Cover image for A new history of photography
A new history of photography
Frizot, Michel.
Uniform Title:
Nouvelle histoire de la photographie. English.
Publication Information:
Köln : Könemann, [1998]

Physical Description:
775 pages : illustrations ; 30 cm
General Note:
Translation of: Nouvelle histoire de la photographie.
Added Author:
Format :


Call Number
Material Type
Home Location
Item Holds
TR15 .N6813 1998 Adult Non-Fiction Central Closed Stacks-Oversize
TR15 .N6813 1998 Adult Non-Fiction Central Closed Stacks

On Order

Reviews 2

School Library Journal Review

YA-This book is well worth its weight in gold-and it is very heavy. It covers the beginnings of the art form through 160 years to the present. While the 41 essays by 29 contributors have a European slant, American photographic movements are not slighted. There is much discussion of photography as art vs. photography as history and the commentary comes down firmly on both sides. War photos as well as images by Alfred Stieglitz and Edward Steichen appear, and there is even a section on "Photographs as Memories." Walker Evans and Lewis Carroll are included as well as entire portfolios of important contributions, e.g., W. Eugene Smith's Pittsburgh. The writings are certainly useful and interesting, but the real impact of the book is the sheer abundance and diversity of its over 1000 black-and-white and full-color photographs. An extensive bibliography, notes, and index make this a useful tool for students of history as well as those studying art and photography, but the marvelous reproductions make it a browser's dream.-Susan H. Woodcock, Kings Park Library, Burke, VA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Finally our histories of photography are growing in number and kind: the single view (Newhall, 1982), the summary of varied views (Rosenblum, 1997), and the anthology (Lemagny & Rouille, 1986). This huge new anthology is a quite useful complement to existing histories, bringing multiple views (40 essays by 29 authors of seven nationalities) to the subject, ranging from inevitable repetition of well-known facts, periods, and techniques (Frizot on calotype), to refreshingly new (or at least different) views and subjects (a section on Czechoslovakia, Molly Nesbit on Atget, Elvire Perego on amateurs, Stuart Alexander on photographic institutions and practices). It is chronological and thematic, interspersed with boxes and portfolio sections on diverse topics. It is least successful in analysis of reproductions (which do include many selections beyond the overused canon), in discussion of quality, and in recounting the breadth of change and development in photography since the 1950s (it overdoes documentary, pop, conceptual, and postmodernism). Even so large and successful a book cannot do justice to photography's histories and major players: there is no mention of Chuck Close, Robert Heinecken, or Marie Cosindas; the bibliography, as good as it is, often does not list major sources for a topic (see entries on Winogrand and Siskind). Nonetheless, a welcome addition. All levels. C. Chiarenza emeritus, University of Rochester