situations. Dorothea Lange’s most famous photograph is the Migrant Mother. It is an image taken in Nipomo, California outside of a Pea Pickers Camp. Remarkably, this photograph was almost not taken. Dorothea Lange argued with herself debating whether or not there were already plenty of negatives about the subject of Picker Camps. However, she headed back to camp where sleet and rain had recently destroyed the pea crop causing no work and no money for the pickers. Dorothea approached a mother huddled
Description- “Migrant Mother” was photographed in February 1936 in a pea pickers’ camp in Nipomo, California by Dorothea Lange, while on assignment as a photographer for the Farm Security Administration (FSA). It’s a black and white gelatin silver print/photograph with one light source which is natural sunlight lighting up the left side of the frame. The photograph consisted of one working class mother with three children, who have very worn down, dirty clothing suggesting they are poor. And the mother emotion
“Ever image he sees, every photograph he takes, becomes in a sense a self-portrait. The portrait is made more meaningful by intimacy- an intimacy shared not only by the photographer with his subject, but by the audience.” (Dorothea Lange). Dorothea Lange (May 26,1895- October 11, 1965) was a photographer who is best know for her photographs chronicling the Great Depression. Each of her photos shared a story that touched the hearts of her viewers. The Great Depression, when the world’s economy
The Photo, Migrant Mother, shot by Dorothea Lange, is said to be the one of the most familiar photos of the 20th century. It meets all of the factors to become an iconic image such as; popularity, being able to evoke a strong emotional response, and having been widely reproduced. It became so well known, due to the story behind the image. The image shows viewers the pain and despair in the mother’s eyes regarding the struggle. I chose the image due to how big of an icon it was during the depressive
Social Realism in the Work of Dorothea Lange (1895-1965) Dorothea Lange was an American photographer who was considered among the first documentary photographers in the history. She worked as a studio portrait photographer before she became a documentary photographer for the Farm Security Administration (FSA) in the 1930s. The aim of this essay is to critically analyze two example of Dorothea Lange’s photographs in relation to social realism in the Depression-era in America. In the period of the
Dorothea Lange was an American visionary most famous for her photography during the great depression. Her photographs captured the emotions of the American working class during a time when life in America was most difficult. The photographs and reports she took of the hardships of western rural life shocked the entire United States population and spurred agencies to aid them. Lange’s career was shaped by the west and her legacy continues to inspire photographers today. Dorothea Margaretta Nutzhorn
sticks together. In her drained eyes, her gaze gleams with serenity, for the tiresome trek to California is finally over. The mother has faith that her family is safe and sound, and that she can finally provide for them. In conjunction with her facial expression, the ring on her finger symbolizes the sanctity of family and how family cannot be bought out. The mother could have effortlessly pawned off her ring, and gotten a few decent meals, or even a new pair of clothes out of it, however she
Migrant Mother, Nipomo Valley is a two-dimensional Gelatin Silver Print, taken by Dorothea Lange in 1936. The black and white photograph is of a woman and her three children. The mother is facing forward, but not looking at the camera. She has dark hair and a light skin tone. Her right hand is against her chin. Her face shows wrinkles and she is appears to be frowning, as if worried. She is wearing a checkered shirt unbuttoned to her chest and a second shirt over it. The outer shirt sleeves only
or setting are Dorothea Lange’s “Migrant Mother” (1936) and Cindy Sherman’s “Paintings #92” (1981). Both images portray women caught in distinct positions within
BLACK WALL Tsunamis of black dust wailed across the southwest plains, bleeding over the sun in their bitter darkness, stripping soil, and leaving thousands to abandon the ruins. The Dust Bowl of the 1930s is remembered as an intense struggle during American history. From 1931 to 1939, approximately seventy-five percent of the nation was affected by this era of dust storms and drought. Although the intensity of the Dust Bowl left memories of utter hopelessness, the wicked, merciless storms could