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Pine Forest in Snow, Yosemite National Park, California, 1932

Pine Forest in Snow, Yosemite National Park, California, 1932 Open the full-size image

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By Ansel Adams

Formats and Prices

Price

$30.00

Price

$39.00 CAD

Format

Poster

Format:

Poster $30.00 $39.00 CAD

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The thirty-two Ansel Adams posters published by Little, Brown over the last fifteen years have sold nearly 2 million copies, making the series perhaps the most successful single-artist poster line of all time. Now, to update the series for a new century and a new generation, Little, Brown and The Ansel Adams Publishing Rights Trust have commissioned Pentagram, the renowned international design firm, to create a fresh look for the posters.

The two posters pictured here introduce Pentagram’s beautiful new design. The images are larger and the sans serif typeface lends an elegant simplicity to the overall presentation. In response to requests, sheet sizes have been standardized so that commercially available poster frames can be used. And to highlight the fact that these are the only authorized Ansel Adams posters published, each will feature a striking blind-embossed seal. The one thing that has not changed is the painstaking attention to quality — the superb duotone printing and heavy coated stock that are hallmarks of the series. Pine Forest in Snow is a superb representation of Yosemite in winter.

Genre:

On Sale
Sep 1, 1997
Page Count
1 page
Publisher
Ansel Adams
ISBN-13
9780821224212

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Ansel Adams

About the Author

In a career that spanned six decades, Ansel Adams was at once America’s foremost landscape photographer and one of its most respected environmentalists.

In Ansel Adams at 100, John Szarkowski notes that Adams’s role in the history of photography goes beyond his achievements as one of the great photographers of the twentieth century. As a leader in the study and appreciation of photography as an art, he played a major role in establishing the first department of photography in an art museum, at The Museum of Modern Art, New York (the same department that Szarkowski led from 1962 to 1991). Moreover, as a tireless advocate for improving the reproduction of photographs in books, Adams “badgered and cajoled his printers and platemakers” till they had “achieved in ink an unprecedented degree of fidelity to the chemical print.”

Although he devoted a lifetime to the cause of wilderness preservation, “Adams did not photograph the landscape as a matter of social service, but as a form of private worship. It was his own soul that he was trying to save,” Szarkowski writes, adding that “Ansel Adams’s great work was done under the stimulus of a profound and mystical experience of the natural world.” Szarkowski dates that experience to the early 1920s and a camping trip in the High Sierra. As Adams later recalled, “I was suddenly arrested in the long crunching path up the ridge by an exceedingly pointed awareness of the light…. I saw more clearly than I have ever seen before or since the minute detail of the grasses, the clusters of sand shifting in the wind, the small flotsam of the forest, the motion of the high clouds streaming above the peaks.”

Commenting on this moment of vision, Szarkowski writes, “One might guess that Adams spent the next quarter century trying to make a photograph that would give objective form to the sense of ineffable knowledge that on occasion, in his youth, inhabited him in the high mountains. Yosemite and the Sierra gave him not only his principal subject, but also the experience that provided the basis for a useful artistic idea: ‘The silver light turned every blade of grass and every particle of sand into a luminous metallic splendor.’”

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