Outward Bound

Photographer Harold Cazneaux (Australian, 1878 - 1953)

Datec 1928

Object number00054625

NamePhotograph

MediumGelatin silver photograph, chloro-bromide matt

DimensionsOverall: 170 × 152 mm
Mount / Matt size: 200 × 283 mm
Display dimensions: 435 × 590 mm

ClassificationsPhotographs

Credit LineANMM Collection Donated through the Australian Government’s Cultural Gifts Program by Anne Christoffersen, in memory of the artist

Terms

DescriptionThis photograph from 1928 is part of a study Cazneaux made of the construction of the Sydney Harbour Bridge from 1926-32. A selection from this series was featured in two Ure Smith publications The Bridge Book, 1930 and the Second Bridge Book, 1931. The images reveal Cazneaux' pictorialist and modernist interests, through the dramatic geometry of the bridge, the ultimate symbol of modernism and the machine age then taking shape in Sydney, offset by the steam vessel passing beneath it, belching smoke from its funnels in an atmospheric construction of harbour life. This chloro-bromide matt print was produced in the 1930s-40s.HistoryHarold Cazneaux was working first as an artist-retoucher at Hammer Studio in the 1890s (He was born in 1878, was only 13 when his mother died in 1892) and had a low opinion of the formulaic studio portraiture. He was inspired to pursue art photography in the 1890s in Adelaide after seeing local work by John Kauffman and imported examples of the new impressionistic art photography movement known as Pictorial Photography. He moved to Sydney in 1904 and obtaining his own camera started taking photographs around Sydney in a Pictorial style stressing atmosphere and also nostalgia for the old Sydney world of the Rocks and local manual workers and residents. A parallel focus on Old Sydney was a feature of print makers at the turn of the century. His first one man show in 1909 included many harbour side city images often in soft focus taken early morning and after work on his way home to North Sydney and on weekend ferry excursions ot Watsons Bay and Mosman etc.. From his arrival in Sydney Cazneaux was struck by the contrasts of old and new in the ‘big smoke’ of Sydney especially the harbourside shipping but treated these as atmospheric romantic images in a style well established by late Victorian era printmakers and painters. He was commissioned to photograph BHP plants in NSW and South Australian for the Company’s 1935 Jubilee. The industrial images combined both pictorialist atmosphere with the drama and scale of modernist celebrations of the machine age. From as early as 1915 with his art -deco striped child study The Bamboo Blind, Cazneaux developed a hybrid Pictorialist –Modernist style incorporating clearer geometric lines and brighter sunshine. In his work for The Home magazine Cazneaux most often worked in a sun-lit style although still exhibiting more impressionistic works in the Pictorialist Salons. In the late 1920s and1930s his modern style was the equal of his younger contemporaries like Max Dupain but always retained a human interest element and perspective even rather than the colder machine age aesthetic and distorting angles favoured by modernists. See http://www.photo-web.com.au/ShadesofLight/11-pictorial.htm From Gael NewtonSignificanceWith its geometric composition and celebration of the machine age this photograph of the Sydney Harbour Bridge represents the hybrid modernist pictorial work of Harold Cazneaux, one of Australia's leading early 20th century photographers as he captured the marvel of bridge taking shape in the 1920s and 30s juxtaposed with the timeless imagery of a ship passing beneath it.