Marie Cosindas, Mrs Jack’s Floral, a dye transfer print of 1966

Marie Cosindas

Marie Cosindas, Andy Warhol, NYC, 1966.
Marie Cosindas, Andy Warhol, NYC, 1966.

All of Cosindas’ portraits have, as Rohrbach says, a composition that demands the viewer study the image carefully. “They’re dark; they come from an earlier sensibility, where one was meant to look at prints over a long period of time and let these intimate images come to you up out of the darkness.” They also have a timeless feel, difficult to date to the 1960s.

(via The colour photography pioneer that time forgot – Telegraph)

A photographer I’d never heard of until reading this article. Considering how much the narrative is that we only started valuing color photography as art in the mid-1970s, it’s important to note that Cosindas was being exhibited a decade earlier.

The way Cosindas’s photos look like paintings and evoke the sense of classic portraiture is also perfectly timed on the heels of my post on erasure which thought about how photographic portraiture differs from painted portraits.