Exhibitions/ Art Object

Winter Landscape

Artist:
George Seeley (American, 1880–1955)
Date:
1909
Medium:
Gum bichromate and platinum print
Dimensions:
Image: 43.7 x 53.8 cm (17 3/16 x 21 3/16 in.)
Classification:
Photographs
Credit Line:
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Accession Number:
2005.100.116
Not on view
A native of Stockbridge, Massachusetts, George Seeley studied painting at the Massachusetts Normal Art School in Boston for three and a half years beginning in l897. During his time there he met F. Holland Day, an eccentric aesthete and early advocate of photography as a fine art (see no. 191). Seeley returned home as a dedicated artist-photographer in l902. When his work was exhibited in the First American Photographic Salon in New York in December l904, Alfred Stieglitz immediately recognized the young man's talent and invited him to join the Photo-Secession. From l906 to 1910, Seeley was an active if somewhat isolated Fellow, the admired newcomer of the group, who lived with his family in the Berkshires and sent soft-focused photographs of willowy maidens in white to Stieglitz for exhibition and for reproduction in "Camera Work." On the occasion of his second exhibition at 291 in l908, Seeley visited New York and saw for the first time original prints by his colleagues.
"Winter Landscape," a large varnished gum print dated l909, would seem to be Seeley's response to the work of Edward Steichen, which had especially impressed him. Boldly simplified in tone, its whip-line contours in perfect accord with the sinuosity of the forms of Art Nouveau, Seeley's impressively grand and gloomy scene, for all the world an enlarged detail from a painting by Edvard Munch, demonstrates his valid claim on a frozen corner of the terrain of art for art's sake.
Inscription: Signed and inscribed in pencil, recto BR: "George H. Seeley // 1909."
Estate of the Artist (controlled by his niece, Mrs. Byron); [Paul Katz, North Bennington, Vermont]; Gilman Paper Company Collection, New York, June 30, 1983

Hood Museum of Art, Dartmouth College. "Winter," February 1, 1986–March 16, 1986.

Berkshire Museum. "George H. Seeley," May 3, 1986–June 29, 1986.

The Metropolitan Museum of Art. "The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection," May 25, 1993–July 4, 1993.

Edinburgh International Festival, Edinburgh, Scotland. "The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection," August 7, 1993–October 2, 1993.

National Gallery of Art, Washington D.C. "The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection," June 19, 1994–September 11, 1994.

The Metropolitan Museum of Art. "Pictorialism in New York, 1900-1915," February 10, 1998–May 31, 1998.

Davis Museum and Cultural Center. "The Arts and Crafts in Boston, 1897-1927," March 6, 1998–July 6, 1998.

Les Galeries nationales du Grand Palais. "1900," March 14, 2000–June 26, 2000.

Kunsthalle Bielefeld. "Abstract Photography," December 3, 2000–February 18, 2001.

Spencer Museum of Art, University of Kansas. "Abstract Photography," March 24, 2001–May 3, 2001.

The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 40," April 19, 2005–July 10, 2005.

Apraxine, Pierre. Photographs from the Collection of the Gilman Paper Company. Reeds Springs, Mo.: White Oak Press, 1985. pl. 135.

Hambourg, Maria Morris, Pierre Apraxine, Malcolm Daniel, Virginia Heckert, and Jeff L. Rosenheim. The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection. New York: The Metropolitan Museum of Art, 1993. no. 144.

Meyer, Marilee Boyd. Inspiring Reform: Boston's Arts and Crafts Movement. Wellesley, Mass.: Davis Museum and Cultural Center, 1997. p. 197.

Dumas, Ann, Robert Rosenblum, and MaryAnne Stevens. 1900, Art at the Crossroads. New York: Solomon R. Guggenheim Museum, 2000.

The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 2012. p. 443.



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