Gerald Cantor Center for Visual Arts at Stanford University, Stanford Family Collections, 1998.117 William T. Artist unknown, (American, 19th century), Nevada Silver Spike, 1869, silver, Iris & B. The home of the Central Pacific headquarters. Once theĮxhibition closes on May 26 in Salt Lake City, it will be moved to the CrockerĪrt Museum in Sacramento, which during the 19 th century served as Museum in Omaha, where the Union Pacific headquarters are based. It was most recently featured at the Joslyn Art Throughout the year, numerous state groups plan a diverse spectrum of activities that encompass not only the most familiar aspects of the history but also the lesser known stories that have proven to be as equally compelling and significant for curating a comprehensive, accurate portrait of the period. It is the first major event in Utah celebrating the 150 th anniversary of the Promontory Summit moment. Russell (American, 1829–1902), East and West Shaking Hands at laying of last rail, 1869, Plate 227, “The Great West Illustrated,” albumen silver print, courtesy Union Pacific Railroad Museum That iconic original along with scores of photographs and stereographs documenting the work on the historic transcontinental railroad are part of a magnificent exhibition The Race to Promontory: The Transcontinental Railroad and the American West, which just opened at the Utah Museum of Fine Arts (UMFA), located on The University of Utah main campus. That moment was captured in one of the most famous photographs of 19 th century American history – East and West Shaking Hands by photographer Andrew Joseph Russell (1830-1902). And, in Utah, on May 10, 1869, it was completed at Promontory Summit, 66 miles to the northwest of Salt Lake City. Indeed, as the Central Pacific and the Union Pacific railroads raced toward each other to complete the nation’s first transcontinental rail route. In the aftermath of the Civil War, the executives of the railroads turned to ground-breaking photographers to chronicle their massive expansion across the country. Hart (American, 1816–1908), Locomotive, on Turntable, 1865 albumen stereograph, courtesy Union Pacific Railroad Museum. Hertzmann noted that in “relating photography to established forms like etching and lithography … this group, including hobbyists and tinkerers, avidly explored its potential.” Alfred A. From the beginning, artists were dismissive of photography, and saw it as a threat to ‘real art.’’ Another, he added, “was that photography could be useful to real artists, such as for reference, but should not be considered as equal to drawing and painting.” It was the third view that accepted photography as an art form. It was not an art form, Hertzmann explained in an essay, “because it was made by a machine rather than by human creativity. Aaron Hertzmann, scientist at Adobe Acrobat, summarized the three views people put forth about photography in the middle of the 19 th century. In the late 1860s, the ideal uses, functions, aesthetic value and presence of photography were as controversial as the numerous digital media tools we have accepted recently in our daily lives.
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