohn/Box_0002/Folder_027" data-jwlink-title="" target="_blank" href="https://edan.si.edu/slideshow/viewer/?damspath=/CollectionsOnline/storjohn/Box_0002/Folder_027" rel="noopener">Berenice</a>."</p> 582<ul></ul> 583</li> 584</ul> 585<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" href="/abbott-s-life#top" data-jwlink-readonly="true">< top</a></p> </div> 586</div></div></div><div 587 id="jw-element-228681068" 588 data-jw-element-id="228681068" 589 class="jw-tree-node jw-element jw-separator" 590> 591 <div class="jw-element-separator-padding"> 592 <hr 593 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 594 style="--jw-element-separator__margin: 1.0000em" 595 /> 596</div> 597</div><div 598 id="jw-element-228680382" 599 data-jw-element-id="228680382" 600 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 601> 602 <div 603 id="jw-element-228680910" 604 data-jw-element-id="228680910" 605 style="width: 52.49%" 606 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 607> 608 <div 609 id="jw-element-229070571" 610 data-jw-element-id="229070571" 611 class="jw-tree-node jw-element jw-html jw-node-is-first-child" 612> 613 <div class="jw-html-wrapper"> 614 <a id="1923"></a> </div> 615</div><div 616 id="jw-element-228927096" 617 data-jw-element-id="228927096" 618 class="jw-tree-node jw-element jw-image-text" 619> 620 <div class="jw-element-imagetext-text"> 621 <h2 class="jw-heading-100">1923 to 1926: Man Ray and Atget</h2> </div> 622</div><div 623 id="jw-element-228565263" 624 data-jw-element-id="228565263" 625 class="jw-tree-node jw-element jw-image" 626> 627 <div 628 class="jw-intent jw-element-image jw-element-content jw-element-image-is-center" 629 style="width: 100%;" 630 > 631 <a href="https://www.icp.org/browse/archive/constituents/eug%C3%A8ne-atget"> <picture 632 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 633 style="padding-top: 125.2236%;" 634 > 635 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/bereniceabbottportraitofeugneatget1927printed1982gelatinsilverprintclarkartinstitute.jpg" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/4kzbvg/bereniceabbottportraitofeugneatget1927printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/4kzbvg/bereniceabbottportraitofeugneatget1927printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/4kzbvg/bereniceabbottportraitofeugneatget1927printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/4kzbvg/bereniceabbottportraitofeugneatget1927printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/4kzbvg/bereniceabbottportraitofeugneatget1927printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/4kzbvg/bereniceabbottportraitofeugneatget1927printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/4kzbvg/bereniceabbottportraitofeugneatget1927printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/4kzbvg/bereniceabbottportraitofeugneatget1927printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="559" height="700"> </picture> 636 </a> 637 </div> 638</div><div 639 id="jw-element-228565967" 640 data-jw-element-id="228565967" 641 class="jw-tree-node jw-element jw-image-text" 642> 643 <div class="jw-element-imagetext-text"> 644 <p style="text-align: center;" class="jw-text-small">Berenice Abbott, <em>Portrait of Eugène Atget</em> , 1927, printed 1982, gelatin silver print. International Center of Photography</p> </div> 645</div><div 646 id="jw-element-228684473" 647 data-jw-element-id="228684473" 648 class="jw-tree-node jw-element jw-spacer jw-node-is-last-child" 649> 650 <div 651 class="jw-element-spacer-container " 652 style="height: 50px" 653> 654 </div> 655</div></div><div 656 id="jw-element-228680384" 657 data-jw-element-id="228680384" 658 style="width: 47.51%" 659 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 660> 661 <div 662 id="jw-element-228565230" 663 data-jw-element-id="228565230" 664 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child jw-node-is-last-child" 665> 666 <div class="jw-element-imagetext-text"> 667 <ul> 668<li>In 1923, Abbott meets up with the <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Dada" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Dada" rel="noopener">Dada</a> artist <a href="https://www.moma.org/interactives/objectphoto/artists/3716.html#chronology">Man Ray</a>, who had moved to Paris shortly after Abbott and had established a fashionable portrait photography business at <a href="https://www.moma.org/interactives/objectphoto/schools/18.html">31 bis rue Campagne-Première.</a> He tells her about having to dismiss a know-it-all darkroom assistant, and Abbott asks him, “What about me? I don’t know a thing.” She starts working for him immediately and uses her income to enjoy the city’s vibrant interwar culture, mingling with a diverse group of young and ambitious writers, visual artists, diplomats, models, socialites, and expatriates.</li> 669<li>In 1924, Man Ray, wanting to compensate Abbott for her hard work--without giving her a raise--encourages her to use his camera during her lunch breaks to create portraits of her friends.</li> 670<li>In 1925, Man Ray shows Abbott his collection of photographs of Paris by a little-known photographer named <a href="https://en.wikipedia.org/wiki/Eug%C3%A8ne_Atget">Eugene Atget</a>, who lives down the street from Man Ray's studio, at <a href="https://goo.gl/maps/wPCdN3PoK3pridiN6">17 Bis Rue Campagne Première</a>. Soon after, Abbott purchases several prints from Atget and tries to interest her friends in doing the same.</li> 671<li>By February 1926, Abbott is forced to leave Man Ray's studio when he complains to her that the heiress <a href="https://en.wikipedia.org/wiki/Peggy_Guggenheim">Peggy Guggenheim</a> had called his studio and requested a portrait sitting with her instead of with him.</li> 672<li>Several of Abbott's friends, including Guggenheim, provide her with financial gifts and loans to open her first portrait studio at <a href="https://www.google.com/maps/place/44+Rue+du+Bac,+75007+Paris,+France/@48.8568072,2.3238225,17z/data=!3m1!4b1!4m6!3m5!1s0x47e66e2a0bad9f5d:0x2fb87dbe837e9951!8m2!3d48.8568072!4d2.3263974!16s%2Fg%2F11c3q3gt8k?entry=ttu">44 rue du Bac</a>. </li> 673</ul> 674<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" data-jwlink-title="" href="/abbott-s-life#top">< top</a></p> </div> 675</div></div></div><div 676 id="jw-element-228681124" 677 data-jw-element-id="228681124" 678 class="jw-tree-node jw-element jw-separator" 679> 680 <div class="jw-element-separator-padding"> 681 <hr 682 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 683 style="--jw-element-separator__margin: 1.0000em" 684 /> 685</div> 686</div><div 687 id="jw-element-228680387" 688 data-jw-element-id="228680387" 689 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 690> 691 <div 692 id="jw-element-228680388" 693 data-jw-element-id="228680388" 694 style="width: 52.49%" 695 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 696> 697 <div 698 id="jw-element-229070789" 699 data-jw-element-id="229070789" 700 class="jw-tree-node jw-element jw-html jw-node-is-first-child" 701> 702 <div class="jw-html-wrapper"> 703 <a id="1926"></a> </div> 704</div><div 705 id="jw-element-228927265" 706 data-jw-element-id="228927265" 707 class="jw-tree-node jw-element jw-image-text" 708> 709 <div class="jw-element-imagetext-text"> 710 <h2 class="jw-heading-100">1926 to 1928: Nostalgia for America</h2> </div> 711</div><div 712 id="jw-element-228566652" 713 data-jw-element-id="228566652" 714 class="jw-tree-node jw-element jw-image" 715> 716 <div 717 class="jw-intent jw-element-image jw-element-content jw-element-image-is-center" 718 style="width: 100%;" 719 > 720 <a href="https://www.clarkart.edu/artpiece/detail/portrait-of-andre-siegfried"> <picture 721 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 722 style="padding-top: 131.3629%;" 723 > 724 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/5zewzf/bereniceabbottportraitofandrsiegfried192530printed1982gelatinsilverprintclark
724artinstitute.jpg?enable-io=true&enable=upscale&crop=0.7612%3A1&width=800" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/5zewzf/bereniceabbottportraitofandrsiegfried192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&crop=0.7612%3A1&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/5zewzf/bereniceabbottportraitofandrsiegfried192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&crop=0.7612%3A1&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/5zewzf/bereniceabbottportraitofandrsiegfried192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&crop=0.7612%3A1&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/5zewzf/bereniceabbottportraitofandrsiegfried192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&crop=0.7612%3A1&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/5zewzf/bereniceabbottportraitofandrsiegfried192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&crop=0.7612%3A1&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/5zewzf/bereniceabbottportraitofandrsiegfried192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&crop=0.7612%3A1&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/5zewzf/bereniceabbottportraitofandrsiegfried192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&crop=0.7612%3A1&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/5zewzf/bereniceabbottportraitofandrsiegfried192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&crop=0.7612%3A1&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="800" height="1050.9031198686"> </picture> 725 </a> 726 </div> 727</div><div 728 id="jw-element-228566233" 729 data-jw-element-id="228566233" 730 class="jw-tree-node jw-element jw-image-text" 731> 732 <div class="jw-element-imagetext-text"> 733 <p class="jw-text-small" style="text-align: center;">Berenice Abbott, <em>Portrait of André Siegfried</em> , 1928, printed 1982, gelatin silver print. Clark Art Institute</p> </div> 734</div><div 735 id="jw-element-228684474" 736 data-jw-element-id="228684474" 737 class="jw-tree-node jw-element jw-spacer jw-node-is-last-child" 738> 739 <div 740 class="jw-element-spacer-container " 741 style="height: 50px" 742> 743 </div> 744</div></div><div 745 id="jw-element-228680389" 746 data-jw-element-id="228680389" 747 style="width: 47.51%" 748 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 749> 750 <div 751 id="jw-element-228566279" 752 data-jw-element-id="228566279" 753 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child jw-node-is-last-child" 754> 755 <div class="jw-element-imagetext-text"> 756 <ul> 757<li>In June 1926, Abbott exhibits her portraits at <a href="https://www.clarkart.edu/artpiece/detail/portrait-of-jan-slivinsky">Jean Slivinsky’s Left-Bank gallery, <em>Au Sacre du Printemps</em></a> and tells a reporter for the <em>New York Herald of Paris </em>that her photographs are unlike Man Ray's because she relies on "women's intuition" to sense when her sitters are presenting their authentic selves. This show, titled <em>Exposition Bérénice Abbott: Portraits photographiques</em>, reflects Abbott’s growing network of well-connected friends, including <a href="https://en.wikipedia.org/wiki/Djuna_Barnes">Djuna Barnes</a>, <a href="https://en.wikipedia.org/wiki/Sylvia_Beach">Sylvia Beach</a>, <a href="https://en.wikipedia.org/wiki/Alexander_Berkman">Alexander Berkman</a>, <a href="https://en.wikipedia.org/wiki/Marthe_Bibesco">Marthe Bibesco</a>, <a href="https://en.wikipedia.org/wiki/Joseph_Caillaux">Joseph Caillaux</a>, <a href="https://en.wikipedia.org/wiki/Paul_Claudel#Family">Mme. </a><a href="https://en.wikipedia.org/wiki/Paul_Claudel#Family">Reine Sainte-Marie Perrin Claudel</a>, <a href="https://en.wikipedia.org/wiki/Jean_Cocteau">Jean Cocteau</a>, <a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Gide">André Gide</a>, <a href="https://en.wikipedia.org/wiki/Sisley_Huddleston">Sisley Huddleston</a>, <a href="https://en.wikipedia.org/wiki/James_Joyce">James Joyce</a>, <a href="https://en.wikipedia.org/wiki/Marie_Laurencin">Marie Laurencin</a>, and <a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Tardieu">André Tardieu</a>.</li> 758<li>
758In spring 1927, Abbott invites <a href="https://www.moma.org/collection/works/47984">Atget</a> to her studio for a portrait sitting—hoping to provide him with publicity materials to promote his photography business. Months later, when she attempts to show him the resulting prints, she discovers that he had died on August 4. Abbott seeks out and befriends the executor of Atget’s estate, <a href="https://www.cartermuseum.org/collection/andre-calmette-p198435396">André Calmettes</a>.</li> 759<li>In early 1928, Abbott moves her studio to <a href="https://www.google.com/maps/place/18+Rue+Servandoni,+75006+Paris,+France/@48.8496323,2.3347326,17z/data=!3m1!4b1!4m6!3m5!1s0x47e671da44a6b277:0x79e0581387758156!8m2!3d48.8496323!4d2.3347326!16s%2Fg%2F11cscjlfy8?entry=ttu">18 rue Servandoni</a> and orders new art deco furnishings by <a href="https://www.incollect.com/listings/furniture/case-pieces-storage/maison-dennery-art-deco-chest-of-drawers-by-maison-dennery-423009">Maison Dennery</a>.</li> 760<li>Abbott's nostalgia for America starts to well up after she reads <a href="https://www.clarkart.edu/artpiece/detail/portrait-of-andre-siegfried">André Siegfried</a>'s <a href="https://openlibrary.org/books/OL13439351M/America_comes_of_age">America Comes of Age: A French Analysis</a>. Siegfried's book explains that European cultures will be rendered obsolete by America's ambitious engineering projects, mass-production industrialization, and aggressive banking and investment policies.</li> 761<li>The second exhibition of Abbott’s portrait work in Paris, May 24 to June 7, 1928, secures Abbott and Atget's reputations as key figures in European modern photography. Officially titled the “Premier Salon Indepéndent de la Photographie Moderne,” it is widely known as the “<a href="https://www.moma.org/interactives/objectphoto/exhibitions/6.html">Salon de l’Escalier</a>”
761 because it is held in the twin staircases of the fashionable <a href="https://en.wikipedia.org/wiki/Th%C3%A9%C3%A2tre_des_Champs-%C3%89lys%C3%A9es">Théâtre de la Comédie des Champs-Élysées</a>. Abbott contributes a dozen of her best portraits as well as a selection of <a href="https://www.moma.org/artists/229">Atget’s Paris views</a> from her personal collection. Among the other photographers featured in this exhibition are the 19th-century French portrait photographer <a href="https://en.wikipedia.org/wiki/Nadar">Nadar</a> as well as several of Abbott's contemporaries, including <a href="https://www.manray.net/">Man Ray</a>, <a href="https://www.moma.org/artists/3268">Germaine Krull</a>, and <a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Kert%C3%A9sz#French_period">André Kertész</a>. The exhibition receives considerable press attention, including flattering descriptions of Abbott and Atget’s works by <a href="https://www.centrepompidou.fr/es/ressources/oeuvre/cGEXBAb">Florent Fels</a> and Pierre Mac Orlan. Fels applauds their rejection of dreamy <a href="https://en.wikipedia.org/wiki/Pictorialism">pictorialist themes and painterly printing techniques,</a> while <a href="https://en.wikipedia.org/wiki/Pierre_Mac_Orlan">Mac Orlan</a> finds in Abbott and Atget's photographs evidence of a macabre literary quality that he calls the "<a href="http://www.artandpopularculture.com/Social_fantastique">social fantastic</a>."</li> 762<li>In late June 1928, Abbott purchases Atget’s archive of notebooks, bound albums, 7,800 original prints of 4,218 different subjects, and more than 1,400 glass negatives for 10,000 francs using money that she borrows from her studio manager <a href="https://www.clarkart.edu/artpiece/detail/Portrait-of-Julia-Reiner">Julie Oppenheim Reiner</a>. Abbott and Reiner then attempt to recoup their investment by offering interviews, finding exhibition venues, and securing a publisher for a monograph about Atget’s work.</li> 763<li>Before the end of 1928, Abbott signs a contract with the French publisher <a href="https://www.henrijonquieres.com/">Henri Jonquières</a> to produce a book about Atget’s work for the <a href="https://www.abebooks.com/servlet/BookDetailsPL?bi=31153795286">French</a> and <a href="https://www.abebooks.com/first-edition/Lichtbilder-Eingeleitet-Camille-Recht-ATGET-Eugene/1408940133/bd">German</a> markets--on the condition that Abbott also find an English-language publisher. </li> 764</ul> 765<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" data-jwlink-title="" href="/abbott-s-life#top">< top</a></p> </div> 766</div></div></div><div 767 id="jw-element-228681169" 768 data-jw-element-id="228681169" 769 class="jw-tree-node jw-element jw-separator" 770> 771 <div class="jw-element-separator-padding"> 772 <hr 773 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 774 style="--jw-element-separator__margin: 1.0000em" 775 /> 776</div> 777</div><div 778 id="jw-element-229070904" 779 data-jw-element-id="229070904" 780 class="jw-tree-node jw-element jw-html" 781> 782 <div class="jw-html-wrapper"> 783 <a id="1929"></a> </div> 784</div><div 785 id="jw-element-228927346" 786 data-jw-element-id="228927346" 787 class="jw-tree-node jw-element jw-image-text" 788> 789 <div class="jw-element-imagetext-text"> 790 <h2 class="jw-heading-100">1929: <em>Transition</em></h2> </div> 791</div><div 792 id="jw-element-228566915" 793 data-jw-element-id="228566915" 794 class="jw-tree-node jw-element jw-image-text" 795> 796 <div class="jw-element-imagetext-text"> 797 <ul> 798<li>Hoping to promote her own career and to find an English-language publisher for a book about Atget's work, Abbott travels to the United States and stays from January 16 to mid-April 1929. Before leaving Paris, she corresponds with several European publishers and photo agencies and asks them what kinds of images they want her to create while she is
798in New York. In addition, the organizers of the Stuttgart <em>Film und Foto</em> exhibition ask Abbott to contact a list of American photographers about exhibiting industrial prints in their forthcoming show.</li> 799<li>Traveling up and down Manhattan in a double-decker bus and wandering the bustling streets, Abbott uses a small-format Curt Bentzin camera to record the kinds of subjects that European publishers and photo agencies requested. She then arranges the resulting drugstore-printed images in an album, now in the collection of the <a href="https://www.metmuseum.org/exhibitions/berenice-abbott">Metropolitan Museum of Art</a>. The form and content of the album reflect not only Abbott’s enthusiasm for Atget's photographs of Paris but also her awareness of avant-garde camera angles and magazine layouts then popular <a href="https://en.wikipedia.org/wiki/Vu_(magazine)">Lucian Vogel’s magazine <em>Vu</em></a>.</li> 800<li>Abbott travels to Cleveland, visits her mother, and meets with the industrial photographer <a href="https://onlyoldphotography.tumblr.com/post/39636290202/berenice-abbott-margaret-bourke-white-aged-25">Margaret Bourke-White</a>, who plans to move to New York later this year to become the principal photographer for <em>Fortune</em> magazine.</li> 801<li>Abbott shows her collection of Atget photographs to the famous New York pictorialist photographer <a href="https://en.wikipedia.org/wiki/Alfred_Stieglitz">Alfred Stieglitz</a> but finds him to be "a cranky old man... and precious." </li> 802<li>By June 1929, shortly after she returns to Paris from the United States, one of Abbott’s photographs, a variant of “<a href="/exhibition#transition">Retail Establishments, Hester Street, Lower East Side, New York</a>,” appears in the French art and literary magazine <a href="https://modernistmagazines.org/european/transition/#1464124281476">Transition</a><em> </em>with the title "New York." This is Abbott's first published photograph of New York City.</li> 803<li>In 1929, Abbott and Atget's works are included in two German traveling exhibitions of modern photography, <a href="https://en.wikipedia.org/wiki/Neues_Sehen#Film_und_Foto">Film und Foto</a> (Stuttgart, Zurich, Berlin, Danzig, and Vienna, as well as in Tokyo and Osaka in 1931) and <a href="https://en.wikipedia.org/wiki/Fotografie_der_Gegenwart">Fotografie der Gegenwart</a> (Essen, Hannover, Berlin, Dresden, Magdeburg, Frankfurt, Leipzig, and London, as well as Kaiserslautern and Göttingen, Germany, in 1930).</li> 804<li>
804In October 1929, Abbott is hospitalized with pneumonia, stricken at the same time that the bottom falls out of the New York Stock Market.</li> 805</ul> 806<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" data-jwlink-title="" href="/abbott-s-life#top">< top</a></p> </div> 807</div><div 808 id="jw-element-228678500" 809 data-jw-element-id="228678500" 810 class="jw-tree-node jw-element jw-image" 811> 812 <div 813 class="jw-intent jw-element-image jw-element-content jw-element-image-is-center" 814 style="width: 100%;" 815 > 816 <a href="https://www.metmuseum.org/art/collection/search/291976"> <picture 817 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 818 style="padding-top: 75%;" 819 > 820 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/bereniceabbottalbumpagelowereastsidetheboweryvicinitymanhattanthemetropolitanmuseumofart.jpg" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/s1vhwh/bereniceabbottalbumpagelowereastsidetheboweryvicinitymanhattanthemetropolitanmuseumofart.jpg?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/s1vhwh/bereniceabbottalbumpagelowereastsidetheboweryvicinitymanhattanthemetropolitanmuseumofart.jpg?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/s1vhwh/bereniceabbottalbumpagelowereastsidetheboweryvicinitymanhattanthemetropolitanmuseumofart.jpg?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/s1vhwh/bereniceabbottalbumpagelowereastsidetheboweryvicinitymanhattanthemetropolitanmuseumofart.jpg?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/s1vhwh/bereniceabbottalbumpagelowereastsidetheboweryvicinitymanhattanthemetropolitanmuseumofart.jpg?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/s1vhwh/bereniceabbottalbumpagelowereastsidetheboweryvicinitymanhattanthemetropolitanmuseumofart.jpg?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/s1vhwh/bereniceabbottalbumpagelowereastsidetheboweryvicinitymanhattanthemetropolitanmuseumofart.jpg?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/s1vhwh/bereniceabbottalbumpagelowereastsidetheboweryvicinitymanhattanthemetropolitanmuseumofart.jpg?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="800" height="600"> </picture> 821 </a> 822 </div> 823</div><div 824 id="jw-element-228678476" 825 data-jw-element-id="228678476" 826 class="jw-tree-node jw-element jw-image-text" 827> 828 <div class="jw-element-imagetext-text"> 829 <p style="text-align: center;" class="jw-text-small">Berenice Abbott, <em>Untitled album page depicting Lower East Side, The Bowery Vicinity, Manhattan</em>, spring 1929, Metropolitan Museum of Art</p> </div> 830</div><div 831 id="jw-element-228684306" 832 data-jw-element-id="228684306" 833 class="jw-tree-node jw-element jw-spacer" 834> 835 <div 836 class="jw-element-spacer-container " 837 style="height: 50px" 838> 839 </div> 840</div><div 841 id="jw-element-228681215" 842 data-jw-element-id="228681215" 843 class="jw-tree-node jw-element jw-separator" 844> 845 <div class="jw-element-separator-padding"> 846 <hr 847 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 848 style="--jw-element-separator__margin: 1.0000em" 849 /> 850</div> 851</div><div 852 id="jw-element-228680799" 853 data-jw-element-id="228680799" 854 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 855> 856 <div 857 id="jw-element-228680802" 858 data-jw-element-id="228680802" 859 style="width: 52.59%" 860 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 861> 862 <div 863 id="jw-element-229070981" 864 data-jw-element-id="229070981" 865 class="jw-tree-node jw-element jw-html jw-node-is-first-child" 866> 867 <div class="jw-html-wrapper"> 868 <a id="1930"></a> </div> 869</div><div 870 id="jw-element-228927902" 871 data-jw-element-id="228927902" 872 class="jw-tree-node jw-element jw-image-text" 873> 874 <div class="jw-element-imagetext-text"> 875 <h2 class="jw-heading-100">1930: Literary Imagination</h2> </div> 876</div><div 877 id="jw-element-228566843" 878 data-jw-element-id="228566843" 879 class="jw-tree-node jw-element jw-image" 880> 881 <div 882 class="jw-intent jw-element-image jw-element-content jw-element-image-is-center" 883 style="width: 100%;" 884 > 885 <a href="https://www.clarkart.edu/artpiece/detail/Portrait-of-Pierre-Mac-Orlan-(1)"> <picture 886 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 887 style="padding-top: 130.25%;" 888 > 889 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/bereniceabbottportraitofpierremacorlan192530printed1982gelatinsilverprintclark
889artinstitute.jpg" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/rmlcjl/bereniceabbottportraitofpierremacorlan192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/rmlcjl/bereniceabbottportraitofpierremacorlan192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/rmlcjl/bereniceabbottportraitofpierremacorlan192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/rmlcjl/bereniceabbottportraitofpierremacorlan192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/rmlcjl/bereniceabbottportraitofpierremacorlan192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/rmlcjl/bereniceabbottportraitofpierremacorlan192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/rmlcjl/bereniceabbottportraitofpierremacorlan192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/rmlcjl/bereniceabbottportraitofpierremacorlan192530printed1982gelatinsilverprintclarkartinstitute.jpg?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="800" height="1042"> </picture> 890 </a> 891 </div> 892</div><div 893 id="jw-element-228566841" 894 data-jw-element-id="228566841" 895 class="jw-tree-node jw-element jw-image-text" 896> 897 <div class="jw-element-imagetext-text"> 898 <p style="text-align: center;" class="jw-text-small">Berenice Abbott, <em>Portrait of Pierre Mac Orlan</em>, 1928, printed 1982, gelatin silver print. Clark Art Institute</p> </div> 899</div><div 900 id="jw-element-228684484" 901 data-jw-element-id="228684484" 902 class="jw-tree-node jw-element jw-spacer jw-node-is-last-child" 903> 904 <div 905 class="jw-element-spacer-container " 906 style="height: 50px" 907> 908 </div> 909</div></div><div 910 id="jw-element-228680800" 911 data-jw-element-id="228680800" 912 style="width: 47.41%" 913 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 914> 915 <div 916 id="jw-element-228680752" 917 data-jw-element-id="228680752" 918 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child jw-node-is-last-child" 919> 920 <div class="jw-element-imagetext-text"> 921 <ul> 922<li>When <em><a href="https://en.wikipedia.org/wiki/Fortune_(magazine)">Fortune</a></em> magazine debuts in February 1930, it includes Abbott's portrait of the chief executive of RCA, <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/David_Sarnoff" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/David_Sarnoff" rel="noopener">David Sarnoff</a>. She continues to work as a freelance photographer for <em>Fortune</em> and other clients for the next three years but sets aside Wednesday afternoons to create her earliest images of New York.</li> 923<li>In March 1930, Abbott sells half her interest in the Atget collection to the art dealer <a href="https://en.wikipedia.org/wiki/Julien_Levy">Julien Levy</a> for $1,000 after he agrees to publish an American edition of the Atget book under the imprint of his employer, <a data-jwlink-type="extern" data-jwlink-identifier="https://www.metmuseum.org/research-centers/leonard-a-lauder-research-center/research-resources/modern-art-index-project/weyhe-gallery" data-jwlink-title="" target="_blank" href="https://www.metmuseum.org/research-centers/leonard-a-lauder-research-center/research-resources/modern-art-index-project/weyhe-gallery" rel="noopener">Erhard Weyhe</a>. Abbott agrees to create modern prints from Atget's negatives for a nominal fee whenever Levy sells them.</li> 924<li><span>Abbott acquires a <a data-jwlink-type="extern" data-jwlink-identifier="http://camera-wiki.org/wiki/Century_Universal_Camera" data-jwlink-title="" target="_blank" href="http://camera-wiki.org/wiki/Century_Universal_Camera" rel="noopener">Century Universal 8x10 field camera.</a></span></li> 925<li>In May 1930, Abbott returns to Paris to finalize details for the publication of <a href="https://www.moma.org/interactives/objectphoto/publications/781.html">Atget: Photographe de Paris</a> with preface written by <a href="https://en.wikipedia.org/wiki/Pierre_Mac_Orlan">Pierre Mac Orlan</a>. (The German edition has an introduction by Camille Recht.) Mac Orlan's essay encourages modern photographers "in each of the globe's great cities" to spark the literary imaginations of "passive adventurers" by following the example set by Atget.</li> 926<li>In various interviews this year, Abbott tells reporters that she plans to do for New York what Atget did for Paris. </li> 927<li>Nadar and Atget's works arouse interest in 19th-century precursors to modern photography, and Jonquières asks Abbott to select examples of artistic photographs made in the United States before 1875 for a forthcoming book <em><a href="https://www.abebooks.com/servlet/BookDetailsPL?bi=16077784262">Die Alte Photographie</a> </em>[<em>The </em><em>Old Photograph</em>].</li> 928<li>Abbott leaves Europe on June 11 and does not return for more than 40 years.</li> 929<li>In September 1930, Abbott orders prints from the <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Mathew_Brady" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Mathew_Brady" rel="noopener">Mathew Brady</a> Collection at the War Department for publication in <em>Die Alte Photographie</em>.</li> 930<li>To celebrate the publication of the <em>Atget</em> book, Levy mounts a joint Atget and Abbott exhibition at the Wehye Gallery that opens November 24, 1930. The exhibition is a success, resulting in the sales of dozens and dozens of Atget's prints. <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Walker_Evans" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Walker_Evans" rel="noopener">Walker Evans </a>reviews this exhibition for <em><a href="https://en.wikipedia.org/wiki/Hound_%26_Horn">Hound & Horn</a></em> and praises the poetry of Atget's work. </li> 931<li>In February 1931, Abbott tells <a data-jwlink-type="extern" data-jwlink-identifier="https://www.clarkart.edu/ArtPiece/Detail/Portrait-of-Samuel-Putnam-(1)" target="_blank" href="https://www.clarkart.edu/ArtPiece/Detail/Portrait-of-Samuel-Putnam-(1)" rel="noopener" data-jwlink-readonly="false">Samuel Putnam</a> that Pierre Mac Orlan is the only critic "who understands what photography is all about."</li> 932</ul> 933<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" data-jwlink-title="" href="/abbott-s-life#top">< top</a></p> </div> 934</div></div></div><div 935 id="jw-element-228681233" 936 data-jw-element-id="228681233" 937 class="jw-tree-node jw-element jw-separator" 938> 939 <div class="jw-element-separator-padding"> 940 <hr 941 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 942 style="--jw-element-separator__margin: 1.0000em" 943 /> 944</div> 945</div><div 946 id="jw-element-228680517" 947 data-jw-element-id="228680517" 948 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 949> 950 <div 951 id="jw-element-228680960" 952 data-jw-element-id="228680960" 953 style="width: 52.49%" 954 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 955> 956 <div 957 id="jw-element-229071067" 958 data-jw-element-id="229071067" 959 class="jw-tree-node jw-element jw-html jw-node-is-first-child" 960> 961 <div class="jw-html-wrapper"> 962 <a id="1931"></a> </div> 963</div><div 964 id="jw-element-228928562" 965 data-jw-element-id="228928562" 966 class="jw-tree-node jw-element jw-image-text" 967> 968 <div class="jw-element-imagetext-text"> 969 <h2 class="jw-heading-100">
9691931 to 1932: Several Voices Speak Simultaneously</h2> </div> 970</div><div 971 id="jw-element-228567466" 972 data-jw-element-id="228567466" 973 class="jw-tree-node jw-element jw-image" 974> 975 <div 976 class="jw-intent jw-element-image jw-element-content jw-element-image-is-center" 977 style="width: 100%;" 978 > 979 <a href="https://www.moma.org/documents/moma_catalogue_2045_300190252.pdf" target="_blank" rel="noopener"> <picture 980 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 981 style="padding-top: 75.625%;" 982 > 983 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/mural1932.png" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/88f3vy/mural1932.png?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/88f3vy/mural1932.png?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/88f3vy/mural1932.png?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/88f3vy/mural1932.png?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/88f3vy/mural1932.png?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/88f3vy/mural1932.png?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/88f3vy/mural1932.png?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/88f3vy/mural1932.png?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="800" height="605"> </picture> 984 </a> 985 </div> 986</div><div 987 id="jw-element-228567441" 988 data-jw-element-id="228567441" 989 class="jw-tree-node jw-element jw-image-text" 990> 991 <div class="jw-element-imagetext-text"> 992 <p class="jw-text-small" style="text-align: center;">Berenice Abbott, NEW YORK, Photo-Mural, 1932, from the Museum of Modern Art's exhibition catalogue, “Murals by American Painters and Photographers," May, 1932</p> </div> 993</div><div 994 id="jw-element-228684489" 995 data-jw-element-id="228684489" 996 class="jw-tree-node jw-element jw-spacer jw-node-is-last-child" 997> 998 <div 999 class="jw-element-spacer-container " 1000 style="height: 50px" 1001> 1002 </div> 1003</div></div><div 1004 id="jw-element-228680518" 1005 data-jw-element-id="228680518" 1006 style="width: 47.51%" 1007 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 1008> 1009 <div 1010 id="jw-element-228567487" 1011 data-jw-element-id="228567487" 1012 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child jw-node-is-last-child" 1013> 1014 <div class="jw-element-imagetext-text"> 1015 <ul> 1016<li>In 1931, Jonquières publishes Camille Recht's <em><a href="https://www.abebooks.com/servlet/BookDetailsPL?bi=16077784262">Die Alte Photographie</a></em> with a foreword by <a href="https://en.wikipedia.org/wiki/Yvan_Goll">Ivan Goll</a> that describes Abbott's collection of photographs from Mathew Brady's archive as precursors of the "<a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/New_Objectivity" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/New_Objectivity" rel="noopener">neue Sachlichkeit</a>." He praises these photographs for being historically significant, carefully composed, and visually complex works of art.</li> 1017<li>On October 30, 1931, Abbott applies unsuccessfully for a Guggenheim Memorial Foundation fellowship, seeking to devote "at least a year making a documentary interpretation of New York City in photographs." This application also describes Atget's archive as a "burde
1017n," reflecting perhaps the hours and hours she has spent this year creating modern prints from his negatives.</li> 1018<li>In November 1931, Julien Levy opens the <a data-jwlink-type="extern" data-jwlink-identifier="https://www.theartstory.org/gallery-levy-julien.htm" data-jwlink-title="" target="_blank" href="https://www.theartstory.org/gallery-levy-julien.htm" rel="noopener">Julien Levy Gallery</a> on the strength of the Atget collection, intending to devote it exclusively to the medium of photography.</li> 1019<li>During the same month, Abbott writes a letter to <a data-jwlink-type="extern" data-jwlink-identifier="https://timesmachine.nytimes.com/timesmachine/1969/05/10/78344996.html?pageNumber=31" data-jwlink-title="" target="_blank" href="https://timesmachine.nytimes.com/timesmachine/1969/05/10/78344996.html?pageNumber=31" rel="noopener">Hardinge Scholle</a> Director of the <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Museum_of_the_City_of_New_York" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Museum_of_the_City_of_New_York" rel="noopener">Museum of the City of New York</a> proposing to photograph "the more important and interesting old buildings and landmarks of the city, especially subjects about to be demolished." Scholle writes a letter of support for such a project to the Museum's benefactors, praising "the contrasts between the old and the new which Miss Abbott has brought out more strikingly than any other artist who has worked in modern New York." Historian <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Isaac_Newton_Phelps_Stokes" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Isaac_Newton_Phelps_Stokes" rel="noopener">Isaac Newton Phelps-Stokes</a> also pens a letter of support for this appeal, but no patron steps forward to fund the project.</li> 1020<li>In March 1932, Abbott proposes to write an essay for <a data-jwlink-type="extern" data-jwlink-identifier="https://www.britannica.com/biography/Samuel-Whitehall-Putnam#ref59961" data-jwlink-title="" target="_blank" href="https://www.britannica.com/biography/Samuel-Whitehall-Putnam#ref59961" rel="noopener">Samuel Putnam</a>'s magazine <a data-jwlink-type="extern" data-jwlink-identifier="https://findingaids.princeton.edu/catalog/C0111_c0002" data-jwlink-title="" target="_blank" href="https://findingaids.princeton.edu/catalog/C0111_c0002" rel="noopener">New Review</a> tracing the influence of the avant-garde <a href="https://en.wikipedia.org/wiki/Abbaye_de_Cr%C3%A9teil">L'Abbaye de Créteil</a> poets on later literary groups, focusing particularly on the poetry of <a href="https://en.wikipedia.org/wiki/Guillaume_Apollinaire">Apollinaire</a>, <a href="https://en.wikipedia.org/wiki/Filippo_Tommaso_Marinetti">Marinetti</a>, <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Jules_Romains" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Jules_Romains" rel="noopener">Jules Romains</a>' <a href="https://en.wikipedia.org/wiki/Unanimism">Unanimism</a>, and <a href="https://fr.wikipedia.org/wiki/Henri-Martin_Barzun">Henri Martin Barzun</a>'s orchestral poetry, where "several voices speak simultaneously." This essay was never published.</li> 1021<li>In May 1932, <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Lincoln_Kirstein" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Lincoln_Kirstein" rel="noopener">Lincoln Kirstein</a> organizes “<a data-jwlink-type="extern" data-jwlink-identifier="https://www.moma.org/calendar/exhibitions/2045" data-jwlink-title="" target="_blank" href="https://www.moma.org/calendar/exhibitions/2045" rel="noopener">Murals by American Painters and Photographers</a>" at the <a data-jwlink-type="extern" data-jwlink-identifier="https://www.moma.org/interactives/moma_through_time/1930/a-modern-building-for-a-modern-museum/" data-jwlink-title="" target="_blank" href="https://www.moma.org/interactives/moma_through_time/1930/a-modern-building-for-a-modern-museum/" rel="noopener">
1021Museum of Modern Art's new building on 53rd Street</a>. Abbott exhibits an experimental maquette with several competing themes, repeating shapes, and disorienting points of view that she frames within a triptych of Rockefeller Center's criss-crossing I-beams. Both her "montage" and a brief essay about photo murals by Julien Levy are reproduced in MoMA's <a data-jwlink-type="extern" data-jwlink-identifier="https://www.moma.org/documents/moma_catalogue_2045_300190252.pdf" data-jwlink-title="" target="_blank" href="https://www.moma.org/documents/moma_catalogue_2045_300190252.pdf" rel="noopener">exhibition catalog</a>. </li> 1022<li>In October 1932, Abbott's portraits and New York views are presented in a solo exhibition at the <a href="https://www.theartstory.org/gallery-levy-julien.htm">Julien Levy Gallery</a>. <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Lewis_Mumford" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Lewis_Mumford" rel="noopener">Lewis Mumford</a> applauds her work in the <em>New Yorker</em> magazine, yet no prints are sold.</li> 1023<li>Abbott stops photographing New York at this time and also abandons her well-lighted portrait studio at the <a href="https://en.wikipedia.org/wiki/Hotel_des_Artistes">Hotel des Artists</a> on Central Park West. Instead she rents a temporary studio at <a href="https://goo.gl/maps/nVumj2zm9cG9asdJA">44 West 9th Street</a> before settling into <a href="https://goo.gl/maps/VyCNSbf4s9BeJJ6F7">56 West 53rd Street</a>.</li> 1024<li>In December 1932, Abbott proposes a project to the Board of Directors of the <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/New-York_Historical_Society" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/New-York_Historical_Society" rel="noopener">New-York Historical Society</a> that emphasizes both the historical and "fantastic" nature of her work. She asks for $325 per week, an exorbitant sum. In return, the Society will receive 350 to 500 permanent prints per year while she retains all rights of reproduction. I<span>n the depths of a global economic depression, the </span>Board replies that it would be "unwise" for them to commit resources to such a project.</li> 1025<li>In June 1933, Abbott sends a direct appeal to nearly 200 of the Museum of the City of New York's patrons with supporting letters both from Scholle and from the Museum of the Modern Art's Chair of the Department of Architecture <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Philip_Johnson" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Philip_Johnson" rel="noopener">Philip Johnson</a>. The appeal angers some of the Museum's donors and fails to raise any money.</li> 1026</ul> 1027<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" data-jwlink-title="" href="/abbott-s-life#top">< top</a></p> </div> 1028</div></div></div><div 1029 id="jw-element-228681287" 1030 data-jw-element-id="228681287" 1031 class="jw-tree-node jw-element jw-separator" 1032> 1033 <div class="jw-element-separator-padding"> 1034 <hr 1035 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 1036 style="--jw-element-separator__margin: 1.0000em" 1037 /> 1038</div> 1039</div><div 1040 id="jw-element-228680538" 1041 data-jw-element-id="228680538" 1042 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 1043> 1044 <div 1045 id="jw-element-228680858" 1046 data-jw-element-id="228680858" 1047 style="width: 52.49%" 1048 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 1049> 1050 <div 1051 id="jw-element-229071158" 1052 data-jw-element-id="229071158" 1053 class="jw-tree-node jw-element jw-html jw-node-is-first-child" 1054> 1055 <div class="jw-html-wrapper"> 1056 <a id="1933"></a> </div> 1057</div><div 1058 id="jw-element-228928900" 1059 data-jw-element-id="228928900" 1060 class="jw-tree-node jw-element jw-image-text" 1061> 1062 <div class="jw-element-imagetext-text"> 1063 <h2 class="jw-heading-100">1933 to 1934: America's Usable Past</h2> </div> 1064</div><div 1065 id="jw-element-228573351" 1066 data-jw-element-id="228573351" 1067 class="jw-tree-node jw-element jw-image" 1068> 1069 <div 1070 class="jw-intent jw-element-image jw-element-content jw-element-image-is-center" 1071 style="width: 100%;" 1072 > 1073 <a href="https://library.artstor.org/#/public/27601079"> <picture 1074 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 1075 style="padding-top: 57.25%;" 1076 > 1077 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/bd011-2.jpg" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/kjc4wp/bd011-2.jpg?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/kjc4wp/bd011-2.jpg?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/kjc4wp/bd011-2.jpg?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/kjc4wp/bd011-2.jpg?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/kjc4wp/bd011-2.jpg?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/kjc4wp/bd011-2.jpg?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/kjc4wp/bd011-2.jpg?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/kjc4wp/bd011-2.jpg?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="800" height="458"> </picture> 1078 </a> 1079 </div> 1080</div><div 1081 id="jw-element-228570945" 1082 data-jw-element-id="228570945" 1083 class="jw-tree-node jw-element jw-image-text" 1084> 1085 <div class="jw-element-imagetext-text"> 1086 <p style="text-align: center;" class="jw-text-small"><span>Berenice Abbott, <em>Front Street at Peck Slip, New York</em>, 1932, 8 x 10 inch negative. This image was included in Henry-Russell <span style="font-size: 11.9px;">Hitchcock's</span> 1934 traveling exhibition, "Urban Vernacular in the Thirties, Fourties, and Fifties: American Cities Before the Civil War."</span></p> </div> 1087</div><div 1088 id="jw-element-228708279" 1089 data-jw-element-id="228708279" 1090 class="jw-tree-node jw-element jw-spacer jw-node-is-last-child" 1091> 1092 <div 1093 class="jw-element-spacer-container " 1094 style="height: 50px" 1095> 1096 </div> 1097</div></div><div 1098 id="jw-element-228680539" 1099 data-jw-element-id="228680539" 1100 style="width: 47.51%" 1101 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 1102> 1103 <div 1104 id="jw-element-228570966" 1105 data-jw-element-id="228570966" 1106 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child jw-node-is-last-child" 1107> 1108 <div class="jw-element-imagetext-text"> 1109 <ul> 1110<li>In the summer of 1933, <a data-jwlink-type="extern" data-jwlink-identifier="https://www.annexgalleries.com/artists/biography/1841/Pearson/Ralph" data-jwlink-title="" target="_blank" href="https://www.annexgalleries.com/artists/biography/1841/Pearson/Ralph" rel="noopener">Ralph Pearson,</a> supervisor of the Art Division at the <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/The_New_School" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/The_New_School" rel="noopener">New School for Social Research</a>, asks Abbott to teach a class on photography. The position provides Abbott with a subsistence wage for the next thirty years and brings her into contact with a large number of the school's progressive intellectuals and artists.</li> 1111<li><a data-jwlink-type="extern" data-jwlink-identifier="https://www.aaa.si.edu/collections/marchal
1111-landgren-papers-7084/biographical-note" data-jwlink-title="" target="_blank" href="https://www.aaa.si.edu/collections/marchal-landgren-papers-7084/biographical-note" rel="noopener">Marchal Landgren</a> organizes an exhibition of Abbott's work for the New School that runs from March first to the fifteenth, 1934. In June, Landgren also attempts to interest the Rockefeller family in purchasing Abbott's photographs--without success.</li> 1112<li>Between June and September 1934, during Abbott's summer break from teaching, she accepts a freelance assignment with architectural historian <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Henry-Russell_Hitchcock" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Henry-Russell_Hitchcock" rel="noopener">Henry-Russell Hitchcock</a> to photograph American architecture. They take three trips along the East Coast of the United States from Massachusetts to South Carolina documenting two subjects for two separate exhibitions that Hitchcock is developing. The first is on the architecture of <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Henry_Hobson_Richardson" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Henry_Hobson_Richardson" rel="noopener">Henry Hobson Richardson</a> for the <a data-jwlink-type="extern" data-jwlink-identifier="https://www.moma.org/calendar/exhibitions/2083?" data-jwlink-title="" target="_blank" href="https://www.moma.org/calendar/exhibitions/2083" rel="noopener">Museum of Modern Art</a> (1936). The second is on the <a data-jwlink-type="extern" data-jwlink-identifier="https://www.mullenbooks.com/pages/books/153933/janine-a-mileaf-carla-yanni/constructing-modernism-berenice-abbott-and-henry-russell-hitchcock-a-re-creation-of-the-1934" data-jwlink-title="" target="_blank" href="https://www.mullenbooks.com/pages/books/153933/janine-a-mileaf-carla-yanni/constructing-modernism-berenice-abbott-and-henry-russell-hitchcock-a-re-creation-of-the-1934" rel="noopener">Urban Vernacular in the Thirties, Forties, and Fifties: American Cities Before the Civil War</a> for a traveling exhibition program that Hitchcock had been developing at Wesleyan College, where he is Professor of Architectural History. Both projects are inspired by Lewis Mumford's 1924 book <a data-jwlink-type="extern" data-jwlink-identifier="https://archive.org/details/stickstud00mumf/page/n5/mode/2up" data-jwlink-title="" target="_blank" href="https://archive.org/details/stickstud00mumf/page/n5/mode/2up" rel="noopener">Sticks and Stones</a> about America's "<a data-jwlink-type="extern" data-jwlink-identifier="https://archive.org/details/dialjournallitcrit64chicrich/page/337/mode/1up" data-jwlink-title="" target="_blank" href="https://archive.org/details/dialjournallitcrit64chicrich/page/337/mode/1up" rel="noopener">usable past</a>" in architecture.</li> 1113<li>In 1934, Lewis Mumford publishes <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Technics_and_Civilization" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Technics_and_Civilization" rel="noopener">Technics and Civilization</a> that describes three "successive but interpenetrating phases" of American history: the eotechnic (before the Civil War), the paleotechnic (what he describes elsewhere as the "Brown Decades" dominated by iron and coal), and the neotechnic (the emerging, utopian age of electricity and quantum physics). Mumford borrows the terms "eotechnic" and "paleotechnic" from the Scottish biologist, sociologist, and town planner <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Patrick_Geddes" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Patrick_Geddes" rel="noopener">Patrick Geddes</a>. </li> 1114</ul> 1115<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" data-jwlink-title="" href="/abbott-s-life#top">< top</a></p> </div> 1116</div></div></div><div 1117 id="jw-element-228707978" 1118 data-jw-element-id="228707978" 1119 class="jw-tree-node jw-element jw-separator" 1120> 1121 <div class="jw-element-separator-padding"> 1122 <hr 1123 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 1124 style="--jw-element-separator__margin: 1.0000em" 1125 /> 1126</div> 1127</div><div 1128 id="jw-element-228708132" 1129 data-jw-element-id="228708132" 1130 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 1131> 1132 <div 1133 id="jw-element-228708133" 1134 data-jw-element-id="228708133" 1135 style="width: 52.59%" 1136 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 1137> 1138 <div 1139 id="jw-element-229071217" 1140 data-jw-element-id="229071217" 1141 class="jw-tree-node jw-element jw-html jw-node-is-first-child" 1142> 1143 <div class="jw-html-wrapper"> 1144 <a id="1935"></a> </div> 1145</div><div 1146 id="jw-element-228929132" 1147 data-jw-element-id="228929132" 1148 class="jw-tree-node jw-element jw-image-text" 1149> 1150 <div class="jw-element-imagetext-text"> 1151 <h2 class="jw-heading-100">1934 to 1935: Miles and Miles</h2> </div> 1152</div><div 1153 id="jw-element-228699815" 1154 data-jw-element-id="228699815" 1155 class="jw-tree-node jw-element jw-image" 1156> 1157 <div 1158 class="jw-intent jw-element-image jw-element-content jw-element-image-is-center" 1159 style="width: 407px;" 1160 > 1161 <a href="https://journals.openedition.org/etudesphotographiques/3393"> <picture 1162 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 1163 style="padding-top: 130.2211%;" 1164 > 1165 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/babbottelizabethmccauslandatherprintingpress1935.jpg" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/twrw6k/babbottelizabethmccauslandatherprintingpress1935.jpg?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/twrw6k/babbottelizabethmccauslandatherprintingpress1935.jpg?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/twrw6k/babbottelizabethmccauslandatherprintingpress1935.jpg?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/twrw6k/babbottelizabethmccauslandatherprintingpress1935.jpg?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/twrw6k/babbottelizabethmccauslandatherprintingpress1935.jpg?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/twrw6k/babbottelizabethmccauslandatherprintingpress1935.jpg?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/twrw6k/babbottelizabethmccauslandatherprintingpress1935.jpg?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/twrw6k/babbottelizabethmccauslandatherprintingpress1935.jpg?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 407px), 100vw" loading="lazy" width="407" height="530"> </picture> 1166 </a> 1167 </div> 1168</div><div 1169 id="jw-element-228699825" 1170 data-jw-element-id="228699825" 1171 class="jw-tree-node jw-element jw-image-text" 1172> 1173 <div class="jw-element-imagetext-text"> 1174 <p class="jw-text-small" style="text-align: center;">Berenice Abbott, <em>Portrait of Elizabeth McCausland at her Printing Press</em>, c. 1935, Archives of American Art.</p> </div> 1175</div><div 1176 id="jw-element-229971195" 1177 data-jw-element-id="229971195" 1178 class="jw-tree-node jw-element jw-spacer jw-node-is-last-child" 1179> 1180 <div 1181 class="jw-element-spacer-container " 1182 style="height: 50px" 1183> 1184 </div> 1185</div></div><div 1186 id="jw-element-228708134" 1187 data-jw-element-id="228708134" 1188 style="width: 47.41%" 1189 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 1190> 1191 <div 1192 id="jw-element-228699660" 1193 data-jw-element-id="228699660" 1194 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child jw-node-is-last-child" 1195> 1196 <div class="jw-element-imagetext-text"> 1197 <ul> 1198<li>In November 1934, at the invitation of Hardige Scholle, Abbott exhibits a large selection of her photographs of New York at the Museum of the City of New York. This display is so popular that it is held over until February 1935. Among the critics who praise the exhibition are Lewis Mumford who, writing for the <em>New Yorker</em>
1198, calls for "miles and miles" of such photographs, and <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Elizabeth_McCausland" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Elizabeth_McCausland" rel="noopener">Elizabeth McCausland</a> who, writing for the <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/The_Republican_(Springfield,_Massachusetts)" target="_blank" href="https://en.wikipedia.org/wiki/The_Republican_(Springfield,_Massachusetts)" rel="noopener"><em>Springfield Republican</em></a>, describes Abbott's "honest respect for her medium and her subject." Abbott writes a thank-you note to McCausland and adds, "I have, and have had, a fantastic passion for New York, photographically speaking."</li> 1199<li>In November 1934, Abbott and McCausland meet in New York after <a data-jwlink-type="extern" data-jwlink-identifier="https://www.aaa.si.edu/collections/marchal-landgren-papers-7084/biographical-note" data-jwlink-title="" target="_blank" href="https://www.aaa.si.edu/collections/marchal-landgren-papers-7084/biographical-note" rel="noopener">Marchal Landgren</a> asks McCausland to write a biographical essay about Abbott for the March edition of <em>Trend</em> magazine. </li> 1200<li>Landgren also encourages Abbott to take advantage of the popular response to her exhibition at the Museum of the City of New York and, in February 1935, Abbott submits a proposal to New York City's Emergency Relief Bureau to create a "Photographic Record of New York City."</li> 1201<li>In 1935, Abbott describes her elementary workshop at the New School for Social Research as a course in theory and technique in which "modern photography" is treated as "an independent medium" deriving its approach from the "social, psychological, esthetic, and commercial values of the medium as an individual expression."</li> 1202<li>In May 1935, Abbott inquires about the status of her Emergency Relief Bureau proposal and is told that "it has a very good chance of going through." That same month, Abbott accompanies McCausland on a road trip from New York to Arkansas as part of a proposed book-length portrait of <em><a data-jwlink-type="extern" data-jwlink-identifier="https://etd.ohiolink.edu/apexprod/rws_etd/send_file/send?accession=bgsu1151334875" data-jwlink-title="" target="_blank" href="https://etd.ohiolink.edu/apexprod/rws_etd/send_file/send?accession=bgsu1151334875" rel="noopener">America, the 48 States</a>. </em>Abbott takes photographs while McCausland produces written reports.</li> 1203<li>When they return to New York, Abbott and McCauland lease a studio with living space on the fourth floor of <a data-jwlink-type="extern" data-jwlink-identifier="https://www.nyclgbtsites.org/site/berenice-abbott-elizabeth-mccausland-residence-studio/" data-jwlink-title="" target="_blank" href="https://www.nyclgbtsites.org/site/berenice-abbott-elizabeth-mccausland-residence-studio/" rel="noopener">50 Commerce Street</a>, where they reside as a couple until McCausland's death in 1965.</li> 1204<li>In October 1935, Abbott's Emergency Relief Bureau proposal is approved as part of the New Deal's Federal Art Project and takes the title, "Changing New York."</li> 1205<li>On October 7, 1935, as Supervisor Grade 11 earning $145 per month, Abbott takes her first photographs as Federal Art Project employee 233905.</li> 1206<li>To keep the eight employees assigned to her project busy, Abbott creates a complex "Outline for Photographing New York City" based on the social science research techniques of <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Patrick_Geddes" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Patrick_Geddes" rel="noopener">Patrick Geddes</a>. Essentially, Abbott's plan requires her to number, date, and provide a descriptive title for each negative, then hand them over to her technicians, clerks, and researchers, who print them and assign one or more codes before conducting ancillary research. Reflecting Geddes's approach, Abbott's outline includes three major categories: one for the "material aspect" of the city, such as vistas, canyons, and buildings; a second for the city's "means of life," <span>such as </span>transportation, communication, food, water, and energy; and a third for "the people and how they live," such as ethnic 'types' and cultural and religious institutions. In theory, these codes w
1206ould allow future historians to discern the relative significance of each image. Yet in practice Abbott's complex images almost always include multiple subjects that make them difficult for the clerks to apply the codes consistently.</li> 1207</ul> 1208<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" data-jwlink-title="" href="/abbott-s-life#top">< top</a></p> </div> 1209</div></div></div><div 1210 id="jw-element-228711143" 1211 data-jw-element-id="228711143" 1212 class="jw-tree-node jw-element jw-separator" 1213> 1214 <div class="jw-element-separator-padding"> 1215 <hr 1216 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 1217 style="--jw-element-separator__margin: 1.0000em" 1218 /> 1219</div> 1220</div><div 1221 id="jw-element-228711219" 1222 data-jw-element-id="228711219" 1223 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 1224> 1225 <div 1226 id="jw-element-228711223" 1227 data-jw-element-id="228711223" 1228 style="width: 52.29%" 1229 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 1230> 1231 <div 1232 id="jw-element-229071297" 1233 data-jw-element-id="229071297" 1234 class="jw-tree-node jw-element jw-html jw-node-is-first-child" 1235> 1236 <div class="jw-html-wrapper"> 1237 <a id="1936"></a> </div> 1238</div><div 1239 id="jw-element-228929335" 1240 data-jw-element-id="228929335" 1241 class="jw-tree-node jw-element jw-image-text" 1242> 1243 <div class="jw-element-imagetext-text"> 1244 <h2 class="jw-heading-100">1936 to Early 1938: The Entire Complex Social Scene</h2> </div> 1245</div><div 1246 id="jw-element-228711232" 1247 data-jw-element-id="228711232" 1248 class="jw-tree-node jw-element jw-image" 1249> 1250 <div 1251 class="jw-intent jw-element-image jw-element-content jw-element-image-is-center jw-element-image--full-width-to-420" 1252 style="width: 436px;" 1253 > 1254 <a href="https://collections.mcny.org/asset-management/2F3XC5UBNLW8" target="_blank" rel="noopener"> <picture 1255 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 1256 style="padding-top: 126.1468%;" 1257 > 1258 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/badepeyster-1.jpg" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9nbhnf/badepeyster-1.jpg?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9nbhnf/badepeyster-1.jpg?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9nbhnf/badepeyster-1.jpg?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9nbhnf/badepeyster-1.jpg?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9nbhnf/badepeyster-1.jpg?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9nbhnf/badepeyster-1.jpg?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9nbhnf/badepeyster-1.jpg?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9nbhnf/badepeyster-1.jpg?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 436px), 100vw" loading="lazy" width="436" height="550"> </picture> 1259 </a> 1260 </div> 1261</div><div 1262 id="jw-element-228734145" 1263 data-jw-element-id="228734145" 1264 class="jw-tree-node jw-element jw-image-text" 1265> 1266 <div class="jw-element-imagetext-text"> 1267 <p style="text-align: center;" class="jw-text-small">Berenice Abbott, <em>DePeyster Statue Bowling Green, looking north to Broadway</em>, Manhattan, July 23 1936, Museum of the City of New York.</p> </div> 1268</div><div 1269 id="jw-element-229971214" 1270 data-jw-element-id="229971214" 1271 class="jw-tree-node jw-element jw-spacer jw-node-is-last-child" 1272> 1273 <div 1274 class="jw-element-spacer-container " 1275 style="height: 50px" 1276> 1277 </div> 1278</div></div><div 1279 id="jw-element-228711220" 1280 data-jw-element-id="228711220" 1281 style="width: 47.71%" 1282 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 1283> 1284 <div 1285 id="jw-element-228711180" 1286 data-jw-element-id="228711180" 1287 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child jw-node-is-last-child" 1288> 1289 <div class="jw-element-imagetext-text"> 1290 <ul> 1291<li>On July 23, 1936, Abbott creates one of her most emblematic images, <em>DePeyster Statue, Bowling Green, looking north to Broadway, Manhattan</em>, which she will enlarge to billboard proportions for her Museum of the City of New York exhibition in 1937 and will use as the frontispiece for her 1939 book, <em>Changing New York</em>
1291.</li> 1292<li>In September 1936, Abbott writes an article for <a data-jwlink-type="extern" data-jwlink-identifier="https://www.marxists.org/history/usa/parties/cpusa/art-front/v2n09-sep-oct-1936-Art-Front.pdf" target="_blank" href="https://www.marxists.org/history/usa/parties/cpusa/art-front/v2n09-sep-oct-1936-Art-Front.pdf" rel="noopener"><em>Art Front</em></a> that identifies "the real fathers of photography" as <a href="https://en.wikipedia.org/wiki/Louis_Daguerre">Daguerre</a>, <a href="https://en.wikipedia.org/wiki/David_Octavius_Hill">David Octavius Hill</a>, <a href="https://en.wikipedia.org/wiki/Mathew_Brady">Mathew Brady</a>, <a href="https://en.wikipedia.org/wiki/Nadar">Nadar</a>, and Atget. These photographers, according to Abbott, had "attained a high degree of excellence not only in a documentary sense but also in a formal sense. Their prints show, whatever the limitations of early photographic equipment, a profound concern for composition, organization of forms, and textures." </li> 1293<li>In late 1936, Abbott is forced to respond to a complaint lodged against her by her Federal Arts Project staff who feel she is following "no definite line in her choice of subjects." In reply, she explains to her Project Supervisor M. J. Kauffmann that her photographs will not be merely "record photographs" that illustrate a predetermined list of discrete subjects but, instead, "documentary photographs" that present facts "as organic parts of the whole picture, as living and functioning details of the entire complex social scene."</li> 1294<li><a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Beaumont_Newhall" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Beaumont_Newhall" rel="noopener">Beaumont Newhall</a> foregrounds the work of Abbott and Atget in the <a data-jwlink-type="extern" data-jwlink-identifier="https://www.moma.org/calendar/exhibitions/2088" data-jwlink-title="" target="_blank" href="https://www.moma.org/calendar/exhibitions/2088" rel="noopener">Museum of Modern Art's first exhibition dedicated solely to photography</a>, March 17 to April 18, 1937.</li> 1295<li>In May 1937, Abbott sees an <a data-jwlink-type="extern" data-jwlink-identifier="https://www.moma.org/documents/moma_catalogue_2947_300061918.pdf" data-jwlink-title="" target="_blank" href="https://www.moma.org/documents/moma_catalogue_2947_300061918.pdf" rel="noopener">exhibition at the Museum of Modern Art of prehistoric African rock paintings</a> organized by anthropologist <a data-jwlink-type="extern" data-jwlink-identifier="https://www.frobenius-institut.de/institut/geschichte" data-jwlink-title="" target="_blank" href="https://www.frobenius-institut.de/institut/geschichte" rel="noopener">Leo Frobenius</a>, who promotes a manner of making meaning that he calls "culture morphology." This exhibition encourages Abbott to describe her own project in terms of culture morphology and to exclude images of human figures from her photographs for the next two years. As she explains in a letter to Audrey McMahon, photographs of people do not "tell you much about the people except that they were there... unless you can get people naturally." </li> 1296<li>In August 1937, Abbott proposes to extend her project to cover the entire State of New York, but this proposal is rejected.</li> 1297<li>In November 1937, the Museum of the City of New York mounts a second exhibition of Abbott's works featuring 67 photographs produced for the Federal Art Project. </li> 1298<li>In early 1938, Abbott creates two lists of photographs for a proposed book about her work including images she had created before her Federal Arts Project.</li> 1299<li>She also creates a rough layout of a 23-page book, which suggests that she wants the images to tell a story about the evolving history of New York. This proposed book would alternate between views of the city's architecture and means of transportation before ending with a single-page filmic sequence recounting the history of New York's most notable bridges. The layout also includes twenty-five lines from <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Walt_Whitman" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Walt_Whitman" rel="noopener">Walt Whitman</a>'s 1856 poem "<a data-jwlink-type="extern" data-jwlink-identifier="https://www.poetryfoundation.org/poems/45470/crossing-brooklyn-ferry" data-jwlink-title="" target="_blank" href="https://www.poetryfoundation.org/poems/45470/crossing-brooklyn-ferry" rel="noopener">Crossing Brooklyn Ferry</a>" (in which Whitman addresses future residents of the city), and a <a data-jwlink-type="extern" data-jwlink-identifier="https://www.nytimes.c
1299om/1938/01/19/archives/city-of-9384000-in-1960-predicted-regional-plan-also-estimates.html" target="_blank" href="https://www.nytimes.com/1938/01/19/archives/city-of-9384000-in-1960-predicted-regional-plan-also-estimates.html" rel="noopener"><em>New York Times</em> population projection for New York City of 9,384,000 in 1960</a>. Considered holistically, this proposed book would have spoken to future generations of New Yorkers about the complex cause-and-effect interrelationship between the city's evolving forms of transportation, architecture and quality of life.</li> 1300</ul> 1301<p> </p> 1302<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" data-jwlink-title="" href="/abbott-s-life#top">< top</a></p> </div> 1303</div></div></div><div 1304 id="jw-element-228971655" 1305 data-jw-element-id="228971655" 1306 class="jw-tree-node jw-element jw-separator" 1307> 1308 <div class="jw-element-separator-padding"> 1309 <hr 1310 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 1311 style="--jw-element-separator__margin: 1.0000em" 1312 /> 1313</div> 1314</div><div 1315 id="jw-element-228971681" 1316 data-jw-element-id="228971681" 1317 class="jw-tree-node jw-element jw-columns jw-tree-container jw-responsive jw-tree-horizontal jw-columns--mode-flex" 1318> 1319 <div 1320 id="jw-element-228971688" 1321 data-jw-element-id="228971688" 1322 style="width: 52.29%" 1323 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-first-child" 1324> 1325 <div 1326 id="jw-element-229071349" 1327 data-jw-element-id="229071349" 1328 class="jw-tree-node jw-element jw-html jw-node-is-first-child" 1329> 1330 <div class="jw-html-wrapper"> 1331 <a id="1938"></a> </div> 1332</div><div 1333 id="jw-element-228971744" 1334 data-jw-element-id="228971744" 1335 class="jw-tree-node jw-element jw-image-text" 1336> 1337 <div class="jw-element-imagetext-text"> 1338 <h2 class="jw-heading-100">1938 to 1940: The World's Fair</h2> </div> 1339</div><div 1340 id="jw-element-228971689" 1341 data-jw-element-id="228971689" 1342 class="jw-tree-node jw-element jw-image" 1343> 1344 <div 1345 class="jw-intent jw-element-image jw-element-content jw-element-image-is-left" 1346 style="width: 100%;" 1347 > 1348 <a href="https://www.abebooks.com/servlet/BookDetailsPL?bi=19667215063" target="_blank" rel="noopener"> <picture 1349 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 1350 style="padding-top: 153.6098%;" 1351 > 1352 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/duttonbookcover-1.jpg" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9g3q38/duttonbookcover-1.jpg?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9g3q38/duttonbookcover-1.jpg?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9g3q38/duttonbookcover-1.jpg?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9g3q38/duttonbookcover-1.jpg?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9g3q38/duttonbookcover-1.jpg?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9g3q38/duttonbookcover-1.jpg?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9g3q38/duttonbookcover-1.jpg?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/9g3q38/duttonbookcover-1.jpg?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="651" height="1000"> </picture> 1353 </a> 1354 </div> 1355</div><div 1356 id="jw-element-229971257" 1357 data-jw-element-id="229971257" 1358 class="jw-tree-node jw-element jw-spacer jw-node-is-last-child" 1359> 1360 <div 1361 class="jw-element-spacer-container " 1362 style="height: 50px" 1363> 1364 </div> 1365</div></div><div 1366 id="jw-element-228971682" 1367 data-jw-element-id="228971682" 1368 style="width: 47.71%" 1369 class="jw-tree-node jw-element jw-column jw-tree-container jw-responsive jw-node-is-last-child" 1370> 1371 <div 1372 id="jw-element-228971666" 1373 data-jw-element-id="228971666" 1374 class="jw-tree-node jw-element jw-image-text jw-node-is-first-child jw-node-is-last-child" 1375> 1376 <div class="jw-element-imagetext-text"> 1377 <ul> 1378<li>April 9 to May 1, 1938, Abbott contributes seventeen of her New York photographs to an exhibit at <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/La_Maison_Francaise_(Rockefeller_Center)" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/La_Maison_Francaise_(Rockefeller_Center)" rel="noopener">La Maison Francaise</a> titled "Roofs for 40 Million: An Exhibition on Housing" that features an introduction by Lewis Mumford, in
1378which he calls for using "the utmost resources of national, regional, municipal government to build houses and communities that will embody the needs of a life-centered instead of a money-centered society." </li> 1379<li>E. P. Dutton offers to print a book of Abbott's photographs marketed to 1939 New York <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/1939_New_York_World%27s_Fair" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/1939_New_York_World%27s_Fair" rel="noopener">World's Fair</a> tourists, with her photographs arranged in geographic guidebook fashion. In June 1938 Abbott "reiterates" in a letter to Vice President of E. P. Dutton <a data-jwlink-type="extern" data-jwlink-identifier="https://timesmachine.nytimes.com/timesmachine/1983/10/11/224430.html?pageNumber=103" data-jwlink-title="" target="_blank" href="https://timesmachine.nytimes.com/timesmachine/1983/10/11/224430.html?pageNumber=103" rel="noopener">John Macrae, Jr.</a> that she "never had in mind a book of this type."</li> 1380<li>On August 28, 1938, Abbott asks Lewis Mumford to write the foreword for her forthcoming book, <em>Changing New York</em>. No reply is preserved. </li> 1381<li>On September 15, 1938, Abbott asks Henry-Russell Hitchcock to write the foreword to <em>Changing New York</em>, stressing the "documentary, cultural, and social value of such a record... rather than its more specialized architectural interest." Hitchcock writes an essay that is rejected by Dutton. </li> 1382<li>On January 2, 1939, in a radio interview, Abbott insists that the dramatic contrasts in her photographs represent a "a significant comment on the lack of city planning in the United States."</li> 1383<li>In spring 1939, <em>Changing New York</em> is published by E. P. Dutton in time for the World's Fair with texts written by Elizabeth McCausland (<a data-jwlink-type="extern" data-jwlink-identifier="https://www.penguinrandomhouse.com/books/648088/documentary-in-dispute-by-sarah-miller/" data-jwlink-title="" target="_blank" href="https://www.penguinrandomhouse.com/books/648088/documentary-in-dispute-by-sarah-miller/" rel="noopener">heavily edited by Dutton</a>) and a foreword by the Director of the New York Region Federal Art Project <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Audrey_McMahon" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Audrey_McMahon" rel="noopener">Audrey McMahon</a>.</li> 1384<li>In August 1939, Abbott proposes to extend her Federal Art Project to include the World's Fair, which is known as "The World of Tomorrow," but this proposal is also rejected.</li> 1385<li>By the time Abbott's employment with the Federal Arts Project is terminated on September 14, 1939—because she is also earning an income from her teaching—she and her staff have produced nearly seven hundred photographs, hundreds of research folders with varying quantities and qualities of information, over 100 enlarged prints for exhibition purposes (some with mural-like proportions), and a book.</li> 1386<li>In the fall, the World's Fair closes and World War II begins in Europe.</li> 1387<li>On February 7, 1940, Abbott asks the Federal Art Project to rehire her as a part-time consultant to supervise the printing of her negatives, but is turned down.</li> 1388<li>Around the same time, Abbott delivers a speech at the Biltmore Hotel titled "Civic Documentary History," in which she explains that her Federal Art Project was intended to be historical, contextual, and political. She also tells <a data-jwlink-type="extern" data-jwlink-identifier="https://archive.org/details/pub_popular-photography" target="_blank" href="https://archive.org/details/pub_popular-photography" rel="noopener"><em>Popular Photography</em></a> that her "favorite photograph" is the totality of her New York City archive, which she dreams one day might be presented in such a way that viewers can "reinforce each separate image with the strength and meaning of all the others."</li> 1389</ul> 1390<p><a data-jwlink-type="extern" data-jwlink-identifier="/abbott-s-life#top" data-jwlink-title="" href="/abbott-s-life#top">< top</a></p> </div> 1391</div></div></div><div 1392 id="jw-element-234598568" 1393 data-jw-element-id="234598568" 1394 class="jw-tree-node jw-element jw-separator" 1395> 1396 <div class="jw-element-separator-padding"> 1397 <hr 1398 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 1399 style="--jw-element-separator__margin: 1.0000em" 1400 /> 1401</div> 1402</div><div 1403 id="jw-element-234598933" 1404 data-jw-element-id="234598933" 1405 class="jw-tree-node jw-element jw-html" 1406> 1407 <div class="jw-html-wrapper"> 1408 <a id="after"></a> </div> 1409</div><div 1410 id="jw-element-234602380" 1411 data-jw-element-id="234602380" 1412 class="jw-tree-node jw-element jw-image-text" 1413> 1414 <div class="jw-element-imagetext-text"> 1415 <h2 class="jw-heading-100">After Changing New York: Third Acts</h2> </div> 1416</div><div 1417 id="jw-element-234599971" 1418 data-jw-element-id="234599971" 1419 class="jw-tree-node jw-element jw-image" 1420> 1421 <div 1422 class="jw-intent jw-element-image jw-element-content jw-element-image-is-left" 1423 style="width: 100%;" 1424 > 1425 <a href="https://www.metmuseum.org/art/collection/search/265838" target="_blank" rel="noopener"> <picture 1426 class="jw-element-image__image-wrapper jw-image-is-square jw-intrinsic" 1427 style="padding-top: 79.2173%;" 1428 > 1429 <img class="jw-element-image__image jw-intrinsic__item" style="--jw-element-image--pan-x: 0.5; --jw-element-image--pan-y: 0.5;" alt="" src="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/bereniceabbottsoapbubbles1945.png" srcset="https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/3ycgyo/bereniceabbottsoapbubbles1945.png?enable-io=true&width=96 96w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/3ycgyo/bereniceabbottsoapbubbles1945.png?enable-io=true&width=147 147w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/3ycgyo/bereniceabbottsoapbubbles1945.png?enable-io=true&width=226 226w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/3ycgyo/bereniceabbottsoapbubbles1945.png?enable-io=true&width=347 347w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/3ycgyo/bereniceabbottsoapbubbles1945.png?enable-io=true&width=532 532w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/3ycgyo/bereniceabbottsoapbubbles1945.png?enable-io=true&width=816 816w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/3ycgyo/bereniceabbottsoapbubbles1945.png?enable-io=true&width=1252 1252w, https://primary.jwwb.nl/public/v/c/p/temp-yiwuhztmrrscqvysdyhr/3ycgyo/bereniceabbottsoapbubbles1945.png?enable-io=true&width=1920 1920w" sizes="auto, min(100vw, 1200px), 100vw" loading="lazy" width="741" height="587"> </picture> 1430 </a> 1431 </div> 1432</div><div 1433 id="jw-element-234598805" 1434 data-jw-element-id="234598805" 1435 class="jw-tree-node jw-element jw-image-text" 1436> 1437 <div class="jw-element-imagetext-text"> 1438 <ul> 1439<li>As early as April 1939, several months before the conclusion of her Federal Art Project, Abbott sends a "manifesto" titled "Photography and Science" to <a data-jwlink-type="extern" data-jwlink-identifier="https://exhibitions.nysm.nysed.gov/history/html/timeline-1900s.html" data-jwlink-title="" target="_blank" href="https://exhibitions.nysm.nysed.gov/history/html/timeline-1900s.html" rel="noopener">Charles C. Adams</a>, Director of the New York State Museum in Albany. In it, she explains:</li> 1440</ul> 1441<p style="padding-left: 60px;">The problem of documenting science, of presenting its realistic subject matter with the same integrity as one portrays the culture morphology of our civilization, and
1441yet of endowing this material so strange and unfamiliar to the public with the poetry of its own vast implications, would seem to me to lead logically from my previous work. I am now seeking channels through which this new creative task may be approached.</p> 1442<ul> 1443<li>In the 1940s, Abbott publishes two books about photography, <a data-jwlink-type="extern" data-jwlink-identifier="https://www.amazon.com/Guide-Better-Photography-Berenice-Abbott/dp/B0000D5J4G" data-jwlink-title="" target="_blank" href="https://www.amazon.com/Guide-Better-Photography-Berenice-Abbott/dp/B0000D5J4G" rel="noopener">A Guide to Better Photography</a> (1941) and <a data-jwlink-type="extern" data-jwlink-identifier="https://www.amazon.com/camera-simple-Little-technical-library/dp/B0007EUX38/" data-jwlink-title="" target="_blank" href="https://www.amazon.com/camera-simple-Little-technical-library/dp/B0007EUX38/" rel="noopener">The View Camera Made Simple</a> (1948). </li> 1444<li>In 1942, Abbott builds herself an enormous reverse <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Camera_obscura" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Camera_obscura" rel="noopener">camera obscura</a>, her "<a data-jwlink-type="extern" data-jwlink-identifier="http://artjournal.collegeart.org/?p=8039" data-jwlink-title="" target="_blank" href="http://artjournal.collegeart.org/?p=8039" rel="noopener">Super Sight Camera</a>," that produces highly detailed and larger-than-life direct positive prints of mostly scientific subjects. </li> 1445<li>Soon after, Abbott starts creating cameraless photographs using magnets and iron filings to illustrate the wave properties of quantum physics "because everything goes in waves," she explains.</li> 1446<li>Abbott produces several bodies of photographs documenting New York's <a data-jwlink-type="extern" data-jwlink-identifier="https://store.marlboroughgallery.com/products/berenice-abbotts-greenwich-village" data-jwlink-title="" target="_blank" href="https://store.marlboroughgallery.com/products/berenice-abbotts-greenwich-village" rel="noopener">Greenwich Village</a> (1949) and Wall Street neighborhoods (1961). </li> 1447<li>Abbott travels the length of <a data-jwlink-type="extern" data-jwlink-identifier="https://monovisions.com/berenice-abbott-north-and-south-photographs-of-u-s-route-1/" data-jwlink-title="" target="_blank" href="https://monovisions.com/berenice-abbott-north-and-south-photographs-of-u-s-route-1/" rel="noopener">U.S. Route One</a> in 1954 with Elizabeth McCausland to record America's transformative automobile culture. </li> 1448<li>Abbott continues to teach at the New School for Social Research until 1957.</li> 1449<li>Abbott's scientific photographs generate little attention until 1957, when the Soviets successfully launch <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Sputnik_1" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Sputnik_1" rel="noopener">Sputnik One,</a> which precipitates a Cold War race to the Moon. Subsequently, the National Science Foundation's <a data-jwlink-type="extern" data-jwlink-identifier="https://en.wikipedia.org/wiki/Physical_Science_Study_Committee" data-jwlink-title="" target="_blank" href="https://en.wikipedia.org/wiki/Physical_Science_Study_Committee" rel="noopener">Physics Science Study Committee</a> at MIT hires Abbott, age 60, to photograph scientific principles for their forthcoming high school textbook. Hampered by ageism and sexism, Abbott holds this job for just two years.</li> 1450<li>Shortly after McCausland's death in 1965, Abbott relocates to Maine, where she produces a book, <a data-jwlink-type="extern" data-jwlink-identifier="https://www.bates.edu/museum/exhibitions/2013y/selections-from-berenice-abbotts-portrait-of-maine/" data-jwlink-title="" target="_blank" href="https://www.bates.edu/museum/exhibitions/2013y/selections-from-berenice-abbotts-portrait-of-maine/" rel="noopener">Portrait of Maine</a> (1968) and continues to live there until her death at age 93 on December 9, 1991.</li> 1451</ul> </div> 1452</div><div 1453 id="jw-element-234602516" 1454 data-jw-element-id="234602516" 1455 class="jw-tree-node jw-element jw-image-text" 1456> 1457 <div class="jw-element-imagetext-text"> 1458 <p style="text-align: left;" class="jw-text-small">Berenice Abbott, <em>Soap Bubbles</em>, 1946, Metropolitan Museum of Art</p> </div> 1459</div><div 1460 id="jw-element-234731382" 1461 data-jw-element-id="234731382" 1462 class="jw-tree-node jw-element jw-spacer" 1463> 1464 <div 1465 class="jw-element-spacer-container " 1466 style="height: 50px" 1467> 1468 </div> 1469</div><div 1470 id="jw-element-228581290" 1471 data-jw-element-id="228581290" 1472 class="jw-tree-node jw-element jw-separator" 1473> 1474 <div class="jw-element-separator-padding"> 1475 <hr 1476 class="jw-element-separator jw-element-separator--thin jw-element-separator--solid" 1477 style="--jw-element-separator__margin: 1.0000em" 1478 /> 1479</div> 1480</div><div 1481 id="jw-element-228581266" 1482 data-jw-element-id="228581266" 1483 class="jw-tree-node jw-element jw-image-text jw-node-is-last-child" 1484> 1485 <div class="jw-element-imagetext-text"> 1486 <p>This chronology of Abbott's life is based on Barr's PhD dissertation, "Becoming Documentary: Berenice Abbott's Photographs, 1925-1939" (1997, <a href="https://www.proquest.com/docview/304341803">UMI Publication number 9709780</a>) and on Julia Van Haaften's authoritative biography on Abbott, <a href="https://wwnorton.com/books/9780393292787">Berenice Abbott, A Life in Photography</a> (W. W. Norton & Company, New York 2018). Special thanks to Mary Weeber for generously helping to edit this webpage, which is ultimately my responsibility. If you discover any errors or inaccuracies, please <a href="/contact">contact Peter Barr here</a>. </p> </div> 1487</div></div></div></div></div></div> </div> 1488</main> 1489 </div> 1490<footer class="block-footer"> 1491 <div 1492 data-section-name="footer" 1493 class="jw-section jw-section-footer jw-responsive" 1494 > 1495 <div class="jw-strip jw-strip--default jw-strip--style-none jw-strip--primary jw-strip--padding-both jw-strip--vertical-padding-default jw-strip--border-shape-none"><div class="jw-strip__content-container"><div class="jw-strip__content jw-responsive"> <div class="jw-block-element"><div 1496 id="jw-element-218193727" 1497 data-jw-element-id="218193727" 1498 class="jw-tree-node jw-element jw-simple-root jw-tree-container jw-tree-container--empty jw-responsive jw-node-is-first-child jw-node-is-last-child" 1499> 1500 </div></div> <div class="jw-block-footer-content"> 1501 <div class="jw-credits clear"> 1502 <div class="jw-credits-owner"> 1503 <div id="jw-footer-text"> 1504 <div class="jw-footer-text-content"> 1505 © 2023 Peter Barr, Becoming Documentary Berenice Abbott's Photographs of New York in the 1930s </div> 1506 </div> 1507 </div> 1508 <div class="jw-credits-right"> 1509 </div> 1510 </div> 1511 </div> 1512 </div></div></div> </div> 1513</footer> 1514 1515<div class="jw-bottom-bar__container"> 1516 </div> 1517<div class="jw-bottom-bar__spacer"> 1518 </div> 1519 1520 <div id="jw-variable-loaded" style="display: none;"></div> 1521 <div id="jw-variable-values" style="display: none;">
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