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Walker Evans
Burroughs Family, Alabama, 1936
$ 5,000
One of the last works available by this artist
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The artwork is available for pickup from the gallery in New York, The United States
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New York, The United States
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About the work
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Medium
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Dimensions cm | inch
27.9 x 28.6 cm 11 x 11.25 inch
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Support
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Framing
Not framed
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Type
Numbered and limited to 75 copies
1 remaining copy -
Authenticity
Work sold with an invoice from the gallery
and a certificate of authenticity -
Signature
Signed artwork
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About the artwork
Artwork sold in perfect condition
Walker Evans' (1903-1975) primary subjects were poor Americans found in rural settings, roadside stands, cheap cafes, simple bedrooms, and small-town main streets. The depression years of 1935-36 were peak years for Evans' work. During those important years Evans honed his skills of observation: “Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.”Read more
Burroughs Family, Hale County, Alabama, 1936 is paper size: 11 x 11.25" and image size: 7.5" x 9.4" A silver gelatin print c.1978 in an edition 44/75. Inscribed in ink on front of print (left margin) with the photographer's blindstamp (lower right margin).
This black and white photograph appears in Walker Evans book "First and Last," (1978), published three years after the artist's death (1975).
Artist's Bio:
"Leaving aside the mysteries and the inequities of human talent, brains, taste, and reputations, the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt." - Walker Evans
Walker Evans' iconic images of small town barbers, churches, and cemeteries reveal a deep respect for the common man. In addition to the iconic "Let Us Now Praise Famous Men" a book of photos by Walker Evans and text by American writer James Agee, published in 1941, Evans' book "First and Last" included the Burroughs Family photographs. First and Last included images from Evans' extensive collection -- a forty-five year archive of negatives.
Born in St. Louis, Missouri, Evans was interested in painting as a child. He spent a year at Williams College, and then quit school to move to New York City. He worked at bookstores and the New York Public Library. Inspired by the works of T.S. Eliot, D.H Lawrence, and James Joyce, Evans focus was on becoming a writer. In 1927 He spent a year in Paris writing short stories and nonfiction essays. When he returned to the US, Evans turned to his camera and brought literature, lyricism, irony, and storytelling to his photography.
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Origin: The United States
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Walker Evans
Walker Evans was an American photographer born in Missouri on 3 November 1903.
As a child, he already showed an interest in art; painting, collecting postcards and practicing photography with his family and friends as his subjects. After dropping out of college, he worked in New York's Public Library, then spent a year in Paris with the aim of becoming a writer, before returning to the Big Apple to work for a stockbroker until 1929. It was during his time as a clerk that he began practicing photography, and his work was greatly influenced by his love of literature; of lyricism, a narrative and irony. Later in his life he would move back to literature again, as he wrote accompanying essays to his articles and photographic projects.
One of his earliest assignments in 1933 covered the Cuban dictator Gerardo Machado, and while documenting the experiences of citizens there he met Ernest Hemingway. During the Depression era in 1935, Evans started working for the Resettlement Administration and the Farm Security Administration as a photographer for government-built communities, documenting pictures which greatly contributed to the visual history of the Great Depression. His work on Let Us Now Praise Famous Men is considered by many to be the most iconic photos in Evans' career, as well as the Depression era itself. With three rural tenant farming families as his subjects, he provided a moving, honest and intimate insight into those living in poverty during the Great Depression for Fortune magazine.
In 1938 Walker Evans: American Photographs was the first ever exhibition dedicated to one photographer at the Museum of Modern Art in New York. The artist then went on to capture his Subway Portraits series of photographs on the New York Subway from a camera strapped to his chest under his coat, unbeknownst to his subjects.
Evans is considered the forerunner of the documentary tradition in American photography, and, with a career spanning forty years, he provided a visual catalogue of US history from the 1920s to the 70s. His black and white photographies dwell on ordinary subjects, with a striking realism and spectator's perspective. In his early photographs he used a large-format 8×10-inch view camera, while he later used a Polaroid SX-70, which was easier for the 70-year old artist to handle. He continued to work up until his death in 1975.
Much of Evans' work can be found in permanent collections of museums such as the Met, MoMA, the J. Paul Getty Museum. The artist has also been the subject of major retrospectives at MoMA and the Centre Pompidou in Paris.
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Walker Evans
Burroughs Family, Alabama, 1936
Photography
$ 5,000
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