Scanned from a slide by Adam Pape. Color corrected by Pat Cagney.

North Choir Aisle, Saint Mary the Virgin, Normany Abbey Church, Tewkesbury, England

Artist Frederick H. Evans (English, 1853-1943)

Date1890

MediumPlatinum print

DimensionsOverall, Image: 12 7/8 × 11 1/8 in. (32.7 × 28.3 cm)
Overall, Mat: 19 15/16 × 16 in. (50.6 × 40.6 cm)

ClassificationsPhotography

Credit LineMuseum purchase, in memory of Alice R. and Sol B. Frank, and partial gift of Drs. Nancy and Lea Wilds

Object number97.46

Terms

Norman Abbey Church, St. Mary the Virgin

On View

Not on view

DescriptionThis platinum print is mounted on original board. It depicts Tewkesbury, North Choir Aisle in the Norman Abbey Church, St. Mary the Virgin.

Label TextFrederick H. Evans English (1853-1943) North Choir Aisle, St. Mary the Virgin, Norman Abbey Church, Tewkesbury, England, 1890 Platinum print Purchase, gift of Drs. Nancy & Lea Wilds and in memory of Alice R. and Sol B. Frank 97.46 Although Frederick Evans joined the Linked Ring Brotherhood in 1900, his work is more closely identified with photographic purism than with that group's pictorialist aesthetic. The Linked Ring was formed in London to promote photography as a fine art. They believed in making painterly photographs, which, because they looked like art, would be considered as art. As a writer, Evans campaigned for straight, unmanipulated prints and his luminous photographs of English and French architecture, influenced by J. M. W. Turner watercolors, have established Evans as perhaps the greatest architectural photographer. This statement by Evans is from a lecture given at the opening of his exhibition at the Royal Photographic Society in London on April 25, 1900, as reprinted in The Photographic Journal of April 30, 1900: "My chief aim has always been to try for such effects of light and shade as will give the irresistible feeling that one is in an interior, and that it is full of light and space. Realism in the sense of true atmosphere, a feeling of space, truth of lighting, solidity and perfection of perspective (in the eye's habit of seeing it), has been my ambitious aim; and to say that I have not achieved it, but only hinted at it, would be praise enough, considering the really great difficulties in the way of a full achievement, and how few examples of such even the great 'art world' can point to. . . ." Edited By: GLY Edited Date: 11/07/2003