{"id":12906,"date":"2012-05-30T09:40:00","date_gmt":"2012-05-30T08:40:00","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/uncategorized\/alvin-langdon-coburn-1882-1966-iconic-photographer-12906"},"modified":"2014-10-23T11:28:04","modified_gmt":"2014-10-23T10:28:04","slug":"alvin-langdon-coburn-1882-1966-iconic-photographer","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/iconic-images\/alvin-langdon-coburn-1882-1966-iconic-photographer\/","title":{"rendered":"Alvin Langdon Coburn 1882-1966 – Iconic Photographer"},"content":{"rendered":"

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\n Image: Self-portrait, early 1900s \u00a9 Alvin Langdon Coburn\/George Eastman House\/Getty Images<\/strong>
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At the height of his fame, Alvin Langdon Coburn was one of the most celebrated photographers of his generation. Although American, he was an important member of key photographic groups on both sides of the Atlantic and his photographs were admired and widely influential. <\/p>\n

Photography was an important part of his life from his earliest years. He was born into a middle-class family in Boston, Massachusetts, in 1882, and his precocious talent for photography developed from the age of eight, when an uncle bought him a Kodak 5×4 camera as a birthday present. After the early death of his father, Coburn was brought up by his mother, who encouraged his photography. He became a skilled darkroom worker by the time he reached his teens. <\/p>\n

This talent was further developed by his cousin, F Holland Day, who was himself an internationally famous photographer. Day saw his cousin’s potential and helped bring Coburn to public attention at the age of 17 by selecting seven of his prints for an important exhibition of American photography at the Royal Photographic Society’s London Salon in 1899. <\/p>\n

Coburn’s work in this period was in the pictorialist style, one which had dominated photography since the mid-1880s. Pictorialists (among them Alfred Stieglitz and Edward Steichen) argued that photography was a creative art form, on a par with other visual arts including painting, and not simply a mechanical means of objectively recording the world. They used a wide variety of techniques to express emotion and mood, and were particularly known for producing atmospheric, soft-focus portraits and landscapes.<\/p>\n

In 1900, Coburn’s early prints were seen by the English photographer Frederick Evans, who invited him to exhibit with fellow members of the Linked Ring. This was an important photographic society with prominent photographers, such as Frank Sutcliffe and Alfred Horsley Hinton, as fellow members. <\/p>\n

Image: Tower Bridge, 1910 \u00a9 SSPL\/Getty Images<\/strong><\/em> <\/p>\n

<\/img>Coburn’s first major commission came in 1904, when The Metropolitan Magazine<\/em> asked him to do a series of portraits of major English writers. He photographed and became friends with playwright George Bernard Shaw, himself a keen photographer, who in 1906 declared that, ‘Mr Alvin Langdon Coburn is one of the most accomplished and sensitive art-photographers now living.’<\/p>\n

Shaw’s friendship led to further introductions to famous people of the era and in the following years his sitters included American President Theodore Roosevelt, novelist Henry James, poet WB Yeats and sculptor Auguste Rodin. During this period he attended the London County School of Photo-Engraving and learned the photogravure printing process, at which he excelled. He subsequently set up two hand-operated printing presses in the studio at his London home.<\/p>\n

As well as portraiture, Coburn was also exploring cityscapes and photographed famous London landmarks such as Trafalgar Square, Westminster Abbey and Tower Bridge in a romantic and impressionistic style. They were published in his book London<\/em> (1909), which was followed by a book of New York scenes a year later. His most famous book, however, was a collection of his portraits, Men of Mark<\/em> (1913). <\/p>\n

Coburn left the USA permanently in 1912 and relocated to London before later settling in North Wales. While living in London, he became attracted to Vorticism, an offshoot of Cubism, which used bold lines and angular shapes to create abstract representations of subjects. This style was radically different from his previous work, but he believed photographers had become entrenched in familiar styles and should try something new. <\/p>\n

In Photograms of the Year: The Annual Review of the World’s Pictorial Photographic Work<\/em> (1916), Coburn wrote: ‘Why should not the camera throw off the shackles of conventional representation and attempt something fresh and untried?… Why, I ask you earnestly, need we go on making commonplace little exposures of subjects that may be sorted into groups of landscapes, portraits and figure studies? Think of the joy of doing something which it would be impossible to classify, or to tell which was the top and which the bottom!’<\/p>\n

In 1917, he experimented with still-life photographs shot through a home-made device incorporating three mirrors and producing an effect similar to a kaleidoscope. The resulting Vortographs are considered the first consciously created abstract photographs ever made and were widely discussed at the time.<\/p>\n

Although Coburn produced a follow-up to his earlier book of portraits called More Men of Mark<\/em> (1921), by the 1920s his interest in photography was clearly beginning to wane. He had been initiated into freemasonry in 1919 and was becoming increasingly involved in researching and studying spiritual subjects such as mysticism and Druidism.<\/p>\n

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Image: Regent’s Canal, 1904 \u00a9 SSPL\/Getty Images<\/strong><\/em> <\/p>\n

In 1930, his rejection of the artistic ambitions of his earlier life was symbolised by his destruction of around 15,000 of his negatives and the donation of his personal collection of historical photographs to the Royal Photographic Society. From then on, apart from some occasional forays into photography on his travels to Madeira in the 1950s, Coburn lived a quiet and contemplative life and rarely picked up a camera.<\/p>\n

Ironically, the largest exhibition of his work, shown at Reading University in Berkshire in 1962, came more than 40 years after his last major work was published. He lived in North Wales until his death in 1966, at the age of 84.<\/p>\n

\nIn his autobiography, published in 1966, Coburn explained why he had given up his early dedication to photography. ‘I think I can justify this change of occupation on the ground of ultimate values,’ he wrote. ‘If you compare photography and religious mysticism as alternatives to which one should devote one’s life, can there be any doubt as to their respective importance?’ <\/p>\n

Biography<\/h2>\n