William Eggleston, in full William Joseph Eggleston, Jr. (born July 27, 1939, Memphis, Tennessee, U.S.), American photographer whose straightforward depictions of everyday objects and scenes, many of them in the southern United States, were noted for their vivid colours, precise composition, and evocative allure. His work was credited with helping establish colour photography in the late 20th century as a legitimate artistic medium.
Born into wealth, Eggleston grew up on his family’s former cotton plantation in the Mississippi Delta and, as a teenager, attended a boarding school in Tennessee. As a student at Vanderbilt University in Nashville, he began to take photographs after a friend, recognizing his artistic inclinations as well as his fascination with mechanics, encouraged him to buy a camera. Eggleston maintained the pursuit as he transferred to Delta State College (now Delta State University) in Cleveland, Mississippi, and then to the University of Mississippi, where he spent several years before leaving without a degree. Exposure to the vernacular style of Walker Evans and, especially, the compositions of Henri Cartier-Bresson influenced his earliest work, which he produced in black and white.
After settling in Memphis, Tennessee, in 1964, Eggleston began to experiment with colour photography, which, in part because of its association with both amateur snapshots and commercial work, had rarely been appreciated as fine art. Sensing an opportunity to forge new ground, he set to capture images he encountered in his surroundings with a neutral eye—devoid of either sentiment or irony—and, radically, in full colour. Over the next decade, he produced thousands of photographs, focusing on ordinary Americans and the landscapes, structures, and other materials of their environs; a representative example, from 1970, depicts a weathered blue tricycle parked on a sidewalk. In the early 1970s Eggleston discovered that printing with a dye-transfer process, a practice common in high-end advertising, would allow him to control the colours of his photographs and thereby heighten their effect. Among his first photographs to employ the technique were a stark image of a bare lightbulb fixed to a blood-red ceiling (1973) and those compiled in 14 Pictures (1974), his first published portfolio.
Having been granted a Guggenheim fellowship in 1974, Eggleston received an additional career boost two years later with a solo exhibition at New York City’s Museum of Modern Art. (Its curator, John Szarkowski, had taken an interest in Eggleston’s work upon meeting him nearly a decade earlier.) The show provoked hostility from some critics, notably Hilton Kramer, who judged the snapshotlike pictures banal and lacking in artistry. Other viewers, however, found that Eggleston’s intensely saturated hues and striking perspectives imbued an ominous or dreamlike quality to their seemingly mundane subjects. He soon took on various commissioned projects, which resulted in series set in, among other locations, U.S. Pres. Jimmy Carter’s hometown of Plains, Georgia (1976), and Elvis Presley’s Graceland mansion in Memphis (1983–84).
Because of the geographic milieu in which Eggleston often worked, his photographs were sometimes characterized as reflections on the South, though he pointedly resisted such interpretations, claiming an interest in his subjects chiefly for their physical and formal qualities rather than for any broader significance. In the 1980s he traveled extensively, and the photos in the monograph The Democratic Forest (1989), set throughout the United States and Europe, proceeded from his desire to document a multitude of places without consideration for traditional hierarchiesof meaning or beauty. Eggleston’s other publications include Los Alamos (2003), a collection of pictures taken in 1966–74, many of them on road trips.
By the turn of the 21st century, the skepticism that had initially greeted Eggleston’s work had largely dissipated, and the retrospective William Eggleston: Democratic Camera, Photographs and Videos, 1961–2008, which originated in 2008 at the Whitney Museum of American Art, solidified his reputation as a skilled innovator. For his contributions to photography, Eggleston received the Hasselblad Foundation International Award in Photography in 1998 and a Sony World Photography Award in 2013.
The focus for this Artist Bio is to give the full life of William Eggleston, its written in 3rd person as to be more informal. Provided within is details of how his work was daring but influential at a time when black and white photography was most popular. The Bio is extremely honest, for example the second paragraph talking about how he was born into wealth. Also explaining how he left University without a degree, this would have been frowned upon in those times. Eggleston has managed to keep the biography effective by providing dates, this is effective due to the length of time documented and will not be necessary within my biography. Eggleston has provided names of successful images and image development techniques such as the dye transfer process allowing more control over colours. Egglestons biography is very logical, mapping his life in age order, this makes for an easy read but is difficult to control layout as he’s talking as the events occur. This could however stop the flow of content depending on how life occurs, however this has not stopped Egglestons Biography from being powerful.