*Starred Review* Geesaman's
Poetics of Place (1999) contains some of the finest formal-garden photography ever published--in monochrome, no less, which she developed into vibrant, velvety visions of the ideal garden. She carries over the elements of composition and development that made those images so astonishing into
Gardenscapes, but now she is shooting in color, and that has, she says, brought a crucial element of discovery into her work. She experiments with degrees of coloration in the darkroom, striving to find hues obscured by the predominant color (usually, in these pictures, green) that will help the print achieve "a painterly quality because all the color relationships are right." Mission accomplished in these ravishing pictures, which by turns call to mind Friedrich, Monet, Sargent, and, many times, Redon and Pollock. That is, their artistic manners range from mysticism to abstract expressionism. If in general they recall gauzy early-twentieth-century pictorialist photography, they lack its sentimentality by eschewing human figures, other than sculpture, and appealing thereby to the taste for austerity. But their austerity is, because of all the flowers, leaves, bark, and branches, the sensuous austerity that is one kind of timeless beauty.
Ray OlsonCopyright © American Library Association. All rights reserved
Review
"Ms. Geesaman's treatments of highly cultivated landscapes, with their cloudless, timeless skies and languorous beauty, bring Atget immediately to mind."--Roberta Smith,
The New York Times Magazine --
Review"Her seventy-one color photographs recall the paintings of the Impressionists--beautifully composed geometries that are perfectly balanced, their color and the light shimmer in a magical way... Verlyn Klinkenborg contributes two edifying essays and an interview with the artist. This is a beautiful book--laden with presence--and deserves a place in your library." --THE Magazine
"These are not the colors of Monet or Sisley, nor are they Kodak's or Fuji's; they are Geesaman's--experimented with, refined and won, print by print in her darkroom, along with the thoughtful diffusion of reality in her negatives." -- Verlyn Klinenborg --Wellesley