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A Photo by Bill Brandt, and the Intimacy of Perceptions of Stonehenge and Landscape

A Photo by Bill Brandt, and the Intimacy of Perceptions of Stonehenge and Landscape AbstractIn this article I consider how visitors' perceptions of Stonehenge have changed. It is in three parts: a discussion of Bill Brandt's photography, in particular his work at Stonehenge in 1944 and 1947 (when he shot a famous image referred to here as 'Picture Post Stonehenge'); a consideration of how people reach Stonehenge, drawing particularly on a few detailed accounts between 1562 and 1908; and an analysis of how journeys to the monument have shaped changing appreciations of it. It is believed that seven photos Brandt took at Stonehenge are reproduced here for the first time.Earlier visitors approached over open downland, often from the west. As roads improved and a wider travelling public had fewer contacts with local inhabitants, people stuck more to fixed routes and tended to arrive from the east. Until Stonehenge was enclosed in 1901, however, engagement with the stones themselves was largely from the south. The placement of gates to the north re-oriented visitors. The conformation of the ruined monument is quite different from these two directions, inclusive from the south and exclusive from the north. Brandt's photo encapsulated this new orientation and has strongly influenced modern Stonehenge iconography. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Landscapes Taylor & Francis

A Photo by Bill Brandt, and the Intimacy of Perceptions of Stonehenge and Landscape

Pitts, Mike
Landscapes , Volume 9 (1): 27 – Jan 1, 2008
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Publisher
Taylor & Francis
Copyright
© 2008 Maney Publishing
ISSN
2040-8153
eISSN
1466-2035
DOI
10.1179/lan.2008.9.1.1
Publisher site
See Article on Publisher Site

Abstract

AbstractIn this article I consider how visitors' perceptions of Stonehenge have changed. It is in three parts: a discussion of Bill Brandt's photography, in particular his work at Stonehenge in 1944 and 1947 (when he shot a famous image referred to here as 'Picture Post Stonehenge'); a consideration of how people reach Stonehenge, drawing particularly on a few detailed accounts between 1562 and 1908; and an analysis of how journeys to the monument have shaped changing appreciations of it. It is believed that seven photos Brandt took at Stonehenge are reproduced here for the first time.Earlier visitors approached over open downland, often from the west. As roads improved and a wider travelling public had fewer contacts with local inhabitants, people stuck more to fixed routes and tended to arrive from the east. Until Stonehenge was enclosed in 1901, however, engagement with the stones themselves was largely from the south. The placement of gates to the north re-oriented visitors. The conformation of the ruined monument is quite different from these two directions, inclusive from the south and exclusive from the north. Brandt's photo encapsulated this new orientation and has strongly influenced modern Stonehenge iconography.

Journal

Landscapes – Taylor & Francis

Published: Jan 1, 2008

References

  • ‘A visit to Stonehenge’
  • ‘Stonehenge, as it was and as it is. The enclosure of the ancient monument’
  • ‘Pictures by night’
  • ‘The enclosure of Stonehenge’
  • ‘A new medieval view of Stonehenge’
  • ‘Bill Brandt's landscapes’
  • ‘Brandt's phantasms’
  • ‘Stonehenge Riverside Project’
  • ‘The real Stonehenge’
  • ‘The correspondence of William Henry Fox Talbot’
  • ‘Bill Brandt's cathedral interiors: Rochester and Canterbury’