This comprehensive study of Rome's contribution to the early history of photography traces the medium's rise from a fledgling science to a dynamic form of artistic expression that forever changed the way we perceive the Eternal City. The authors examine the diverse transnational group of photographers who thrived in the cosmopolitan art center of Rome--and the pivotal role they played in the refinement and technical development of the nascent medium in the nineteenth century. The book ranges from the earliest pioneers--the French daguerreotypist Joseph-Philibert Girault de Prangey and the Welsh calotypist Calvert Richard Jones--to the work of the Roman School of Photography and its successors, among them James Anderson and Robert Macpherson of Britain; Frédéric Flachéron, Firmin Eugène Le Dien, and Gustave Le Gray of France; and Giacomo Caneva, Adriano de Bonis, and Pietro Dovizielli of Italy. Lavishly illustrated with 112 plates, many never before published, by nearly fifty practitioners, this volume expands our understanding of the place of Rome in early photography. An exhibition of the same title, to open at the Bowdoin College Museum of Art in December 2022, accompanies this study.

In Light of Rome: Early Photography in the Capital of the Art World, 1842–1871

Arts & Photography

Goodyear III, Frank H.

McGuigan Jr., John F.

History & Criticism

Penn State University Press

A revelatory exploration of Winslow Homer’s engagement with photography, shedding new light on his celebrated paintings and works on paper One of the greatest American painters of the 19th century, Winslow Homer (1836–1910) also maintained a deep engagement with photography throughout his career. Focusing on the important, yet often-overlooked, role that photography played in Homer’s art, this volume exposes Homer’s own experiments with the camera (he first bought one in 1882). It also explores how the medium of photography and the larger visual economy influenced his work as a painter, watercolorist, and printmaker at a moment when new print technologies inundated the public with images. Frank Goodyear and Dana Byrd demonstrate that photography offered Homer new ways of seeing and representing the world, from his early commercial engravings sourced from contemporary photographs to the complex relationship between his late-career paintings of life in the Bahamas, Florida, and Cuba and the emergent trend of tourist photography. The authors argue that Homer’s understanding of the camera’s ability to create an image that is simultaneously accurate and capable of deception was vitally important to his artistic practice in all media. Richly illustrated and full of exciting new discoveries, Winslow Homer and the Camera is a long-overdue examination of the ways in which photography shaped the vision of one of America’s most original painters.

Winslow Homer and the Camera: Photography and the Art of Painting

Byrd, Dana E.

Yale University Press

Illuminating the photographer’s contributions to New York’s Downtown art scene and her acute feminist work\nPhotographer Marcia Resnick (b. 1950) earned recognition as part of the legendary Downtown New York art scene of the 1970s and 1980s. Her portraits of the era’s major cultural figures, such as Jean-Michel Basquiat, John Belushi, and Susan Sontag, have contributed to the scene’s mythic status. Against this backdrop, Resnick also produced a significant body of work that engaged with the history of art, took a humorous approach to conceptual art and feminism, and proposed new ideas for what photography could be.\nSpanning the artist’s career, this richly illustrated volume explores Resnick’s early influences and education at Cooper Union and CalArts; discusses her series and photobooks such as See and Re-visions; and situates the artist’s work within the history of contemporary art. An afterword by Laurie Anderson speaks to the very personal vision of Resnick’s photography.\nPublished in association with the Bowdoin College Museum of Art, George Eastman Museum, and Minneapolis Institute of Art

Marcia Resnick: As It Is or Could Be

Hostetler, Lisa

Riley, Casey

Photography & Video

Their faces look out across a chasm of time. Stern and often stiff, they wear the high collars and hoop skirts, buckskins and ceremonial feathers of another era. The names of some are familiar—Teddy Roosevelt, Mark Twain, Sitting Bull, Annie Oakley. The names of others may be less well known, but they played a significant role in re-creating the American West. These are all people of the West, and their portraits give us a unique glimpse into a lost time and place.
Faces of the Frontier showcases more than 120 photographic portraits of leaders, statesmen, soldiers, laborers, activists, criminals, and others, all posed before the cameras that made their way to nearly every mining shanty-town and frontier outpost on the prairie. Drawing primarily on the collection of the National Portrait Gallery, this book depicts many of the people who helped transform the West between the end of the Mexican War and passage of the Indian Citizenship Act.
Accompanying the portraits are an introduction and two essays that provide historical context and help frame their interpretation. Frank Goodyear explores how photography influenced Americans’ understanding of the West by giving the region a face and by shaping public responses to western issues. Richard White questions the notion that these photographs accurately represent individuals and argues that the portraits’ subjects participated in a process that idealized them as types.
This handsome volume is not only a record of the people we associate with the West during a remarkably formative eighty years but also a key to understanding what Americans then saw in the West, and how they saw themselves.

Faces of the Frontier: Photographic Portraits from the American West, 1845–1924

University of Oklahoma Press

On the morning of July 30, 1883, President Chester A. Arthur embarked on a trip of historic proportions. His destination was Yellowstone National Park, established by an act of Congress only eleven years earlier. No sitting president had ever traveled this far west. Arthur’s host and primary guide would be Philip H. Sheridan, the famed Union general. Also slated to join the expedition was a young photographer, Frank Jay Haynes. This elegant—and fascinating—book showcases Haynes’s remarkable photographic album from their six-week journey. 
A premier nineteenth-century landscape photographer, F. Jay Haynes, as he was known professionally, originally compiled the leather-bound album as a commemorative piece. As only six copies are known to exist, it has rarely been seen. The album’s 104 images are accompanied by captions written by General Sheridan’s brother, Colonel Michael V. Sheridan, who wrote daily dispatches that were distributed by the Associated Press.
In his informative introduction, historian Frank H. Goodyear III provides background about the excursion and explains the historic and aesthetic significance of Haynes’s photographs. He then re-creates Arthur’s journey by reintroducing Haynes’s stunning images—along with Sheridan’s original captions—including views of the Tetons and other landmarks; portraits of President Arthur, General Sheridan, and fellow travelers engaged in activities along the route; and images of the Shoshone and Arapaho leaders who gathered to greet the visiting party.
Published on the occasion of the reopening of the Haynes Photography Shop in Yellowstone, A President in Yellowstone offers a unique entry into the park’s storied past.

A President in Yellowstone: The F. Jay Haynes Photographic Album of Chester Arthur's 1883 Expedition (Volume 11) (The Charles M. Russell Center Series on Art and Photography of the American West)

Individual Artists

Art, Ecology, and the Resilience of a Maine Island: The Monhegan Wildlands

LOGAN, BARRY A.

PYE, JENNIFER

Collections, Catalogs & Exhibitions

Rizzoli Electa

At First Light chronicles twenty-six extraordinary artists of the last two hundred years who have lived and worked in Maine. Published to coincide with the state's bicentennial in 2020, the volume considers the significant contributions artists have made to a deeper and more profound understanding of Maine's history, its land and its peoples. Maine's unique and breathtaking landscape--from its rugged coastline, quaint harbors, majestic mountains, and verdant forests--continues to have a powerful effect on the artists who are drawn to its shores. Written and expertly researched by some of the foremost scholars and curators in the field, each chapter focuses on a different artist, featuring the artists' artworks and anchored by breathtaking contemporary photography of their homes, studios, and surroundings. From picturesque bungalows to grander structures with beautiful vistas, the houses and studios featured are as diverse as the artists who have inhabited them. The artists featured include fan favorites to lesser known yet important figures from the eighteenth century to the present day, working in a range of media from painting to photography to sculpture, including: Jonathan Fisher, Winslow Homer, Frank Weston Benson, Charles Herbert Woodbury, John Marin, Marsden Hartley, Rockwell Kent, N. C. Wyeth, Andrew Wyeth, Jamie Wyeth, Marguerite and William Zorach, Rockwell Kent, Marsden Hartley, John Marin, Eliot Porter, Fairfield Porter, Rudy Burckhardt, Yvonne Jacquette, Ashley Bryan, Lois Dodd, Alex Katz, Bernard Langlais, Robert Indiana, David C. Driskell, Molly Neptune Parker, Richard Tuttle, and William Wegman.

At First Light: Two Centuries of Maine Artists, Their Homes and Studios

Komanecky, Michael K.

Goodyear, Anne Collins

What does it mean when we say someone is cool? This luminous collection of portraits and film stills sheds new light on the term, its origins, and its evolution―with some surprising and provocative results. The term “cool” has become such a part of America’s modern lexicon that it seems to have lost its meaning. This stellar collection of photographs from the National Portrait Gallery and from prominent artists, museums, and archives nationwide would argue otherwise. The idea of cool is not only older than we think―it’s also constantly changing, aided by the mediums of portraiture and film. Readers will find unexpected and familiar faces here: Walt Whitman, Frederick Douglass, and Georgia O’Keeffe, as well as James Dean, Bob Dylan, and Chrissie Hynde. In perceptive essays, Joel Dinerstein investigates the evolution of cool from the 1930s to the present while Frank Goodyear explores how the mediums of film and photography have helped define the term. An extensive selection of one hundred chronologically arranged portraits, with biographical information about each subject, profiles major eras and movements of the past decades, each with its own brand of coolness. Exploring cultural icons, this volume encourages readers to find new meaning and depth in the idea of American cool.

American Cool

Dinerstein, Joel

Prestel

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Books by Goodyear III, Frank H.