Doris Ulmann's mest berømte maleri er Women Gathering Apples (1930) i Ogden Museum of Southern Art, New Orleans. Sammen med Corn Shocks and Sky (1925) og Man in White Shirt in Field (1930) udgør de de tre værker, som alle kender. Vores katalog indeholder 7 værker af Doris Ulmann; de 7 nedenfor er dem, som verden ser mest på, hver med årstal, det museum der opbevarer det, og hvorfor det er betydningsfuldt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
is a photograph by Doris Ulmann, produced about 1930. The work captures a communal gathering within a church meeting room, documenting a moment of shared purpose among a group of men and women.
The Smithsonian American Art Museum is home to a diverse collection of American art, including the captivating photograph "Man Leaning against a Wall" by Doris Ulmann. This 1930 print measures 20 x 15 cm and showcases Ulmann's exceptional skill in capturing the essence of her subjects. The image features a man dressed in a hat and vest, leaning against a wooden wall with his hands in his pockets. The background…
De fire motiver, der optræder hyppigst blandt disse mesterværker, med det fineste eksempel på hvert enkelt.
De 3 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Doris Ulmann | Malerier fra denne liste |
|---|---|---|---|
 Ogden Museum of Southern Art |
New Orleans | 1 | Women Gathering Apples |
 George Eastman Museum |
Rochester | 1 | Group at church meeting |
 National Gallery of Armenia |
Jerevan | 1 | Man Leaning against a Wall |
Doris Ulmann arbejdede kun i 6 år, fra 1925 til 1930. Her er det korte karriereforløb år for år, gennem de mest berømte malerier.
The Smithsonian American Art Museum is home to a diverse collection of American art, including the captivating photograph "Man Leaning against a Wall" by Doris Ulmann. This 1930…
Women Gathering Apples (1930), Ogden Museum of Southern Art, New Orleans. Derefter følger Corn Shocks and Sky (1925) og Man in White Shirt in Field (1930).
48 år gammel: Women Gathering Apples er fra 1930, og Doris Ulmann blev født i 1882.
Vores katalog indeholder 7 værker af Doris Ulmann, dateret fra 1925 til 1930.
De fleste af dem findes i Ogden Museum of Southern Art (New Orleans), George Eastman Museum (Rochester) og National Gallery of Armenia (Jerevan). Tabellen ovenfor lister museerne enkeltvis.
I 1930: 5 af de 7 værker på denne side stammer fra denne periode, herunder Women Gathering Apples.
Det tidligste på denne side er Corn Shocks and Sky (1925), det seneste Women Gathering Apples (1930).
Appalachian life (2) og Black and white (2), blandt de 7 værker på denne side.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
Doris Ulmann (1882–1934) stands as a singular figure in American photography, celebrated for her deeply empathetic portraits of the people inhabiting the Appalachian Mountains and the Gullah communities along South Carolina’s coast. More than simply documenting rural life, Ulmann achieved an artistic triumph by capturing the essence of human dignity and cultural richness—a feat accomplished with meticulous technique and unwavering humanist conviction. Her legacy continues to inspire photographers today who strive for authenticity and sensitivity in their visual narratives.
Born in New York City, Ulmann’s upbringing fostered a profound appreciation for social justice and individual worth, mirroring the ethos of the Ethical Culture Fieldston School where she received her formative education. This institution championed inclusivity and challenged prevailing societal prejudices—values that would profoundly shape her artistic vision. Her intellectual journey led her to Columbia University, where she studied psychology alongside fellow photographer Clarence H. White. This academic background established a crucial connection between scientific observation and artistic expression; it was White’s mentorship that ignited her passion for photography, transforming what began as a hobby into a professional devotion after 1918.
Ulmann's photographic style firmly rooted itself in Pictorialism—a movement advocating for photography as an art form rather than merely a tool for recording reality. Rejecting the mechanistic processes of the Daguerreotype, she embraced more demanding methods that allowed for greater artistic control. She meticulously composed her images using a heavy view camera, a cumbersome apparatus requiring careful positioning and precise calculations to achieve optimal exposure. This labor-intensive approach was essential to her goal of creating images that felt more like paintings or soulful memories than mere snapshots.
Her technical mastery was often paired with an ethnographer's eye. While her work was deeply rooted in the aesthetic traditions of the time, it possessed a unique documentary weight. She did not merely observe; she participated in the quiet rhythms of her subjects' lives. Her ability to navigate different social strata—from the medical faculty of Johns Hopkins University to the craftsmen and musicians of the Southern mountains—demonstrates a remarkable versatility and a profound respect for the dignity of every sitter.
The most enduring aspect of Ulmann's career was her dedication to capturing the rural cultures of the southeastern United States. Between 1928 and 1934, she focused intensely on the people of Appalachia and the Gullah communities of the Sea Islands. Her work often sought to preserve the spirit of traditions that felt as though they were slipping away from the modernizing world. This period of intense documentation was marked by several significant milestones:
Ultimately, Doris Ulmann’s significance lies in her ability to transcend the role of a mere observer. Through her use of soft tones and evocative compositions, she elevated the portrait from a simple likeness to a profound meditation on human identity. She left behind a visual archive that serves as both a historical record and a poetic tribute to the resilience and grace of the American spirit.
