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Walker Evans (1903-1975) is, without doubt, one of the most influential American photographers ever, and many of his images have become fixed in the collective memory. But while Evans' uncompromising depiction of poverty during the Great Depression of the 1930s, the subject of a series commissioned by the Farm Security Administration, has become a key chapter in the history of photography, his equally innovative images from later decades have generally commanded less attention. This exciting new monograph attempts to redress the balance by examining Evans' complete body of work, and features many rarely seen photographs, including his final works, a sequence of Polaroids shot in the early 1970s (a sequence made possible by an unlimited supply of film from its manufacturer). Evans' re-ascendancy in the 1970s, and his close relationship with legendary Museum of Modern Art curator John Szarkowski, are also closely examined, in this essential and definitive volume on a great photographer who certainly achieved his aim to produce pictures that were "literate, authoritative, transcendent."Born in St. Louis, Missouri, Walker Evans (1903-1975) took up photography in 1928. His book collaboration with James Agee, Let Us Now Praise Famous Men (1941), which portrayed the lives of three white tenant families in southern Alabama during the Depression, has become one of that era's most defining documents. Evans joined the staff of Time magazine in 1945, and shortly after moved to Fortune magazine, where he stayed until 1965. That year, he became a professor of photography at the Yale University School of Art. Evans died at his home in Old Lyme, Connecticut, in 1975.

fotografie --- documentaire fotografie --- Verenigde Staten --- twintigste eeuw --- Evans Walker --- 77.071 EVANS --- Exhibitions --- Photographe --- USA --- Photography, Artistic --- Evans, Walker, --- Cincinnati Art Museum --- Cincinnati Museum --- Cincinnati Museum Association. Art Museum --- Cincinnati (Ohio). Art Museum --- États-Unis

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Ballet --- Dance --- Pantomime --- Costume --- Stage-setting and scenery --- Ballet Russe de Monte Carlo --- Cincinnati Art Museum --- Cincinnati Museum --- Cincinnati Museum Association. Art Museum --- Cincinnati (Ohio). Art Museum --- History --- Stage design. Scenography --- anno 1930-1939 --- anno 1940-1949 --- United States --- United States of America

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Art --- Cincinnati Art Museum --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Catalogs --- Cincinnati Museum --- Cincinnati Museum Association. Art Museum --- Cincinnati (Ohio). Art Museum --- Catalogs. --- Art, Primitive

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History --- Cincinnati Historical Society --- Cincinnati Historical Society. --- Ohio River Valley --- Ohio --- Cincinnati (Ohio) --- Ohio. --- Ohio River Valley. --- Cincinnati --- Aspects, Historical --- Historical Aspects --- Aspect, Historical --- Historical Aspect --- Histories --- CHS --- Cincinnati Historical Society (Founded 1831) --- Historical and Philosophical Society of Ohio --- Cincinnati Museum Center --- Ohio Valley --- United States --- Ahai͡ --- Ehai'e --- Ehai'e Zhou --- Medinat Ohayo --- Ngò-hài-ng --- Ochaio --- Ogaĭo --- Ogayo --- Ohaĭo --- Ohaio-ju --- Ohaiosh --- Ohaïyo --- Ohajas --- Ohajo --- Ohayo --- Ohium --- Okhaĭo --- Okhaĭo Muzh Uls --- Oohááyoo Hahoodzo --- Respublica Ohioensis --- Shtat Ahai͡ --- State of Ohio --- Ūhāy --- T︠S︡int︠s︡innati (Ohio) --- Covalts Station (Ohio) --- Fort Washington (Ohio : City) --- Losantiville (Ohio) --- Porkopolis (Ohio) --- Queen City (Ohio) --- Queen City of the West (Ohio) --- Sinsinati (Ohio) --- City of Cincinnati (Ohio) --- أوهايو --- Ūhāyū --- Штат Агаё --- Shtat Ahai︠o︡ --- Агаё --- Ahai︠o︡ --- Охайо --- Οχάιο --- Ngò-hài-ngò --- 오하이오 주 --- 오하이오 --- אוהיו --- מדינת אוהיו --- Охајо --- Охайо Муж Улс --- オハイオ州 --- Ohaioshū --- オハイオ --- Огайо --- אהאיא --- 俄亥俄州 --- 俄亥俄 --- History.