Eudora Welty Photographer. The Photograph as Revelation
Résumé
« We come to terms as well as we can with our lifelong exposure to the world, and we use whatever devices we may need to survive. » (One Time, One Place, 12)
Much has been written about Eudora Welty as a Southern artist, and her photography is now recognized as fully part of her œuvre.[1] My modest aim in these brief remarks is to point at her other contribution as photographer that to the idiom of photography and to suggest that, in the context of the 1930s when all of the photographs under consideration were made , she should be seen as an important albeit discreet link in the chain of photographic modernity.[2] I would even venture to say that her qualitative though not quantitative place is alongside much better-known artists such as Ben Shahn or Dorothea Lange, and that her photographs in many respects anticipate by 20 years those of Robert Frank, the great landmark of post-war photography.
Much has been written about Eudora Welty as a Southern artist, and her photography is now recognized as fully part of her œuvre.[1] My modest aim in these brief remarks is to point at her other contribution as photographer that to the idiom of photography and to suggest that, in the context of the 1930s when all of the photographs under consideration were made , she should be seen as an important albeit discreet link in the chain of photographic modernity.[2] I would even venture to say that her qualitative though not quantitative place is alongside much better-known artists such as Ben Shahn or Dorothea Lange, and that her photographs in many respects anticipate by 20 years those of Robert Frank, the great landmark of post-war photography.
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