I must be on a subliminal hunt of photographers. Because as of late, I find I am most interested in their eye and their bodies of work! today’s post, is super interesting. Evan’s photographs are hauntingly beautiful and give us such an insight into the south durning the 30′s. I do hope you are enjoying meeting all of these talents!
Have a wonderful day!
Love,
Jamie
b. 1903 St. Louis, Missouri, d. 1975 New Haven, Connecticut
“Leaving aside the mysteries and the inequities of human talent, brains, taste, and reputations, the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt.” — Walker Evans
WALKER EVANS made his first serious photographs in 1928, at the age of twenty four. His attempt to become a photographer seems to have been almost a willful act of protest against a polite society in which young men did what was expected of them. His own background and education
would seem more likely to have produced a broker, or a publisher, or perhaps an advertising executive, which his father had been.
Evans was brought up in the proper Chicago suburb of Kenilworth, where he enjoyed the temporal comforts allowed by modest affluence, and learned to play a moderately competent game of golf. When his parents separated he moved to New York with his mother, and continued his education at Loomis,
Andover, and Williams. He enjoyed Andover; there he discovered literature and first entertained the idea of being a writer himself. 
He found Williams no challenge. After a year of free and wide ranging reading in the library he dropped out and returned to New York, where he lived with his mother and
worked as a night attendant in the map room of the Public Library. In 1926 he went to Paris, where he was an auditor at the Sorbonne. He also read Flaubert and Baudelaire, saw the paintings of the School of Paris, and visited Sylvia Beach’s bookshop, where he occasionally saw but never dared speak to James Joyce.
Walker Evans began to photograph in the late 1920s, making snapshots during a European trip. Upon his return to New York, he published his first images in 1930. During the Great Depression, Evans began to photograph for the Resettlement Administration, later known as the Farm Security Administration
(FSA), documenting workers and architecture in the Southeastern states. In 1936 he traveled with the writer James Agee to illustrate an article 
on tenant farm families for Fortune magazine; the book Let Us Now Praise Famous Men came out of this collaboration.
Throughout his career Evans contributed photographs
to numerous publications, including three devoted solely to his work. In 1965 he left Fortune, where he had been a staff photographer for twenty years, to become a professor of photography and graphic design at Yale University. He remained in the position until 1974, a year before his death.
House of Turquoise