Analysis Of Alfred Steiglitz's 'From The Back-Window'
Andrew Stoner
Art 380
January 2013
From the Back-Window, 291
Alfred Steiglitz's "From the Back-Window, 291" was taken in 1915 from the window of a gallery of his in New York. At first glance the photograph seems like an average cityscape picture, but when dissected there are many aspects that play a role in its impression on others. The shot was taken at night, however, I feel that this is not the only reason the picture has a somewhat gloomy feel. Little light is seen besides the light coming from buildings, almost as if there is no sky. The darker exposure also presents a somber expression. The buildings in the foreground also have a similar, somber and rather diminished, presence due to the fact that they are much darker …show more content…
The buildings in the background are higher than the camera which gives them a dominant presence while the closer smaller buildings are mostly lower than the camera. This high viewpoint diminishes the buildings in the foreground. In addition, the camera is not facing these buildings head on which creates diagonal lines with the rooftops and edges of these structures. These diagonal lines give a sense of movement although we know these erections are firmly planted. The use of vertical and horizontal lines should also be noted. In my opinion vertical lines are much more visible in the larger structures that occupy the background. Having these lines more visible add to their stable and dominant appearance. Vertical lines are much more difficult to identify in the foreground buildings. However, there is a very prominent horizontal line in the foreground, the high contrast clothes line. I interpreted this as an unexciting notion to the lives of those who occupy the structures. Other than the gentle curve of the clothes line there are no lines that resemble s-curves or organic shapes. The lack of those lines and shapes gives me the impression this is not a very calm place, even unwelcoming or
Art 380
January 2013
From the Back-Window, 291
Alfred Steiglitz's "From the Back-Window, 291" was taken in 1915 from the window of a gallery of his in New York. At first glance the photograph seems like an average cityscape picture, but when dissected there are many aspects that play a role in its impression on others. The shot was taken at night, however, I feel that this is not the only reason the picture has a somewhat gloomy feel. Little light is seen besides the light coming from buildings, almost as if there is no sky. The darker exposure also presents a somber expression. The buildings in the foreground also have a similar, somber and rather diminished, presence due to the fact that they are much darker …show more content…
The buildings in the background are higher than the camera which gives them a dominant presence while the closer smaller buildings are mostly lower than the camera. This high viewpoint diminishes the buildings in the foreground. In addition, the camera is not facing these buildings head on which creates diagonal lines with the rooftops and edges of these structures. These diagonal lines give a sense of movement although we know these erections are firmly planted. The use of vertical and horizontal lines should also be noted. In my opinion vertical lines are much more visible in the larger structures that occupy the background. Having these lines more visible add to their stable and dominant appearance. Vertical lines are much more difficult to identify in the foreground buildings. However, there is a very prominent horizontal line in the foreground, the high contrast clothes line. I interpreted this as an unexciting notion to the lives of those who occupy the structures. Other than the gentle curve of the clothes line there are no lines that resemble s-curves or organic shapes. The lack of those lines and shapes gives me the impression this is not a very calm place, even unwelcoming or