Object number1987.53.41

1987.53.41

Date1969

Artist Rosalie Thorne McKenna (American, 1918-2003)

CultureAmerican

MediumGelatin silver print

DimensionsImage: 8 3/4 x 6 5/8 in. (22.2 x 16.8 cm)
Matted: 22 x 16 in. (55.9 x 40.6 cm)

Credit LineGift of the artist

On View

On view

Period20th c

Classification(s)

Photograph

Terms

male

SignedOn verso, possibly initialed by artist, lower right in ink: RMcK 1969

InscribedOn verso, possibly by artist, right center in green crayon: 1969; center in ink: ROBERT GRAVES / RG 569 A-6; by artist, lower left in pencil: ROBERT GRAVES / at Deya [sic], Majorca; by unidentified hand, lower right corner in pencil: 84.53.41

MarkingsOn verso, stamped center: Photo By: / ROLLIE MCKENNA / ONE HANCOX STREET / STONINGTON, CONN. / AREA CODE 203 533-0110 / Not To Be Reproduced / Without Permission / Please Credit With Photo; on verso, stamped center lower: COPYRIGHT On printed label, on verso lower right: © Rollie McKenna / 1 Hancox Street / Stonington, CT 06378 / (203) 535-0110/2126

ProvenanceGift of the artist

Vassar Exhibitions

Making a Life in Photography: Rollie McKenna

Label TextIn 1950, McKenna met American poet John Malcolm Brinnin. He introduced the young photographer to many modernist poets, and their friendship spanned most of McKenna’s life. When they met, Brinnin served as director of the YM-YWHA Poetry Center, New York (today part of 92NY), where he organized McKenna’s first solo exhibition in 1951, featuring portraits of writers. Portrait photography would soon become McKenna’s bread and butter, introducing her to the literary world and establishing her decades-long career as a freelance photographer. She became known for portraits that defied convention and sought to capture real, human qualities. She scrapped the studio altogether and instead photographed people where they were most comfortable. Her portraits of writers picture them at their desks, often at home and sometimes mid-conversation, having a cigarette, or even sitting casually on the floor. Unlike traditional studio portraits, which to McKenna looked stiff, contrived, and lifeless, her pictures achieved an expressive candidness. “My objection to posed studio photographs,” she said, “is that they tend to have the stamp of the studio or the photographer, and not necessarily of the person.”

DescriptionFace and neck of man with wispy white hair and lips parted, wearing a scarf with ring, and eyes looking to his right

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email loebcollections@vassar.edu