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The passionate observer : photographs by Carl Van Vechten

Author: Keith F DavisCarl Van VechtenHallmark Cards, Inc.Nelson-Atkins Museum of Art.Detroit Institute of Arts.All authors
Publisher: Kansas City, Mo. : Hallmark Cards ; Albuquerque, N.M. : Distributed by the University of New Mexico Press, ©1993.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
In his thirty years of activity with the camera, Carl Van Vechten (1880-1964) produced a uniquely important body of work. The 15,000 photographs he made between 1932 and 1964 constitute a remarkable visual catalog of the leaders of modern arts and letters. Working strictly for his own pleasure, Van Vechten recorded the most prominent painters, writers, actors, and musicians of his time with both warmth and style.
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Genre/Form: Exhibition catalogs
Exhibitions
Additional Physical Format: Online version:
Davis, Keith F., 1952-
Passionate observer.
Kansas City, Mo. : Hallmark Cards ; Albuquerque, N.M. : Distributed by the University of New Mexico Press, ©1993
(OCoLC)623250211
Named Person: Carl Van Vechten; Carl Van Vechten
Document Type: Book
All Authors / Contributors: Keith F Davis; Carl Van Vechten; Hallmark Cards, Inc.; Nelson-Atkins Museum of Art.; Detroit Institute of Arts.; Knoxville Museum of Art.; Gibbes Museum of Art (Charleston, S.C.); Indiana University, Bloomington. Art Museum.; Snite Museum of Art.; Haverford College.
ISBN: 0875296688 9780875296685 0875296696 9780875296692
OCLC Number: 27706869
Notes: Published on the occasion of a traveling exhibition organized by and from the holdings of the Hallmark Photographic Collection. Exhibition held at Nelson-Atkins Museum of Art, Kansas City, Missouri, December 6, 1992-January 10, 1993; Detroit Institute of Arts, Detroit, Michigan, May 12-July 3, 1993; Knoxville Museum of Art, Knoxville, Tennessee, July 24-September 26, 1993; Gibbes Museum of Art, Charleston, South Carolina, January 30-March 13, 1994; Indiana University Art Museum, Bloomington, Indiana, August 3-September 18, 1994; Snite Museum of Art, University of Notre Dame, Notre Dame, Indiana, October 9-November 27, 1994; Comfort Gallery of Haverford College, Haverford, Pennsylvania, January 27-March 12, 1995; and possibly, other venues.
Description: 120 pages : illustrations ; 30 cm
Responsibility: Keith F. Davis.

Abstract:

In his thirty years of activity with the camera, Carl Van Vechten (1880-1964) produced a uniquely important body of work. The 15,000 photographs he made between 1932 and 1964 constitute a remarkable visual catalog of the leaders of modern arts and letters. Working strictly for his own pleasure, Van Vechten recorded the most prominent painters, writers, actors, and musicians of his time with both warmth and style. This volume includes full-page reproductions of sixty of.

The finest of these images, with a text placing this little-known body of work in its historical and artistic context. Photography represents only one facet of Carl Van Vechten's extraordinary creative life. As music critic for the New York Times he witnessed performances by the most important avant-garde artists of the time and came to know many of them personally. In 1915 he published his first book of collected criticism. Over the next fifteen years he published eight.

Additional volumes of music and literary criticism, seven novels, two books on cats, one semi-autobiographical volume, and over 200 magazine essays and book reviews. He also became a champion of African-American culture, and a patron of many of the leading figures of the Harlem Renaissance of the 1920s. Van Vechten turned to photography in 1932 at the age of fifty-one. Using a new 35mm Leica camera he began compiling a great visual catalog of the major cultural figures.

Of his time. The range of his subjects is remarkable. Leading personalities in the fields of opera, literature, theater, painting, sculpture, journalism, and public life all came to pose in the small studio Van Vechten installed in his apartment. He knew many of his subjects personally and often chose specific props or backgrounds to suggest aspects of their character. On other occasions he used very simple settings to emphasize the expressiveness of posture, costume.

And glance. Van Vechten's style combines his own interpretive ideas with a deep empathy for the humanity of his sitters. Through his eyes we gain fresh insights into the personal and cultural vitality of an increasingly distant age.

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