Anderson Morris
William Eggleston is often considered the father of modern color photography. Born in Memphis, Tennessee on July 27, 1939, Eggleston photographed daily life as he saw it by placing his subject at the center of his photos, with the rest of the image revolving around that central, circular core. He used light and color to his advantage, highlighting form and giving banal scenes a sense of brilliance. Before Eggleston’s work, color film was not respected among high art photographers. It was used in advertisements, billboards, and photojournalism, which in the eyes of these photographers took little-to-no skill. Previously, photographers focused on form, composition, subject, and “the decisive moment.” However, Eggleston’s focus on color and light was something that had never been seen before in color photography. It was not a quick and easy process for him. His first show at the MET was hated by many. Through his many works, he eventually succeeded in raising the platform of color photography to high art. This exhibition will show photographs that illustrate the historical rise of color photography into the realm of high art. Eggleston’s work is pivotal in this shift, as it defines the medium of color film in high art through his ability to give a sense of wonder to everyday situations.
Title: Mount Williamson, Sierra Nevada, from Manzanar, California
Artist: Ansel Easton Adams (American, San Francisco, California 1902–1984 Carmel, California)
Date: 1944, printed 1973
Medium: Gelatin silver print
Accession Number: 1979.585.13
This photograph by Ansel Adams is an example of what was accepted as high art photography before color photography was accepted. Adams was one of the founders of Group f/64, which was a group that shot their photos at a high aperture to capture photos in the highest definition possible. This photo displays a masterful understanding of the subject and knowledgeable use of the camera by capturing a scene with a powerful tonal range.
Advertisement for Marlboro
Circa 1968
An example of how color film was used around the time that Eggleston began shooting, this is a common Marlboro advertisement depicting one of the brand-famous “Marlboro Men.” This is why color photography was disdained among high art photographers: it was used to sell products, and the photos did not meet high art standards. In this photo, the quality is low and there is a lot of noise. Furthermore, the colors are highly saturated and the lighting is harsh.
Advertisement for Coca-Cola
Circa 1960
This Coca-Cola advertisement from the 60’s further illustrates why high art photographers viewed color photography with disdain. There is nothing special about this image, as it is a mere snapshot of a summer day and a man enjoying a Coke. The dark and defined lines around the two people’s bodies in the photo are harsh and difficult to look at. Furthermore, the water splashing off of the man’s head is blurred and appears fake.
Title: Tennessee
Artist: William Eggleston (American, born Memphis, Tennessee, 1939)
Date: ca. 1971–74
Medium: Dye transfer print
The Met
Accession Number: L.2015.5.1.2
A photo that is telling of how Eggleston shoots, this shot depicts a soft drink bottle sitting on the hood of a car. The bright orange-red liquid glows in the golden light, directing the viewer's attention to the center of the photo. His use of the car's side panel as negative space further focuses the viewer on the bottle, while the shadow of the bottle and lines on the hood direct attention to the center of the photo. By using these elements, Eggleston transforms something that any passerby may see on a daily basis into a work of art.
Title: Memphis
Artist: William Eggleston (American, born Memphis, Tennessee, 1939)
Date: 1965
Medium: Dye transfer print
The Met
Accession Number: L.2015.5.1.1
This photograph was shot outside of a grocery store in Memphis, Tennessee. This shows Eggleston’s knowledge and mastery in the realm of street photography, as he is able to capture a delightful moment in time. Eggleston photographs the teenagers profile directly from the side in brilliant lighting. There are no harsh shadows on his face, which is the focus of the image. As the viewer’s attention shifts away from the boy, the sunlight casts a strong shadow of the boy, the woman, and Eggleston himself on the wall, giving a distorted and diagonal mirror image. His well defined image of these two people helps distinguish him as a high art photographer instead of a photojournalist or advertising photographer.
Title: En route to New Orleans
Artist: William Eggleston (American, born Memphis, Tennessee, 1939)
Date: ca. 1971–74
Medium: Dye transfer print
The Met
Accession Number: L.2015.5.4.14
William Eggleston’s En Route to New Orleans is a simple yet compelling photo which uses color, shape, and lines to emphasize the cocktail which rests in the center of the photo. Eggleston’s use of bright and dull colors further draws attention to the glass. As the viewer’s attention moves away from the glass, the striking yet delicate form of the hand may catch their interest. This is another example of how he uses shadows to create mirrored images. This shows Eggleston’s ability to capture a seemingly banal moment and give it life, helping him compete with black and white photography among high art.
Title: Untitled (White Building Across Parking Lot)
Artist: William Eggleston (American, born Memphis, Tennessee, 1939)
Date: 1965–74, printed 2002
Medium: Dye transfer print
The Met
Accession Number: 2017.93
This photograph utilizes the parking lot lines to direct the viewer’s attention to the white house that rests in the middle of the composition. If this scene were to be captured in monochrome, it wouldn’t be anything special. The white house would be bland if it were surrounded by a gray sky. Due to the colorful nature, the white stands out even more. Eggleston is able to make a landscape photograph that can compare with the likes of an urban Adams, bringing a more professional edge to color.
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