Bayard Woottenová
Bayard Woottenová | |
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Rodné jméno | Mary Bayard Morgan |
Narození | 17. prosince 1876 New Bern, Severní Karolína ![]() |
Úmrtí | 6. dubna 1959 (ve věku 82 let) New Bern, Severní Karolína ![]() |
Místo pohřbení | Cedar Grove Cemetery |
Alma mater | University of North Carolina at Greensboro |
Povolání | fotografka a umělkyně |
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Mary Bayard Morgan Woottenová (nepřechýleně Bayard Wootten; 17. prosince 1875 New Bern – 6. dubna 1959 New Bern) byla americká fotografka.
Životopis
Woottenová se narodila v New Bernu v Severní Karolíně v roce 1875 Mary a Rufus Morganovým. Woottenová navštěvovala veřejné školy v New Bernu a poté od roku 1892 do roku 1894 studovala na State Normal and Industrial College (nyní University of North Carolina v Greensboro). Po vysoké škole krátce vyučovala umění na Arkansas School for the Deaf a Georgia School for the Deaf. Když ji její manžel Charles Wootten opustil kvůli zlaté horečce, vrátila se domů do New Bernu, aby podpořila své dva syny malováním květin na porcelán a šaty. Dokonce preparovala zvířata včetně amerického aligátora, který je v Berlínském přírodovědném muzeu. Základní instruktáž ve fotografii získala od Edwarda Gerrocka a Ignatia Wadswortha Brocka, kterému říkala Nate. V roce 1903 si otevřela vlastní fotografické studio v přístavku vedle svého domu na East Front Street v New Bernu, přičemž si od Gerrocka vypůjčila několik fotoaparátů a vybavení.
Bayard Woottenová otevřela druhé studio v roce 1913 ve Fort Bragg, které mu říkala The Photo Hut. Vytvářela exkluzivní snímky pro Národní gardu Severní Karolíny, díky čemuž se stala první ženou v Národní gardě. V roce 1920 se přestěhovala do Chapel Hill, kde se specializovala na portrétní fotografii pro Yackety Yack, ročenku Severokarolínské univerzity v Chapel Hill, a také na oficiální fotografii pro Carolina Playmakers (nyní PlayMakers Repertory Company). Žila v Chapel Hill od roku 1928 do roku 1954.[1] Díky práci v divadle se seznámila se spisovatelem Thomasem Wolfem, kterého fotografovala při mnoha příležitostech.[2]
Woottenová jednou instruovala svého zaměstnance Rudyho Fairclotha, aby ji spustil přes útes, aby vyfotografovala Linville Falls, slavnou přírodní památku v Severní Karolíně.[2]
Anthony Lilly, také rodák z New Bernu, je životopiscem Woottenové a píše scénář k filmu o jejím životě. Lilly je předním odborníkem na život autorky a má největší sbírku jejích osobních věcí včetně dopisů, tisíců jejích originálních tisků, skleněných desek a celého jejího fotografického studia.[3]
Její fotografie ilustrovaly šest knih, včetně Backwoods America od Charlese Morrowa Wilsona, 1934; Kabiny ve vavřínu od Muriel Sheppard, 1935; Staré domy a zahrady Severní Karolíny od Archibalda Hendersona, 1939; a From My Highest Hill od Olive Tilford Dargan, 1941. Woottenová je pohřbena na rodinném pozemku na historickém hřbitově Cedar Grove v obci New Bern NC.
Dílo
Woottenová byla první ženou, která v roce 1914 pořídila fotografii z letadla v New Bern v Severní Karolíně. Byla také první ženou v Národní gardě, čímž získala hodnost generálního pobočníka a šéfa publicity. Její strýc byl kongresman Severní Karolíny Hap Barden. Woottenová využila Bardenovu sílu poskytnutím snímků, které vytvořila z chátrajícího tábora Bragg. Její snímky vojáků nucených žít v nejchudších podmínkách ji pomohly zachránit tábor před uzavřením. Dnes je známý jako Fort Bragg.
Fotografie Woottenové ilustrovaly během jejího života pět knih, včetně Charlestonu: Azalias and Old Bricks, North Carolina Homes and Gardens a From My Highest Hill. Její snímky plnily ročenky a noviny UNC v Chapel Hill, zatímco její nadživotní piktorialistické fotografie lemují zdi budov státní správy Severní Karolíny a soudní budovy. Anthony Lilly, rodák z New Bernu, napsal scénář o neuvěřitelném životě fotografky. Lilly také vlastní největší sbírkujejích snímků, tisků, skleněných desek a osobních věcí. Má také celý její obsah studia z let 1904–1959, včetně jejího prvního fotoaparátu a veškerého osvětlení. Lilly tyto poklady zapůjčil Wootten-Moulton Museum v New Bern. Kniha od Jerryho Cottona s názvem Světlo a vzduch byla stručným slovním i obrazovým popisem života Woottenové. Anthony Paul Lilly, také rodák z New Bern, napsal celovečerní scénář o životě Woottenové a také vydal sérii knih s Fahey/Klein Gallery v Beverly Hills o Woottenové ve spolupráci s UNC v Chapel Hill.
Jeho sbírka ve Wootten-Moulton Museum obsahuje stovky rodinných dopisů a obchodních dokumentů podrobně popisujících pracovní vztah s Calebomem Bradhamem. Během svého výzkumu také odhalil autorčiny originální koncepční kresby slavného nápoje.
Kromě své práce průkopnické fotografky a umělkyně byla Woottenová věrnou obhájkyní azylového domu pro ženy, která využila svého postavení a pověsti na celém jihu k pomoci ženským organizacím včetně Women's Missionary League. V roce 1915 se stala prezidentkou propagačního oddělení Ligy a vytvořila všechny oficiální portréty.
V roce 1913 se její portrétování stalo populární v Camp Bragg. Doručení jejích portrétů Greggovi Cherrymu, v té době obyčejnému vojákovi v Camp Bragg, vedlo k návalu objednávek.
Woottenové bylo uděleno povolení otevřít si na základně fotografické studio (The Photo Hut) a Wootenová nakonec dostala první zakázku pro ženu v Národní gardě. Její první klient, poručík Cherry, se stal 61. guvernérem Severní Karolíny. Po Cherrym byla pojmenována Letecká stanice a základna Cherry Point, stejně jako Cherry Hospital.
Wootten-Moulton Studio obdrželo ocenění The Showmanship Award od společnosti The Walt Disney Company za vynikající úspěchy v profesionální fotografii.
Ceny a výstavy
Woottenová obdržela v roce 1934 státní cenu Severní Karolíny za „Nejkrásnější fotografie stromů v Americe“ od American Forestry Association za svou fotografii Live Oaks.[4]
Její práce byly vystaveny na Harvardově univerzitě, na výstavě Century of Progress, na Akademii umění v Richmondu ve Virginii a na mnoha místech v Severní Karolíně.
- 3.–31. května 1923: Mezinárodní salon Pictorial Photographers of America. V galerii Art Center, 65 East 56th Street, New York City, NY.[5]
- 1994: „I won't make a picture unless the moon is right”: raná architektonická fotografie Severní Karolíny od Frances Benjamin Johnstonové a Bayard Woottenové. Státní univerzita v Severní Karolíně, Centrum vizuálních umění.[6]
Publikace
- Cotten, Jerry W. (1998) Light and Air: The Photography of Bayard Wootten. North Carolina: The University of North Carolina Press. ISBN 978-0807824450
- Dargan, Olive Tilford (1998) From My Highest Hill: Carolina Mountain Folks. Photographs by Bayard Wootten. Tennessee: University of Tennessee Press. ISBN 978-1572330207
- Henderson, Archibald (1939) Old Homes and Gardens of North Carolina. Photographs by Bayard Wootten. North Carolina: University of North Carolina Press. OCLC Number: 1511096
- Higgins, Anthony (Author), Wootten, Bayard (Photographer) (1939) New Castle, Delaware, 1651-1939. Houghton Mifflin. OCLC Number: 7944271
- Stoney, Samuel Gaillard (Author), Wootten, Bayard (Photographer) (1939) Charleston: Azaleas and Old Bricks. Houghton Mifflin. OCLC Number: 498875680
- Sheppard, Muriel Earley (1935) Cabins in the Laurel. Photographs by Bayard Wootten. North Carolina: Chapel Hill Books ISBN 978-0807819869
- Wilson, Charles Morrow (1935) Backwoods America. Illustrations by Bayard Wootten. Chapel Hill: University of North Carolina Press. OCLC Number: 578736164
- Exhibition Catalog: "I won't make a picture unless the moon is right--" : early architectural photography of North Carolina by Frances Benjamin Johnston and Bayard Wootten, North Carolina State University, Visual Arts Center (1994). Raleigh, NC: Preservation North Carolina. OCLC number: 31321581
- Exhibition Catalog: International salon of the Pictorial Photographers of America : held at the galleries of the Art Center, sixty five East Fifty Sixth Street, New York City : from May third to May thirty-first one thousand nine hundred twenty three. Pictorial Photographers of America (1923) OCLC Number: 56057729
Galerie
Coast watch, 1979
Coast watch, 1979
Coast watch, 1979
Maybelle Goodlanderová, fotografka, 1914
Odkazy
Reference
V tomto článku byl použit překlad textu z článku Bayard Wootten na anglické Wikipedii.
- ↑ Bayard Morgan Wootten Photographic Collection, circa 1870-1988 (bulk 1904-1954) [online]. [cit. 2017-03-11]. Dostupné online. (anglicky)
- ↑ a b Receding Image. Our State Magazine 28. listopadu 2011.
- ↑ Biographical Article: Bayard Wootten. GalleryC.net
- ↑ "It Is A Prize Winner," Charlotte Observer, 12. ledna 1934
- ↑ PICTORIAL PHOTOGRAPHERS OF AMERICA. International salon of the Pictorial Photographers of America: held at the galleries of the Art Center, sixty five East Fifty Sixth Street, New York City : from May third to May thirty-first one thousand nine hundred twenty three.. New York City: Pictorial Photographers of America, 1923-01-01. Dostupné online. OCLC 56057729 (English)
- ↑ JOHNSTON, Frances Benjamin; WOOTTEN, Bayard Morgan; PRESERVATION NORTH CAROLINA (ORGANIZATION); NORTH CAROLINA STATE UNIVERSITY; VISUAL ARTS CENTER. "I won't make a picture unless the moon is right--": early architectural photography of North Carolina by Frances Benjamin Johnston and Bayard Wootten.. Raleigh, NC: Preservation/NC, 1994-01-01. Dostupné online. OCLC 31321581 (English)
Související články
- Seznam amerických fotografek
- Fotografie v USA
- Ženy ve fotografii
Externí odkazy
Obrázky, zvuky či videa k tématu Bayard Woottenová na Wikimedia Commons
- Rozhovor z The New York Times s oficiálním životopiscem Woottenové Anthonym Lilly
Média použitá na této stránce
Autor: Internet Archive Book Images, Licence: No restrictions
Bayard Wootten
Title: Coast watch
Identifier: coastwatch00uncs_11 (find matches)
Year: 1979 (1970s)
Authors: UNC Sea Grant College Program
Subjects: Marine resources; Oceanography; Coastal zone management; Coastal ecology
Publisher: (Raleigh, N. C. : UNC Sea Grant College Program)
Contributing Library: State Library of North Carolina
Digitizing Sponsor: North Carolina Digital Heritage Center
View Book Page: Book Viewer
About This Book: Catalog Entry
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A HISTORIAN'S COAST B. light & Air By David Cecelski • Photos courtesy of the North Carolina Collection at UNC-Chapel Hill "ayard Wootten has long been one of my favorite photographers. Born in New Bern in 1875, she ran portrait studios in New Bern and Chapel Hill for nearly half a century. She was both a talented studio photographer and a gifted pictorialist with a fine artist's eye. She went anywhere, anytime, to get a good photograph. Camera in hand, she stayed for days in an Appalachian logging camp, flew in a Wright brothers' airplane and prowled the Croatan swamps. Wootten's life and work are introduced to younger generations in Light and Air: The Photography of Bayard Wootten, a splendid new book by Jerry Cotten, the photographic archivist at UNC-Chapel Hill's North Carolina Collection. Cotten's book tells much about North Carolina earlier this century. Light and Air focuses on Wootten's photographs of the Great Depression. They stand out in sharp contrast to the better- known pictures made by the photographers of the Farm Security Adminis- tration (FSA), a New Deal agency charged with documenting rural hardship. Full of pathos and hopelessness, the FSA photographs are the most enduring images of the 1930s. Let Us Now Praise Famous Men, by James Agee and Walker Evans, contains probably the best-known photographs
Text Appearing After Image:
Photographer Bayard Wootten at work of that ilk: stark images of hollow-eyed Alabama tenant farmers living dreary, poverty-stricken lives. FSA photographers such as Walker Evans and Dorothea Lange have had the most profound influence on American documentary photography this century. But while their photographs inspired pity, they rarely meant much to Southern- ers. This is not because people in the South failed to recognize the FSA's harsh images of the Depression. Rare was the rural Southern family that did not know poverty and privation in those years. Rather, few Southerners, black or white, agreed with the bleak, one- dimensional view of the human spirit portrayed in the FSA photographs. Wootten saw a different South, though her photographs did not ignore the hardships of the Great Depression. She did not conceal ragged clothes, dilapidated homes or the gauntness of so many of the people she photographed. But my favorite of Wootten's photographs go far beyond social criticism — they depict a hard-pressed people mustering the grace and strength to survive the Great Depression. Look, for instance, at the 1937 photograph of the girl taking a break from picking strawberries (opposite page). She was one of many seasonal Continued COASTWATCH 19
Note About Images
Autor: UNC Sea Grant College Program, Licence: No restrictions
People of North Carolina photographed by Bayard Wootten
Title: Coast watch
Identifier: coastwatch00uncs_11 (find matches)
Year: 1979 (1970s)
Authors: UNC Sea Grant College Program
Subjects: Marine resources; Oceanography; Coastal zone management; Coastal ecology
Publisher: (Raleigh, N. C. : UNC Sea Grant College Program)
Contributing Library: State Library of North Carolina
Digitizing Sponsor: North Carolina Digital Heritage Center
View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
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A HISTORIAN'S COAST
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workers who traveled every spring to Chadbourn, in Columbus County, to labor in the strawberry fields. Though no longer the world's largest strawberry market, as it had been from 1895 to 1905, Chadbourn still attracted pickers from all over southeastern North Carolina. To say that this photograph ignores the girl's plight because she looks so content — as many defenders of the FSA school of documentary photography might — misses Wootten's point entirely. In fact, you cannot miss the signs of the girl's hard life: her frayed dress full of holes, missing buttons, ragged shawl, work-worn hands. Wootten's home- state audience would also have known that, being in Chadbourn, the girl was from a family in the direst straits. A North Carolina tobacco laborer A fisherman mending nets, 1930s Loading tulips, Pinetown But Wootten's photograph shows the girl's shining spirit rising above all that misfortune. Look, too, at the photograph of Ben Owen turning a pot in Jugtown, in Moore County, in the 1930s (page 21). For a century, craftsmen and women had been making pottery out of the central piedmont's crude red clay. They lived in a hard, unforgiving region of the state for farming, where the clay soil was more curse than boon. But potters like Owen took what little the land gave them — the clay — and created breathtakingly beautiful shapes and glazes. Wootten's genius was to catch Owen at just that moment when the 20 HOLIDAY 1998
Note About Images
Autor: UNC Sea Grant College Program, Licence: No restrictions
A girl in Chadbourn, North Carolina, during the Great Depression; photograph by Bayard Wootten
Title: Coast watch
Identifier: coastwatch00uncs_11 (find matches)
Year: 1979 (1970s)
Authors: UNC Sea Grant College Program
Subjects: Marine resources; Oceanography; Coastal zone management; Coastal ecology
Publisher: (Raleigh, N. C. : UNC Sea Grant College Program)
Contributing Library: State Library of North Carolina
Digitizing Sponsor: North Carolina Digital Heritage Center
View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.
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A HISTORIAN'S COAST
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'
Note About Images
Maybelle D. Goodlander, from a 1914 publication.
Autor: Internet Archive Book Images, Licence: No restrictions
Bayard Wootten
Title: Coast watch
Identifier: coastwatch00uncs_11 (find matches)
Year: 1979 (1970s)
Authors: UNC Sea Grant College Program
Subjects: Marine resources; Oceanography; Coastal zone management; Coastal ecology
Publisher: (Raleigh, N. C. : UNC Sea Grant College Program)
Contributing Library: State Library of North Carolina
Digitizing Sponsor: North Carolina Digital Heritage Center
View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.
Text Appearing Before Image:
A HISTORIAN'S COAST B. light & Air By David Cecelski • Photos courtesy of the North Carolina Collection at UNC-Chapel Hill "ayard Wootten has long been one of my favorite photographers. Born in New Bern in 1875, she ran portrait studios in New Bern and Chapel Hill for nearly half a century. She was both a talented studio photographer and a gifted pictorialist with a fine artist's eye. She went anywhere, anytime, to get a good photograph. Camera in hand, she stayed for days in an Appalachian logging camp, flew in a Wright brothers' airplane and prowled the Croatan swamps. Wootten's life and work are introduced to younger generations in Light and Air: The Photography of Bayard Wootten, a splendid new book by Jerry Cotten, the photographic archivist at UNC-Chapel Hill's North Carolina Collection. Cotten's book tells much about North Carolina earlier this century. Light and Air focuses on Wootten's photographs of the Great Depression. They stand out in sharp contrast to the better- known pictures made by the photographers of the Farm Security Adminis- tration (FSA), a New Deal agency charged with documenting rural hardship. Full of pathos and hopelessness, the FSA photographs are the most enduring images of the 1930s. Let Us Now Praise Famous Men, by James Agee and Walker Evans, contains probably the best-known photographs
Text Appearing After Image:
Photographer Bayard Wootten at work of that ilk: stark images of hollow-eyed Alabama tenant farmers living dreary, poverty-stricken lives. FSA photographers such as Walker Evans and Dorothea Lange have had the most profound influence on American documentary photography this century. But while their photographs inspired pity, they rarely meant much to Southern- ers. This is not because people in the South failed to recognize the FSA's harsh images of the Depression. Rare was the rural Southern family that did not know poverty and privation in those years. Rather, few Southerners, black or white, agreed with the bleak, one- dimensional view of the human spirit portrayed in the FSA photographs. Wootten saw a different South, though her photographs did not ignore the hardships of the Great Depression. She did not conceal ragged clothes, dilapidated homes or the gauntness of so many of the people she photographed. But my favorite of Wootten's photographs go far beyond social criticism — they depict a hard-pressed people mustering the grace and strength to survive the Great Depression. Look, for instance, at the 1937 photograph of the girl taking a break from picking strawberries (opposite page). She was one of many seasonal Continued COASTWATCH 19
Note About Images
Autor: State Archives of North Carolina, Licence: No restrictions
Bayard Wootten taking pictures in Great Lake, Craven County, 1909. From the H. H. Brimley Photo Collection, PhC.42, State Archives of North Carolina.
Title: Digital display record: This record exists solely to make the digital image available. You may be able to find information about the displayed item by looking at other online catalog records retrieved with the Reproduction Number below. If no such record is retrieved, information may be found in Prints & Photographs Division manual indexes. Abstract/medium: 1 photographic print.
Autor: UNC Sea Grant College Program, Licence: No restrictions
Photos of people of North Carolina by Bayard Wootten, 1930s
Title: Coast watch
Identifier: coastwatch00uncs_11 (find matches)
Year: 1979 (1970s)
Authors: UNC Sea Grant College Program
Subjects: Marine resources; Oceanography; Coastal zone management; Coastal ecology
Publisher: (Raleigh, N. C. : UNC Sea Grant College Program)
Contributing Library: State Library of North Carolina
Digitizing Sponsor: North Carolina Digital Heritage Center
View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
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Text Appearing Before Image:
HISTORIAN COAST
Text Appearing After Image:
plain and glorious seem one and the same. Finally, look closely at the young black laborer standing in a tobacco field (page 20). You know he has worked in brutally hot, humid weather since sunrise. His fingers ache from cropping tobacco. The leaf nicotine stings his skin. His feet hurt. Notice, though, how he holds himself and wears his tattered trousers: He's the picture of verve and vim. Wootten has captured a strength of will that surpasses the limits of that tobacco field. Hard times will not hold this young fellow down. That's what Wootten was ultimately saying: We can rise above the Great Depres- sion and even what author Robertson Davies once called that "underlying, deep grief of things." We can do it right here, in this place, out of our own hearts, with our own two hands. The FSA photographers never saw it, never believed we had it in us. They saw merely the hard red clay of Depression-era lives. Wootten saw how North Carolina people turned that clay into the human equivalent of Jugtown's pottery; that is, into lives of quiet grace and, sometimes, iridescent beauty. □ David Cecelski is a historian at the University of North Carolina-Chapel Hill's Southern Oral History Program and a regular columnist for Coastwatch. Ben Owen turning a pot, Jugtown COASTWATCH 21
Note About Images