Object number1987.53.56
Ezra Pound, Venice, Italy
Date1968
Artist
Rosalie Thorne McKenna
(American, 1918-2003)
CultureAmerican
MediumGelatin silver print
DimensionsImage: 6 5/16 x 9 3/8 in. (16 x 23.8 cm)
Matted: 22 x 16 in. (55.9 x 40.6 cm)
Matted: 22 x 16 in. (55.9 x 40.6 cm)
Credit LineGift of the artist
On View
Not on viewPeriod20th c
Classification(s)
InscribedOn verso, possibly by artist, center upper in red ink: EZRA POUND; in red pencil: EP868-6; by unidentified hand, lower right corner in pencil: 87.53.56
MarkingsOn verso, stamped center lower: Photo By: / ROLLIE MCKENNA / ONE HANCOX STREET / STONINGTON, CONN. / AREA CODE 203 533-0110/2126 / Not To Be Reproduced / Without Permission / Please Credit With Photo
On printed label, verso upper right: © Rollie McKenna / 1 Hancox Street / Stonington, CT 06378 / (203) 535-0110/2126
BibliographyRosalie Thorne McKenna, Rollie McKenna: A Life in Photography (New York: Knopf, 1991), 152.
Saturday Review (May 15, 1971), 53.
“Photographer Rollie McKenna shoots the greats,” The Day, New London, CT (May 10 1976), 22. ProvenanceGift of the artistVassar Exhibitions
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.”
DescriptionWhite haired man with beard sitting in wicker fan style chair with elbows on arm rests and hands touchingTerms
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