About the Author:
Jessica Todd Harper spent much of her childhood wandering around witha sketchbook, copying paintings. This traditional artistic preparationtook an unexpected course when she started making photographsas a teenager, but the familiar canvases of her childhood heroes- JohnSinger Sargent, Whistler, Vermeer- still have their influences today: She isinterested in making emotionally charged portraits of people.Jessica's photographs have been discussed in Photo District News, CameraAustria, The Frankfurter Allgemeine Zeitung, and The New Yorker.
Review:
Harper spent hours of her own childhood copying Sargents and vermeers, influences quite apparent in these light-filled images, which often, as in Chistopher with Nicholas and Catherine (Descent from the Cross), 2009, hold the sense of an artful composition in tension with that of intruding on a passing family moment. (The Editors Bookforum)
Pablo Picasso once asked: "Are we to paint what's on the face, what's inside the face or what's behind it?" Jessica Todd Harper's photo book "The Home Stage" does all three simultaneously. (Benazir Wehelie CNN.com)
The images are so well done that they should engage even those who are not usually seduced by pastoral photographs of charming urchins and glowing parents.Part of the book’s allure is the stylistic homage to the Northern Renaissance: the colors, the arrangement of her subjects, and the rich props have antecedents in van Eyck and Vermeer. Harper is an ace at directing her subjects and although some images are formal they are not stiff. The light is almost a secondary subject in many images. The cynic in me hesitated to fall for the various sun-halos on principle. But they work. As in the Renaissance, the light in these artworks really is 'the bringer of beauty, of sublime dignity'. (David Ondrik Photo-eye)
This young mother of three photographs herself and her extended family at home, exploring motherhood, childhood, and intimacy in color pictures that feel more staged than spontaneous. Though the territory is familiar (Tina Barney, Sally Mann, and Elinor Carucci come to mind), Harper’s approach is quietly assured, and she has a sharp eye for the cozy details of domesticity. There are no tantrums or tensions here; Harper is interested in comfort and pleasure―and in the play of light in her handsomely appointed interiors. If you’re looking for gritty realism, go elsewhere. (The Editors The New Yorker)
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