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Ansel Adams ‘Thunderstorm, Yosemite Valley, Yosemite National Park, California’
作品估价：USD 20,000 - 30,000
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图录号：
2
拍品名称：
Ansel Adams ‘Thunderstorm, Yosemite Valley, Yosemite National Park, California’
拍品描述：
Ansel Adams
1902 - 1984
‘Thunderstorm, Yosemite Valley, Yosemite National Park, California’
gelatin silver print, mounted, signed in pencil on the mount, the photographer’s Carmel studio stamp (BMFA 11), with title and date in ink, on the reverse, framed, The Cleveland Museum of Art and The Friends of Photography exhibition labels on the reverse
image: 19½ by 15 in. (49.5 by 38.1 cm.)
Executed in 1945, probably printed between 1973 and 1977.
The Estate of the photographer to The Friends of Photography, Carmel, 1984
Acquired from the above, 2002
Ansel Adams, Ansel Adams: Yosemite and the Range of Light (Boston, 1979), pl. 30
Peter Galassi, Ansel Adams in Yosemite Valley: Celebrating the Park at 150 (Boston, 2014), p. 185
Shanghai, Shanghai Gallery, People’s Exhibition Hall, Ansel Adams: Photographer, February 1983, and traveling thereafter to: Beijing, National Museum of Art, March 1983; Tokyo, Odakyu Store Art Gallery, June 1983; Hong Kong Arts Centre, July – August 1983; San Diego, Museum of Photographic Arts, June – August 1984; Haifa, Museum of Modern Art, May – August 1987
San Francisco, Ansel Adams Center, Yosemite Before Ansel Adams, March 1993
San Francisco, Ansel Adams Center, Ansel Adams, a Legacy: Masterworks from the Friends of Photography Collection, March – June, 1997, and traveling thereafter to: Chattanooga, Tennessee, Hunter Museum of Art, July – September, 1997; Louisville, Kentucky, J. B. Speed Museum, September – November 1998; Fort Wayne, Indiana, Fort Wayne Museum of Art, December 1998 – February 1999; Japan, Nihombashi, Mitsukoshi Department Store Gallery, March, 1999; Japan, Ehime Prefecture Museum, June – July 1999; Japan, Toyama Prefecture, Tonami City Museum, July – August 1999; Japan, Hokkaido, Kushiro Art Museum, September – October 1999; Japan, Kawasaki City Museum, October – December 1999
Billings, Montana, Yellowstone Art Museum, Ansel Adams: a Legacy, October 2002 – January 2003 and traveling thereafter to:University of Texas at Austin, Harry Ransom Center, Ansel Adams: a Legacy, August 2005 – January 2006Loretta and Ligonier, Pennsylvania, The Southern Alleghenies Museum of Art, March – November 2006; Cleveland, Ohio, Cleveland Institute of Art, May – August 2007; Tucson Museum of Art, October 2009 – February 2010; Cartersville, Georgia, Booth Western Art Museum, September 2010 – March 2011; Missoula, Montana, Missoula Art Museum, October 2011 – April 2012; Helena, Montana, The Holter Museum of Art, January – April 2013; Charlottesville, Virginia, University of Virginia, The Fralin Museum of Art, June – October 2013
By the mid-1940s Adams gained maturity and confidence in capturing the vast landscapes of the American West following a two-year project under the auspices of the Department of the Interior. His landscapes began to grandly showcase his advanced technical aptitude as well as his ability to craft harmonious compositions. In Thunderstorm, Yosemite Valley, Adams points his camera eastward in the famous Tunnel View, creating a harmonious composition that expresses each element of the natural landscape: densely forested earth, steep rock faces, dramatic skies, and rushing water.
1902 - 1984
‘Thunderstorm, Yosemite Valley, Yosemite National Park, California’
gelatin silver print, mounted, signed in pencil on the mount, the photographer’s Carmel studio stamp (BMFA 11), with title and date in ink, on the reverse, framed, The Cleveland Museum of Art and The Friends of Photography exhibition labels on the reverse
image: 19½ by 15 in. (49.5 by 38.1 cm.)
Executed in 1945, probably printed between 1973 and 1977.
The Estate of the photographer to The Friends of Photography, Carmel, 1984
Acquired from the above, 2002
Ansel Adams, Ansel Adams: Yosemite and the Range of Light (Boston, 1979), pl. 30
Peter Galassi, Ansel Adams in Yosemite Valley: Celebrating the Park at 150 (Boston, 2014), p. 185
Shanghai, Shanghai Gallery, People’s Exhibition Hall, Ansel Adams: Photographer, February 1983, and traveling thereafter to: Beijing, National Museum of Art, March 1983; Tokyo, Odakyu Store Art Gallery, June 1983; Hong Kong Arts Centre, July – August 1983; San Diego, Museum of Photographic Arts, June – August 1984; Haifa, Museum of Modern Art, May – August 1987
San Francisco, Ansel Adams Center, Yosemite Before Ansel Adams, March 1993
San Francisco, Ansel Adams Center, Ansel Adams, a Legacy: Masterworks from the Friends of Photography Collection, March – June, 1997, and traveling thereafter to: Chattanooga, Tennessee, Hunter Museum of Art, July – September, 1997; Louisville, Kentucky, J. B. Speed Museum, September – November 1998; Fort Wayne, Indiana, Fort Wayne Museum of Art, December 1998 – February 1999; Japan, Nihombashi, Mitsukoshi Department Store Gallery, March, 1999; Japan, Ehime Prefecture Museum, June – July 1999; Japan, Toyama Prefecture, Tonami City Museum, July – August 1999; Japan, Hokkaido, Kushiro Art Museum, September – October 1999; Japan, Kawasaki City Museum, October – December 1999
Billings, Montana, Yellowstone Art Museum, Ansel Adams: a Legacy, October 2002 – January 2003 and traveling thereafter to:University of Texas at Austin, Harry Ransom Center, Ansel Adams: a Legacy, August 2005 – January 2006Loretta and Ligonier, Pennsylvania, The Southern Alleghenies Museum of Art, March – November 2006; Cleveland, Ohio, Cleveland Institute of Art, May – August 2007; Tucson Museum of Art, October 2009 – February 2010; Cartersville, Georgia, Booth Western Art Museum, September 2010 – March 2011; Missoula, Montana, Missoula Art Museum, October 2011 – April 2012; Helena, Montana, The Holter Museum of Art, January – April 2013; Charlottesville, Virginia, University of Virginia, The Fralin Museum of Art, June – October 2013
By the mid-1940s Adams gained maturity and confidence in capturing the vast landscapes of the American West following a two-year project under the auspices of the Department of the Interior. His landscapes began to grandly showcase his advanced technical aptitude as well as his ability to craft harmonious compositions. In Thunderstorm, Yosemite Valley, Adams points his camera eastward in the famous Tunnel View, creating a harmonious composition that expresses each element of the natural landscape: densely forested earth, steep rock faces, dramatic skies, and rushing water.