History of Photography


Introduction History of Photography (Encyclopaedia Britannica)

A World History of Photography (by Naomi Rosenblum)

The Story Behind the Pictures 1827-1991 (by Hans-Michael Koetzle)

Photographers' Dictionary
(based on "20th Century Photography - Museum Ludwig Cologne")


 

 



Photographers' Dictionary

(based on "20th Century Photography-Museum Ludwig Cologne")

 
 

 

 


Angus McBean

(From Wikipedia, the free encyclopedia)

Angus McBean (June 8, 1904 - June 9, 1990), was a Welsh photographer, associated with surrealism.
McBean was born in Newbridge, Monmouthshire, the son of a coal mine surveyor. He bought his first camera - a 2 1/2 x 3 1/2 inch autographic Kodak - and tripod as World War I was ending. Fascinated by the apparently magical properties of photography, he wanted to be able to take pictures of people and sold a gold watch left to him by his grandfather to raise the five pounds necessary for the equipment.
In 1925, after his father's early death, McBean moved with his mother and younger sister to Acton, London. He worked for Liberty's department store in the antiques department learning restoration, while his personal life was spent in photography, mask-making and watching plays in the West End theatre. In 1932 he left Liberty and grew his distinctive beard to symbolize the fact that he would never be a wage-slave again. The worked as a maker of theatrical prop's, including a commission of medieval scenery for John Gielgud's 1933 production of "Richard of Bordeaux."
McBean's masks became a talking point in social columns, and were much admired by the leading Bond Street photographer Hugh Cecil. Cecil offered McBean an assistant's post at his Mayfair studio, and having learnt the secrets of Cecil's softer style and after using the studio at night, McBean set up his own studio 18months later in a basement in Belgrave Road, Victoria, London.
The artist McBean as he was still known as a mask maker, gained a commission in 1936 from Ivor Novello for masks for his play "The Happy Hypocrite." Novello was so impressed with McBean's romantic photographs that he commissioned him to take a set of production photographs as well, including young actress Vivien Leigh. The results, taken on stage with McBean's idiosyncratic lighting, instantly replaced the set already made by the long-established but stolid Stage Photo Company. McBean had a new career and a photographic leading lady: he was to photograph Vivien Leigh on stage and in the studio for almost every performance she gave until her death thirty years later.
McBean resultantly became one of the most significant portrait photographers of the 20th century, and was known as a photographer of celebrities. In the Spring of 1942 his career was temporarily ruined when he was arrested in Bath for criminal acts of homosexuality. He was sentenced to four years in prison and was released in the autumn of 1944. After the Second World War, McBean was able to successfully resume his career.
There were in effect two periods to McBeans career, his pre and post war phases. Pre war he was a lot more confident in himself and experimented successfully with surrealism, indeed his work with the likes of Vivian Leigh are some of the most accessible surrealist photographic images known. Post war he reverted to a more regular style of portraiture photography, nearly always working with the entertainment and theatre profession.
In 1945, not sure whether he would find work again, McBean set up a new studio in a bomb-damaged building in Endell Street, Covent Garden. He sold his Soho camera for £35, and bought a new half-plate Kodak View monorail camera to which he attached his trusted Zeiss lenses. McBean was commissioned first by the Stratford Memorial Theatre to photograph a production of "Anthony and Cleopatra", and all his former clients quickly returned. Through the late 1940s and 50s he was the official photographer at Stratford, the Royal Opera House, Sadlers Wells, Glyndebourne, the Old Vic and at all the productions of H.M. Tennent, servicing the theatrical, musical and ballet star system. Magazines such as the Daily Sketch and Tatler vied to commission McBean's new series of surreal portraits.
McBean's later works included being the photographer for The Beatles' first album, surrealist work as well as classic photographs of individuals such as Agatha Christie, Audrey Hepburn, Laurence Olivier and Noel Coward. Both periods or his work (pre and post war) are now eagerly sought by collectors and his work sits in many major collections around the world.

 


Self Portrait, 1947

 


Audrey Hepburn   1946   

 

Portrait of Hugh Laing

 


Elsa Lanchester, 1938

 

Beatrice Lillie

1959

 


Leslie Henson

 

Cousin Rowena

1940

 

Hermione Baddeley

 

June Clyde

1940

 

The Third Eye

 

A Midsummer's Night Dream, 1983

 

An evening with Beatrice Lillie

1950

 


Svetlana Beriosova

 


Rene Ray, 1938

 


Vivien Leigh, 1938

 


Ivor Novello, 1947

 


Mae West and her Puppet, 1948

 


Hermione Gingold and Hermione Baddeley, 1950

 


Dame Margot Fonteyn, 1951

 


Spike Milligan, 1961, for the album cover Milligan Preserved

 


Danny La Rue

 

Janina as Judith in "The Dance of Death", 1968

 

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