А вот это — наполненный очень интересной информацией проект Olle Östlind'а:
The Unknown Henry B. Goodwin
http://www.bostream.nu/ostlind/goodwin/goodw_us.shtml
Girl with Wet Hair — Olive Passmore 1911
Интересно вот это проводимое Гудвином различие:
In 1914 at the annual meeting of Svenska Fotografernas Förbund, (The Swedish Photographers´Association), Goodwin made an important statement before the members and introduced the demand for 'pictorial' pictures contrary to 'reproductional'. The purpose of his speech was to collect a representative selection of pictures to the 'London Salon of Photography'. The year before Goodwin had contacted the editor of the 'Photograms of the Year', Mr. F. J. Mortimer, and had settled with him that Goodwin should try to arrange a collection of pictures from the Scandinavian countries for the Salon.
Einar Nerman — Swedish artist, c. 1915
In October 1921 Henry Goodwin published another article in the series "Colleagues Around the World", this time about the distinguished English photographer, Herbert Lambert. Goodwin had known Lambert since 1913 and he used to visit him and his wife Edith in Bath when he visited London. In the article about Lambert, Goodwin quotes the American photographer Pirie McDonald:
Madeleine — Herbert Lambert, Bath, c. 1920
"...
'Make whatever tricks you want, make your pictures as beautiful as you can - you can make them to be liked by ten thousand juries. If the photography is intended for the model´s mother, and the mother does not want to clasp it to her breast, then it is of no value. We may wonder what their mothers did with the pictures of Daphne, Nancy and Madeleine. Lambert leaves us in no doubt about it."
In April 1922 Goodwin was invited by the the Royal Photographic Society to exhibit his America-collection at the R.P.S. galleries at Russell Square in London. He also gave three lectures in London: 'Naked versus Nude', before the R.P.S. 'Pictorial Group', 'Portraiture Pure and Simple', at the R.P.S. April meeting and 'Photographic Portraiture versus Artistic Bluff' at a meeting with The Anglo-Swedish Society. The lecture before the Society was originally labelled: 'Ordinary Orthodox Portraiture versus The Damnable Heresy of the Duhrkoopties'. The target of his attack was the German pictorialist photographer, Rudolf Dührkoop, who had died five years before, and his daughter Minya Diez-Dührkoop.
Goodwin´s exhibition was, according to the newspaper reviews, a great success, and The Graphic dedicated a full page to Goodwin and published four of his camera pictures. The Graphic also payed a great deal of attention to Goodwin´s crusade towards the artificial and the sensation-seeking development of photography:
"Dr. Goodwin's attitude was clearly brought out in lectures before the Society, in which he attacked the tendency on the part of photographers to go outside the proper limits of art, and translate photography into theatrography, and he threw much ridicule on fantastic lighting and other methods of faking."
Systrarna Bergsten — The Bergsten Sisters, 1919.
См. также специально раздел
Henry B. Goodwin and The New Objectivity
http://www.bostream.nu/ostlind/goodwin/index_us2.shtml
Просто невозможно не привести большой фрагмент текста:
After the War everything changed. During the period 1890-1910, and even longer, pictorialism, an impressionistic style, prevailed in photography. Henry Goodwin has the reputation of being a pictorial photograper, and many of his fellow photographers in other countries represented the same era, but Henry Goodwin was a man who had his own ideas about most things.
He made his camera pictures in a pictorialistic style and he preferred to use the manual non silver printing methods. At the same time he liked to talk about himself as an expressionist, being an admirer of the Norwegian expressionist painter Edward Munch. In 1918 he stated:
"Impressionism is just a transitional stage, which has, after a couple of decades of rich development, been replaced by lines with deep, sound roots in earlier good tradition of art."
Five years later he wrote: "The impressionistic view of 'How I see it' has had to yield to expressionism´s serving 'How I see it'. The artist´s first thought should be the characterization of the model. Pictorial and technical aspects will have to come second."
As was mentioned before Henry Goodwin was influenced by the great German photographer Nicola Perscheid at the beginning of his career and Perscheid continued to be of a great importance to him through the years. In addition to Perscheid there was another photographer who was of great significance to Goodwin, Nahum E. Luboshez. Luboshez, who was Eastman Kodak´s travelling technical expert, was born in Russia, but had New York and London as residences and was always travelling about. The first time Goodwin and Luboshez met was when they both visited Perscheid in Berlin.
Luboshez deprecated all kinds of manipulative printing methods and was a keen advocate of 'clean, sound, straightforward photography' by demonstrating how to use the 'honest' bromidepaper for artistic purposes. Goodwin came to sympathize with Luboshez for two main reasons: the friendship between Luboshez and Perscheid and the fact that Goodwin around 1919 was ready to enter a new phase of his development - towards 'straight photography' - but in his own way.
He appreciated some of the works of the new objectivity generation with names such as Alfred Renger-Patzsch, Laszlo Moholy-Nagy and Karl Blossfeldt. On the other hand he claimed that the debate about 'straight photography' versus 'manipulative pictorial photography' was a fictious one:
'The manipulative work starts when the negative is made'. 'The only thing that has been true in the debate is the appeal to study nature - reality'.
Goodwin was critical to the way the new objectivity photography was developing and the enjoined limitations in picture making. Goodwin continued to use nonsilver processes for the sake of appearance and permanence, but he also used bromide and other silver papers.…
Книги:
http://www.bostream.nu/ostlind/goodwin/index_us2.shtml
Bruno Ehrs: ”Goodwins vackra Stockholm” (Goodwin´s Beautiful Stockholm). Text in Swedish.
Apokromat Förlag, Stockholm, 1999. 124 pages, 39 pictures.
