I was at Aperture Foundation on Tuesday to see a panel about collecting photography, and I haven't been able to get this image out of my mind since.
Eugene de Salignac
Brooklyn Bridge, showing painters on suspenders, October 7, 1914
Here's the info:
'From 1906 to 1934, Eugene de Salignac shot over twenty thousand 8-by-10-inch glass-plate negatives of New York City. As sole photographer at the Department of Bridges/Plant and Structures during that period of dizzying growth, he masterfully documented the creation of the city's modern infrastructure-bridges, major municipal buildings, roads, and subways.
For years these remarkably lyrical photographs have been used in books and films, but never credited to de Salignac. The monograph New York Rises (copublished by Aperture and the New York City Department of Records/Municipal Archives, 2007) sets the record straight, and presents them for the first time as an aesthetically coherent oeuvre by a photographer with a unique vision. As meticulous in record keeping as he was creative in his photography, de Salignac left five handwritten logs that identify each negative by place and date. Many of his vintage prints survive in the city's municipal archives, most of them still in his original presentation albums.
His work is a testament to the emergence of the modern city, its architecture and infrastructure, and those who built it. Included within this scope, of course, are New York City's bridges, the most famous of which opened to great fanfare in 1883. The Brooklyn Bridge would be a continual source of inspiration to de Salignac and a constant presence in his work. On September 22, 1914, he photographed a group of painters at work on its lower trusses. He must have had a spark of inspiration that day; two weeks later he returned and posed the men on the web of wires like notes on a musical scale, the result of which can be seen in this photograph. The image was obviously planned, as evidenced by the relaxed nature of these fearless men who appear without their equipment and are joined, uncustomarily, by their supervisor. No vintage print of this iconic photo-the most famous of de Salignac's images-is known to exist."
This print is still available in Aperture's limited edition print sale. I learned on Tuesday that you can buy prints on your credit card and then hope to have the money later to pay it back, so I might try that. Or maybe I'll wait until I have a job. In any case, see more of Aperture's available prints, here!
Eugene de Salignac
Brooklyn Bridge, showing painters on suspenders, October 7, 1914
Here's the info:
'From 1906 to 1934, Eugene de Salignac shot over twenty thousand 8-by-10-inch glass-plate negatives of New York City. As sole photographer at the Department of Bridges/Plant and Structures during that period of dizzying growth, he masterfully documented the creation of the city's modern infrastructure-bridges, major municipal buildings, roads, and subways.
For years these remarkably lyrical photographs have been used in books and films, but never credited to de Salignac. The monograph New York Rises (copublished by Aperture and the New York City Department of Records/Municipal Archives, 2007) sets the record straight, and presents them for the first time as an aesthetically coherent oeuvre by a photographer with a unique vision. As meticulous in record keeping as he was creative in his photography, de Salignac left five handwritten logs that identify each negative by place and date. Many of his vintage prints survive in the city's municipal archives, most of them still in his original presentation albums.
His work is a testament to the emergence of the modern city, its architecture and infrastructure, and those who built it. Included within this scope, of course, are New York City's bridges, the most famous of which opened to great fanfare in 1883. The Brooklyn Bridge would be a continual source of inspiration to de Salignac and a constant presence in his work. On September 22, 1914, he photographed a group of painters at work on its lower trusses. He must have had a spark of inspiration that day; two weeks later he returned and posed the men on the web of wires like notes on a musical scale, the result of which can be seen in this photograph. The image was obviously planned, as evidenced by the relaxed nature of these fearless men who appear without their equipment and are joined, uncustomarily, by their supervisor. No vintage print of this iconic photo-the most famous of de Salignac's images-is known to exist."
This print is still available in Aperture's limited edition print sale. I learned on Tuesday that you can buy prints on your credit card and then hope to have the money later to pay it back, so I might try that. Or maybe I'll wait until I have a job. In any case, see more of Aperture's available prints, here!
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I can see why this stuck in your mind. Great image. As a young student I spent my summers working for the railway inspecting and repairing bridges in northern Canada, but nothing as challenging as painting the Brooklyn Bridge.
Regards,
MikeV
P.S. Love the blog - keep up the great work Rachel.
Totally hypnotized by this photo. While scrolling on my browser, i first only saw the top of the picture and i thought it was some kind of... music partition with some people instead of musical notes (i hope "music partition" and "notes" are correct in english, sorry im not a native english speaker ;)).
Anyways, Im following your blog since you opened this new version and I do love it.
Just a fantastic photo. Its like the ultimate moody rock band cover art shot:-)
I remember reading about this guy a while ago. Stupendous artistry. I like your new blog Rachel. I still haven't thought of a name for it yet so I'm no use to you there.
Best wishes in finding a job. Patrick.
Wow. Amazing. But at $1000 for the current print numbers, I'll have to pass. Damn.
I LOVE the Brooklyn Bridge painters. Truly amazing.
Rrrrrrrr.
JaS
I recognized this image right away as the cover of composer Steve Reich's album, New Your Counterpoint.
It's interesting to learn some of its history.