COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1989.420
amicoid
CMA_.1989.420
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Photographs
oty
Photographs
Object Type
false
Creator Name:
Eggleston, William
crn
Eggleston, William
Creator Name
false
Creator Nationality:
North American; American
crc
North American; American
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1937
cdt
1937
Creator Dates/Places
false
Biography:
William Eggleston American, 1937-William Eggleston took a serious interest in photography when he discovered the work of Henri Cartier-Bresson and Walker Evans while a student at Vanderbilt University in 1962. Like Cartier-Bresson, Eggleston's photographs rely heavily on ironic formal juxtapositions, with the added consideration of color. His work also depends on the banality of his subjects: the familiar people and places of his native Memphis and northern Mississippi. Like snapshots, his photographs are candid and commonplace, though they lack the snapshot's posed artifice and sentimental associations. Instead, Eggleston relies on straightforward documentation to effect a cool, often uncanny, distance between viewer and subject. Eggleston was among thefirst photographers to work regularly with new color technologies of the late 1960s and early 1970s. In 1967 he presented his work using color negative film to John Szarkowski, then director of the department of photographs at the Museum of Modern Art, New York. Nine years later Szarkowski organized Eggleston's first solo exhibition at that museum, 75 dye transfer prints. In 1977 Caldecot Chubb, a close friend and supporter, published Eggleston's monograph Election Eve, which included work based on Alexander Gardner's Sketchbook of the Civil War. In 1978 Eggleston was invited to conduct research in color video at the Massachusetts Institute of Technology. His awards include fellowships from the John Simon Guggenheim Foundation (1974) and the National Endowment for the Arts (1975, 1978). He has photographed in Kenya (1980), Berlin, Salzburg, and Graz for his series Kiss Me Kracow (1983), Egypt (1986), England for the series English Rose (1988), the Transvaal (1989), and Spain (1990). He has also received commissions to shoot on location for John Huston's film Annie (1982), David Byrne's True Stories (1986), and throughout Elvis Presley's mansion, Graceland (1983). A major monograph, The Democratic Forest, was released in 1989, with an introduction by Eudora Welty. Eggleston also collaborated with writer Willie Morris on Faulkner's Mississippi, a book of photographs and accompanying text (1990). Eggleston lives in Memphis. A.W.
crb
William Eggleston American, 1937-William Eggleston took a serious interest in photography when he discovered the work of Henri Cartier-Bresson and Walker Evans while a student at Vanderbilt University in 1962. Like Cartier-Bresson, Eggleston's photographs rely heavily on ironic formal juxtapositions, with the added consideration of color. His work also depends on the banality of his subjects: the familiar people and places of his native Memphis and northern Mississippi. Like snapshots, his photographs are candid and commonplace, though they lack the snapshot's posed artifice and sentimental associations. Instead, Eggleston relies on straightforward documentation to effect a cool, often uncanny, distance between viewer and subject. Eggleston was among thefirst photographers to work regularly with new color technologies of the late 1960s and early 1970s. In 1967 he presented his work using color negative film to John Szarkowski, then director of the department of photographs at the Museum of Modern Art, New York. Nine years later Szarkowski organized Eggleston's first solo exhibition at that museum, 75 dye transfer prints. In 1977 Caldecot Chubb, a close friend and supporter, published Eggleston's monograph Election Eve, which included work based on Alexander Gardner's Sketchbook of the Civil War. In 1978 Eggleston was invited to conduct research in color video at the Massachusetts Institute of Technology. His awards include fellowships from the John Simon Guggenheim Foundation (1974) and the National Endowment for the Arts (1975, 1978). He has photographed in Kenya (1980), Berlin, Salzburg, and Graz for his series Kiss Me Kracow (1983), Egypt (1986), England for the series English Rose (1988), the Transvaal (1989), and Spain (1990). He has also received commissions to shoot on location for John Huston's film Annie (1982), David Byrne's True Stories (1986), and throughout Elvis Presley's mansion, Graceland (1983). A major monograph, The Democratic Forest, was released in 1989, with an introduction by Eudora Welty. Eggleston also collaborated with writer Willie Morris on Faulkner's Mississippi, a book of photographs and accompanying text (1990). Eggleston lives in Memphis. A.W.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Memphis, TN
cbp
Memphis, TN
Creator Birth Place
false
Creator Name-CRT:
William Eggleston
crt
William Eggleston
Creator Name-CRT
false
Title:
Near the River at Greenville, Mississippi
otn
Near the River at Greenville, Mississippi
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1984
oct
1984
Creation Date
false
Creation Start Date:
1984
ocs
1984
Creation Start Date
false
Creation End Date:
1984
oce
1984
Creation End Date
false
Materials and Techniques:
chromogenic process color print (Ektacolor)
omd
chromogenic process color print (Ektacolor)
Materials and Techniques
false
Classification Term:
Photography
clt
Photography
Classification Term
false
Dimensions:
Sheet: 40.6cm x 50.7cm, Image: 32.7cm x 49.4cm
met
Sheet: 40.6cm x 50.7cm, Image: 32.7cm x 49.4cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1989.420
ooa
1989.420
ID Number
false
Credit Line:
Purchased with a grant from the NEA and matched by contributions from Museum members in 1989
ooc
Purchased with a grant from the NEA and matched by contributions from Museum members in 1989
Credit Line
false
Inscriptions:
Written in black ink on verso: "Edition 1 of 3"; in blue ink: "William Eggleston [signed]"
oin
Written in black ink on verso: "Edition 1 of 3"; in blue ink: "William Eggleston [signed]"
Inscriptions
false
Copyright:
Copyright ? 1984 Eggleston Artistic Trust. All rights reserved. Used by permission.
ors
Copyright ? 1984 Eggleston Artistic Trust. All rights reserved. Used by permission.
Copyright
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
William Eggleston was among the first to take advantage of improved color technologies at a time when color photography was considered acceptable for snapshots, but not serious art. By 1966, he was using color exclusively, recording seeming banal, common, and ordinary objects and situations in his own spare, snapshot style. New the River at Greenville, Mississippi reveals Eggleston's dual interest in rich, lurid color and in the knowing description of place. The saturated hues spread throughout the composition energize the image, providing the backyard scene with an uncomfortable, almost threatening atmosphere.
cxd
William Eggleston was among the first to take advantage of improved color technologies at a time when color photography was considered acceptable for snapshots, but not serious art. By 1966, he was using color exclusively, recording seeming banal, common, and ordinary objects and situations in his own spare, snapshot style. New the River at Greenville, Mississippi reveals Eggleston's dual interest in rich, lurid color and in the knowing description of place. The saturated hues spread throughout the composition energize the image, providing the backyard scene with an uncomfortable, almost threatening atmosphere.
Context
false
Related Image Identifier Link:
CMA_.1989.420.tif
ril
CMA_.1989.420.tif
Related Image Identifier Link
false