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Nell (Becker) Dorr (August 27, 1893 – November 15, 1988) was an American photographer.〔Mitchell, Margaretta & Abbott, Berenice, 1898-1991 (1979). Recollections : ten women of photography. Viking Press, New York〕 ==Life and Work== Dorr was born Virginia Nell Becker on August 27, 1893 in Cleveland Ohio, to Minnie and John Jacob Becker, a photographer. From 1900 the family lived in Massilon, Ohio. Dorr was introduced to photography by her father, John Jacob Becker, a graduate of the Art Institute of Cincinnati, who ran a commercial photography business. It was in Massilon that Dorr made her first successful portrait; of actress Lillian Gish, who spent her summers in the town. The two became lifelong friends.〔Lillian Gish & Pinchot, Ann (1969). Lillian Gish the movies, Mr. Griffith, and me. Englewood Cliffs, N.J Prentice-Hall〕 She married at seventeen to Thomas Koons in 1910 and moved to Florida in 1923 with her family of three girls Virginia (Win), Elizabeth (Betty or Bets), and Barbara (Barby). After her husband’s real estate speculation failed in the 1926 economic collapse, Nell opened her own portrait studio to support the family. ''Gondolier'' a local society magazine, was one of her clients. Meanwhile, she also he made personal work in a Pictorialist style〔Peterson, Christian A & Minneapolis Institute of Arts (1997). ''After the photo-secession : American pictorial photography, 1910-1955'' (1st ed). Minneapolis Institute of Arts in association with W.W. Norton, New York, (Minn. )〕 of still life, nudes and child subjects, on day trips to the Florida Keys. These were to become the material for her first two books ''Mangroves'' and ''In a Blue Moon''.〔Phillips, M. (1987). The family album: an extended portrait. Chicago.〕 :"... far away, peaceful places where you can throw off your fears and inhibitions, and bathe in the sea and the sun as you please" – ''In a Blue Moon'', Nell Dorr 1939 She divorced her husband in 1931 and moved to New York. There she met up with her childhood friend and confidante, movie actress Lillian Gish, and also was introduced to Edward Steichen and Alfred Steiglitz (for whom she baked bread) whose admiration of her individual style gained her useful attention and patronage. She set up her studio in Gish’s home at East 59th Street in 1932 to photograph high society. Venturing into photo murals, Dorr exhibited at Marie Sterner International Gallery. She also showed in 1934, ''Photographic Etudes'' at Grand Central Art Galleries, then, in both New York (at the Delphic Gallery) and Paris, ''Portraits of Famous Men'', including photographs of poet Carl Sandberg, and John Van Nostrand Dorr, a prominent scientist and inventor, whom she married.〔Dorr, Nell (1893–1988) Barbara Tenery Collection of Nell Dorr Papers (1919–1986, bulk 1960s). Amon Carter Museum of American Art Archives.〕 During the Second World War John Dorr and her sons-in-law were on active duty and she took up residence in New Hampshire with daughters and grandchildren, whom she continued to photograph, using the resultant images in her best-seller ''Mother and Child''〔A first-edition copy of which (Harper & Row, 1954) sold on 19 May 2010 for £400 http://www.dreweatts.com/cms/pages/lot/NY047/478〕 the exhibition and publication of which was prompted by her grief over the death of her daughter Elizabeth. The Dorr Foundation funded the printing of the book, donating nearly 1,000 copies to the U.S. Information Agency which regarded it as promoting American family values. Among the exhibitions of her work were MoMA's 1955 world-touring ''The Family of Man'' exhibition, also supported by the U.S.I.A., for which four of her images were selected by Edward Steichen.〔"Shahn was not the only photographer who defended...''The Family of Man''. Nell Dorr , whose work also appeared in the show, responded to another condemnatory letter published the May 1955 issue of ''Popular Photography'' in which a reader accused Steichen of personal flag-waving. Arguing that human beings are a biological family but differ tremendously in social, moral, and ethical values, the reader found the concept of the show "rather trite’, based on ignorance, if not a lie" (Ringel 1955, 6). Commenting that Steichen’s own work was hardly featured in the show, Dorr suggested that photographic exhibits ought to depict and stand for something more important than just a "Who's Who in Photography." "We love, we hate and we fear," she noted. "We all are born, we suffer, and we die, and within that compass we all must walk. Doesn’t the Family of man stress those points? Doesn’t it bring the world a little closer?"". Bonnie Brennen, Hanno Hardt (eds.) (1999) ''Picturing the Past: Media, History, and Photography:The history of communication''. University of Illinois Press ISBN 025206769X, 9780252067693. Page 219〕 From the late forties onwards Dorr took up filmmaking, continued exhibiting, and published further books of her work. Her husband John died in 1962. Dorr died in Litchfield, Connecticut, November 15, 1988. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Nell Dorr」の詳細全文を読む スポンサード リンク
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