出版社：Europäische Gesellschaft für die Geschichte der Photographie
摘要：In 1897 the critic, Sadakichi Hartmann, referring to
artistic innovations in photography, wrote that ‘Boston
seems to be a kind of preparatory school for New York
and other cities.’1 Contributing to those photographic
innovations, as well as working in painting, pastels,
and metal work in Boston, was Sarah Choate Sears
(1858–1935) whose life and work as an artist, collector,
and champion of the arts, was important in its influence
and impact on the development of modern
artistic expression in the Boston area, and in fostering
the recognition of photography as a fine art. However,
as a woman, and as the wife of the affluent Joshua
Montgomery Sears, one of Boston’s wealthiest real estate
investors, Sarah Sears’ work is not often highlighted
in discussions of early 20th century art and photography.
Indeed, the New York Times obituary did not
even mention her photographic work. Its headline read,
‘Mrs. J. M. Sears Dead; Bay State Painter, Widow of
Boston Real Estate Man and Winner of Number of
Awards.”2 Her teachers: Ross Turner, Joseph De
Camp, Dennis M. Bunker, Edmund Tarbell and George
de Forest Brush, are mentioned, but no reference is
made to the photographic masters, such as Alfred
Stieglitz, F. Holland Day or Frances Benjamin Johnston
with whom she was associated.
