Gum bichromate over gelatin silver or platinum print
44.0 x 53.8 cm. (17 5/16 x 21 3/16 in.)
Gift of Marion D. Byron and Purchase, Warner Communications Inc. Purchase Fund, 1981
Not on view
As hand-held cameras became popular among amateurs, photographers with artistic ambitions turned to techniques that demanded creativity and skillful manipulation. Alfred Stieglitz invited Seeley to join the Photo-Secession artistic confraternity and included Seeley’s work in exhibitions of Pictorialist photography. Despite the favorable attention his work received, Seeley—a Massachusetts public-school art teacher—made photographs for the pleasure of craftsmanship rather than for public acclaim or financial profit, writing to a friend that he found “an honest effort is always a satisfaction.” Golden October casts his youngest sister and favorite model, Laura, in an allegorical light. His dramatic handling transforms a sibling, costumed in a cloak made by their mother, into an autumnal icon.
George Seeley; Marion D. Byron (the artist's neice)
The Metropolitan Museum of Art. "Counterparts: Form and Emotion in Photographs," February 26, 1982–May 1, 1982.
Contemporary Arts Center, Cincinnati. "Counterparts: Form and Emotion in Photographs," May 20, 1982–July 2, 1982.
Dallas Museum of Art. "Counterparts: Form and Emotion in Photographs," August 4, 1982–September 13, 1982.
San Francisco Museum of Modern Art. "Counterparts: Form and Emotion in Photographs," November 19, 1982–January 9, 1983.
Corcoran Gallery of Art. "Counterparts: Form and Emotion in Photographs," February 22, 1983–April 18, 1983.
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 59," May 15, 2012–September 9, 2012.
Dimock, George, and Joanne Hardy. Intimations & Imaginings: The Photographs of George H. Seeley. Pittsfield, Mass.: Berkshire Museum, 1986. no. 25, p. 31.