| dc.contributor.author | Purcell, Kerry William | |
| dc.date.accessioned | 2015-06-16T15:21:23Z | |
| dc.date.available | 2015-06-16T15:21:23Z | |
| dc.date.issued | 2003 | |
| dc.identifier.citation | Purcell , K W 2003 , ' Photographie ' Baseline Magazine , no. 41 . | |
| dc.identifier.other | PURE: 672213 | |
| dc.identifier.other | PURE UUID: 9cd0fb07-47c7-436f-80fd-bc95ff75c89f | |
| dc.identifier.uri | http://hdl.handle.net/2299/16053 | |
| dc.description.abstract | In 1925, the critic, poet, and one of the founders of Surrealism, Andre Breton, posed the question: when would ‘all the books that are worth anything stop being illustrated with drawings and appear only with photographs?’ A few short years after this statement, the photographic image had established itself as one of the most provocative, poetic, and radical forms of representation in modern society. A plethora of groundbreaking exhibitions, books and publicity, the work of some of the most influential figures in history of photography, ushered in the creative flowering of the medium across Europe. Unquestionably the increasingly effective presence of photography was tied to the emergence of these new recruits and their passionate conviction regarding its creative worth | en |
| dc.language.iso | eng | |
| dc.relation.ispartof | Baseline Magazine | |
| dc.title | Photographie | en |
| dc.contributor.institution | School of Creative Arts | |
| dc.contributor.institution | Social Sciences, Arts & Humanities Research Institute | |
| dc.contributor.institution | Art and Design | |
| dc.contributor.institution | Theorising Visual Art and Design | |
| rioxxterms.type | Other | |
| herts.preservation.rarelyaccessed | true | |
