Using the Amon Carter’s collection of American art and the National Endowment for the Humanities’ Picturing America project, explore masterworks of American art and the artists who made them while discussing how these works connect American culture and history.

This project is supported by a grant from the National Endowment for the Humanities.

National Endowment for the Humanities Picturing America Program Participant

Artist Biography

With her work, Dorothea Lange (1895--1965) combined her growing concern for the plight of the American poor with years of experience as a portrait photographer. In the mid-1910s, she had apprenticed in Arnold Genthe's (1869--1942) fashionable New York City portrait studio. She later ran her own studio in San Francisco, where she catered to society's elite. Following the stock market crash in 1929, her portrait business slackened. She then began to focus on street photography, documenting labor strikes and the city's homeless population. In 1935 she met Paul Taylor (1895--1985), an economics professor at the University of California at Berkeley with whom she began a long collaboration. He soon became her husband and a moral guide directing her work. Taylor, a nationally known scholar of agricultural economics and labor, advocated the social benefits of land ownership and believed that migrant labor and farm tenancy were harming the American economy. Taylor and Lange's documentation of the situation resulted in the 1939 publication An American Exodus: A Record of Human Erosion.

Throughout the 1930s, Lange produced documentary photographs for several government agencies. She started with an assignment to study the growing numbers of dust bowl refugees migrating to California and eventually worked with Roy Stryker (1893--1975) for the Resettlement Administration (RA)---renamed the Farm Security Administration (FSA) in 1937. Stryker aimed to put a face on poverty in America through the RA's photodocumentation. He later claimed that Lange exhibited an amazing sensitivity and rapport with people. She speculated that a pronounced limp from childhood polio often worked to her advantage, engendering sympathy and a bond with her subjects.