The photo shown was used in the exhibition/catalog
“DOROTHEEA LANGE – PHOTOGRAPHIEN” Berlin 1999.
It was printed from the originall negative at the Librar of
Congress.

Dorothea Lange (born Dorothea Margaretta Nutzhorn; May 26, 1895 – October 11, 1965) was an American documentary photographer and photojournalist, best known for her Depression-era work for the exhibito the Farm Security Administration (FSA). Lange's photographs influenced the development of documentary photography and humanized the consequences of the Great Depression.

Lange was born in Hoboken, New Jersey to second-generation German immigrants Johanna Lange and Heinrich Nutzhorn.
Lange graduated from the Wadleigh High School for Girls, New York City; by this time, even though she had never owned or operated a camera, she had already decided that she would become a photographer. Lange began her study of photography at Columbia University under the tutelage of Clarence H. White,[10] and later gained informal apprenticeships with several New York photography studios, including that of Arnold Genthe.

In 1918, Lange left New York with a female friend intending to travel the world, but her plans were disrupted upon being robbed. She settled in San Francisco where she found work as a 'finisher' in a photographic supply shop. There, Lange became acquainted with other photographers and met an investor who backed her in establishing a successful portrait studio. In 1920, she married the noted western painter Maynard Dixon, with whom she had two sons. Lange's studio business supported her family for the next fifteen years. Lange's early studio work mostly involved shooting portrait photographs of the social elite in San Francisco. But at the onset of the Great Depression, she turned her lens from the studio to the street.
During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.
Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:
I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3
As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land."4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland.

The photo shown was used in the exhibition/catalog
“DOROTHEEA LANGE – PHOTOGRAPHIEN” Berlin 1999.
It was printed from the originall negative at the Librar of
Congress.

Dorothea Lange (born Dorothea Margaretta Nutzhorn; May 26, 1895 – October 11, 1965) was an American documentary photographer and photojournalist, best known for her Depression-era work for the exhibito the Farm Security Administration (FSA). Lange's photographs influenced the development of documentary photography and humanized the consequences of the Great Depression.

Lange was born in Hoboken, New Jersey to second-generation German immigrants Johanna Lange and Heinrich Nutzhorn.
Lange graduated from the Wadleigh High School for Girls, New York City; by this time, even though she had never owned or operated a camera, she had already decided that she would become a photographer. Lange began her study of photography at Columbia University under the tutelage of Clarence H. White,[10] and later gained informal apprenticeships with several New York photography studios, including that of Arnold Genthe.

In 1918, Lange left New York with a female friend intending to travel the world, but her plans were disrupted upon being robbed. She settled in San Francisco where she found work as a 'finisher' in a photographic supply shop. There, Lange became acquainted with other photographers and met an investor who backed her in establishing a successful portrait studio. In 1920, she married the noted western painter Maynard Dixon, with whom she had two sons. Lange's studio business supported her family for the next fifteen years. Lange's early studio work mostly involved shooting portrait photographs of the social elite in San Francisco. But at the onset of the Great Depression, she turned her lens from the studio to the street.
During the Depression's early years Lange's interest in social issues grew and she began to photograph the city's dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.
Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:
I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year's freeze practically wiped out the crop and what it didn't kill is delayed--in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. 3
As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had "been scattered like the shavings from a clean-cutting plane." Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered "not land, but jobs on the land."4 The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland.

Aikakausi
1900-2000
Taiteilija
Dorothea Lange
Taideteoksen nimi
Wife of a migratory laborer with three children. Near Childress, Texas. Nettie Featherston
Painopäivämäärä
1938
Tekniikka
Digitaalinen
Kunto
Erinomainen
Editio
1
Leveys
31 cm
Vintage -printti
Printattu myöhemmin
Leveys
26 cm
Genre
Portrettivalokuvaus
Esineiden lukumäärä
1
Signeeraus
Gallerian leima