Editing Cyanotype (section)

=== Pictorialism ===
[[File:Edward Steichen (American) - (Road into the Valley -- Moonrise) - Google Art Project.jpg|thumb|Edward Steichen (1904) ''Midnight Lake George'' or ''Road into the Valley – Moonrise''.]]
[[File:Bertha Evelyn Jaques, Untitled, c. 1900, NGA 136408.jpg|thumb|Bertha Evelyn Jaques, Untitled, c. 1900, cyanotype, NGA 136408]]
[[Pictorialism|Pictorialists]], throughout Europe and other western countries, in efforts to have photography accepted as an art form, emphasised handcraft in printing, in imitation of painting and drawing, and drew on [[Symbolism (arts)|Symbolist]] subject matter and themes. Many of the practitioners were respected amateurs whose work was rewarded in a system of international 'salons' run by such organisations as the [[The Camera Club of New York|Camera Club of New York]], and competition promoted an elevated level of technical experimentation with all of the then-current processes, such as [[Calotype|calotypy]], cyanotypy, [[gum printing]], [[platinum print]]ing, [[Oil print process|bromoil]] and [[Autochrome Lumière|Autochrome]] colour.<ref name=":9">{{Cite journal |last=Coleman |first=A. D. |date=November 2008 |title=Return of the Suppressed / Pictorialism's Revenge |journal=Border Crossings |volume=27 |issue=4 |pages=72–80 |via=EBSCO}}</ref>

[[Clarence Hudson White|Clarence White]]'s impeccable domestic and plein-air pictures are indebted in their bold composition to his contemporaries the painters [[Thomas Dewing|Thomas Wilmer Dewing]], [[William Merritt Chase]] and [[John White Alexander]]. His labor-intensive process entailed developing the negatives then making tests on cyanotype, playing with dimensions, proportions, and other variables, before making a  print in platinum, which he then meticulously and expressively retouched. [[Alfred Stieglitz|Alfred Steiglitz]] in White's portrait of him (1907) held in Princeton University Art Museum, appears gloweringly critical in the cyanotype print preserved there.<ref>{{Cite journal |last=Dalati |first=S. |date=2018 |title=Reconsidering sepia: Clarence White's photography at the Davis |journal=Magazine Antiques |volume=185 |issue=2 |pages=58–59}}</ref>

At the turn of the century, painter-photographer [[Edward Steichen]], then associated with Alfred Steiglitz who promoted the [[Photo-Secession]] and Pictorialism through his ''[[Camera Work]]'' (1903–1917) produced prints of ''Midnight Lake George'' now held in ''The Alfred Stieglitz Collection: Photographs'' at the Art Institute of Chicago where in 2007 scientific examination of the prints and his records concluded that cyanotype had been incorporated in their predominant gum bichromate over platinum production.<ref name=":10">{{Cite journal |last1=O’Connor |first1=Kaslyne |last2=Pate |first2=Ariel |last3=Pénichon |first3=Sylvie |last4=Casadio |first4=Francesca |author-link4=Francesca Casadio |date=2020-04-02 |title=Moonlight or Midnight? Researching the Phases of Edward Steichen's Moonrise Prints |url=http://dx.doi.org/10.1080/01971360.2020.1711689 |journal=Journal of the American Institute for Conservation |volume=59 |issue=2 |pages=111–122 |doi=10.1080/01971360.2020.1711689 |issn=0197-1360 |s2cid=219085989|url-access=subscription }}</ref> Steichen argued provocatively in the first issue of ''Camera Work'' that "every photograph is a fake from start to finish, a purely impersonal, unmanipulated photograph being practically impossible."<ref name=":10" />

Photo-Secessionist Franco-American [[Paul Haviland|Paul Burty-Havilland]], involved through marriage with the Lalique company, evinces a [[Japonisme]] in his moody cyanotype portraits and nudes made between 1898–1920.<ref>{{Cite web |title=La Lanterne japonaise – Paul Haviland  |url=https://www.musee-orsay.fr/fr/oeuvres/la-lanterne-japonaise-53583 |access-date=2022-04-13 |website=www.musee-orsay.fr}}</ref> Another American Pictorialist [[F. Holland Day|Fred Holland Day]] made cyanotypes of youths, nude or in sailor suits, in 1911, that are held in the Library of Congress,<ref>{{Cite web |last=Holland Day |first=Fred |title=Search results from Available Online, Day, F. Holland (Fred Holland), Cyanotypes |url=https://www.loc.gov/search/?fa=contributor:day,+f.+holland+(fred+holland)%7Csubject:cyanotypes |access-date=2022-04-12 |website=Library of Congress}}</ref> and French artist Charles-François Jeandel printed his erotic imagery of bound women in his painting workshop in Paris and then in Charente 1890–1900.<ref>{{Cite web |title=Charles-François Jeandel: Collection des oeuvres  |url=https://www.musee-orsay.fr/fr/collections/recherche?union_artist_names=36959&search_type=advanced_search |access-date=2022-04-13 |website=www.musee-orsay.fr}}</ref>

The more traditional American printmaker [[Bertha Jaques]], aligned with the antimodernist views of the late Victorian [[Arts and Crafts movement]], from 1894 produced more than a thousand cyanotype photographs of wildflowers.<ref>{{cite web|url=https://americanart.si.edu/artist/bertha-e-jaques-2441|title=Bertha E. Jaques|website=Smithsonian American Art Museum|accessdate=25 March 2018}}</ref>