preview

Walker Evans: Photography In The Twentieth Century

Good Essays

Walker Evans is one of the most notable photographers of his generation in the twentieth century. A photographer whose photographic subjects not only stayed consistent throughout the years but also had the ability of showing the present as if it were the past. Evans loved taking pictures of vernacular architecture, portraiture, particularly the man on the street, signs and billboards. Those who are familiar with
Walker Evans works are quick to associate him with his uncompromising documentation of poverty during the Great Depression under the Farm Security Administration (FSA) or through his collaboration with writer James Agee on the book Let Us Now Praise
Famous Men. Although, it was through these projects that he gained recognition …show more content…

On both his left and right side are movie posters, one titled El Aguila Blanca (The White Eagle) and the other titled Adios a las Armas (A Farewell to Arms). The other movie poster shown in the image is titled, Esclalvos de la Tierra (Slaves of the Earth). Many could conclude that that these titles are a bit ironic to the history of Cuba during that time. Another example comes from the image Small Restaurant, the name of the establishment, “Fonda la
Fortuna” stands above “Se Admitten Abonados” translating to, Members Only. This may have been a particularly important message to wealthy Americans who saw Cuba as their private playground. The old-fashioned neocolonial writing of the stores fonda’s name and quotation marks, helps reinforce the message. With this image Evan’s captures the misery inflicted on Cubans by American imperialism. It was during his stay in Cuba that he meet writer Ernest Hemmingway and it was thanks to Hemmingway that Evans was able to extend his short stay to a month due to a loan given from Ernest. Evans would later go on to describe their relationship as that …show more content…

He made sure to photograph the drifting poor who slept on public benches or the ones who huddled in the doorways of the wealthy’s houses. These particular images would become essential illustrations for Carleton Beals’s book and a further influence for
Evans upcoming projects. Upon Evan’s return home, he reported to Fernandez that he had “printed and mounted everything good, immediately; put 32 of them in definite order, and titled them,” he also added that he “prayed to [the editors] to leave the pictures in my order and print the simple titles I gave....” Fortunately for him the publishers agreed to use both his titles and his arrangement on The Crime of Cuba. His decision on having his photographs appear on the back of the book helped Evans avoid their use as illustrations while, still helping spread the word of an anti-Machado government. Walker Evans had the ability to communicate his response to the poverty, the ferment, and the beauty of his environment through a demonstration of intense sequences. This made for an even greater impact than they would have if used throughout the book. Evans took a collection of pictures during his stay in Cuba. Before he left

Get Access