Doris Ulmann

Doris Ulmann studied at Columbia University and Ethical Culture Fieldston School. The recorded working language is English. Work by Doris Ulmann is recorded in the collections of Art Institute of Chicago, The Nelson-Atkins Museum of Art, National Gallery of Canada, Metropolitan Museum of Art and San Francisco Museum of Modern Art.

• Name — Doris Ulmann • Born — 29 May 1882 • Birthplace — New York City, New York • Died — 28 August 1934 • Place of death — New York City, New York • Education — Ethical Culture Fieldston School, Clarence H. White School of Modern Photography • Occupation — Photographer • Parents — Bernhard and Gertrude (Mass) Ulmann • Illustration — Ulmann's Southern mountaineer

Doris Ulmann was a native of New York City, the daughter of Bernhard and Gertrude (Mass) Ulmann. Educated at the Ethical Culture Fieldston School, a socially liberal organization that championed individual worth regardless of ethnic background or economic condition and Columbia University, she intended to become a teacher of psychology. Her interest in photography was at first a hobby but after 1918 she devoted herself to the art professionally. She practiced Pictorialism and was a member of the Pictorial Photographers of America. Ulmann documented the rural people of the South, particularly the mountain peoples of Appalachia and the Gullahs of the Sea Islands, with a profound respect for her sitters and an ethnographer's eye for culture. Ulmann was trained as a pictorialist and graduated from the Clarence H. White School of Modern Photography. Other students of the school who went on to become notable photographers include Margaret Bourke-White, Anne Brigman, Dorothea Lange, Paul Outerbridge, and Karl Struss. Her work was exhibited in various New York galleries, and published in Theatre Arts Monthly, Mentor, Scribner's Magazine, and Survey Graphic.

Ulmann was married for a time to Dr. Charles H. Jaeger, a fellow Pictorialist photographer and an orthopedic surgeon on the staff of Columbia University Medical School and a likely connection for her 1920 Hoeber publication The Faculty of the College of Physicians & Surgeons, Columbia University in the City of New York: Twenty-Four portraits. This was followed in 1922 by the publication of her Book of Portraits of the Medical Faculty of the Johns Hopkins University; the 1925 A Portrait Gallery of American Editors, and in 1933, Roll, Jordan Roll, the text by Julia Peterkin. The fine art edition of Roll, Jordan Roll is considered to be one of the more beautiful books ever produced. • Illustration — Two Men at Work; c. 1916-1925; Platinum print In an interview with Dale Warren of Bookman, Doris Ulmann referred to her particular interest in portraits. "The faces of men and women in the street are probably as interesting as literary faces, but my particular human angle leads me to men and women who write. I am not interested exclusively in literary faces, because I have been more deeply moved by some of my mountaineers than by any literary person. A face that has the marks of having lived intensely, that expresses some phase of life, some dominant quality or intellectual power, constitutes for me an interesting face. For this reason the face of an older person, perhaps not beautiful in the strictest sense, is usually more appealing than the face of a younger person who has scarcely been touched by life." Ulmann's early work includes a series of portraits of prominent intellectuals, artists and writers: William Butler Yeats, John Dewey, Max Eastman, Sinclair Lewis, Lewis Mumford, Joseph Wood Krutch, Martha Graham, Anna Pavlova, Paul Robeson, and Lillian Gish. From 1927, Ulmann was assisted on her rural travels by John Jacob Niles, a musician and folklorist who collected ballads while Ulmann photographed. In 1932 she was contacted by Orie Latham Hatcher, president of the Southern Woman's Educational Alliance, urging her to consider documenting the people of Appalachia for their literature and fundraising, and she accepted the commission. This led to one of her most important images, documenting a racially mixed musical group. Also in 1932 Ulmann began her most important series, assembling documentation of Appalachian folk art and crafts for Allen H. Eaton's landmark 1937 book, Handicrafts of the Southern Highlands.

• Eaton, A. H., D. Ulmann, et al. (1937). Handicrafts of the Southern highlands; with an account of the rural handicraft movement in the United States and suggestions for the wider use of handicrafts in adult education and in recreation. New York, Russell Sage Foundation. • Ulmann, D. (1971). The Appalachian photographs of Doris Ulmann. Penland, N.C. Jargon Society. • Ulmann, D., R. Coles, et al. (1974). The darkness and the light. [New York] Aperture. • Ulmann, D., J. J. Niles, et al. (1976). The Appalachian photographs. Highlands, N.C., Jargon Society. • Ulmann, D. (1976). Photographs of Appalachian craftsmen: a retrospective exhibition, April 6-May 1, 1976. Cullowhee, N.C., Western Carolina University. • Ulmann, D., et al. (1978). An exhibition for the dedication of the Traylor Art Building, Berea College, Berea, Kentucky: Doris Ulmann's photographs; ritual clay: Walter Hyleck; the Berea College collection. Berea, Ky., Berea College. • Ulmann, D. and D. Willis-Thomas (1981). Photographs by Doris Ulmann: the Gullah people [exhibition] June 1-July 31, 1981, Schomburg Center for Research in Black Culture, The New York Public Library Astor Lenox and Tilden Foundations. New York, The Library. • Banes, R. A. (1985). Doris Ulmann and her mountain folk. Bowling Green, Ohio, Bowling Green State University. • Featherstone, D. (1985). Doris Ulmann: American portraits. Albuquerque, University of New Mexico Press. • Curtis, E. S., D. Ulmann, et al. (1986). The last photographs. Haverford, Pa., Comfort Gallery Haverford College. • Keller, J. (1988). After the manner of women: photographs by Käsebier, Cunningham, and Ulmann. Malibu, Calif., J. Paul Getty Museum. • McEuen, M. A. (1991). Changing eyes: American culture and the photographic image, 1918-1941. • Oeltman, M. T. (1992). Doris Ulmann, American photographer, and the Southern Agrarian movement. • Lovejoy, B. (1993). The oil pigment photography of Doris Ulmann. Lexington, Ky., [s.n.]. • Lamuniere, M. C., J. M. Peterkin, et al. (1994). Roll, Jordan, roll: the Gullah photographs of Doris Ulmann. University of Oregon. • Sperath, A. (1995). Ceramics Kentucky 1995. Murray, Ky., The Gallery. • Ulmann, D. (1996). Doris Ulmann: photographs from the J. Paul Getty Museum. Malibu, Calif., The Museum. • Ulmann, D. and J. Keller (1996). Doris Ulmann: photography and folklore. Los Angeles, J. Paul Getty Museum. • Ulmann, D. et al. (1997). Picture gallery photography by Doris Ulmann. University of Oregon. • Rosenblum, N., S. Fillin-Yeh, et al. (1998). Documenting a myth: the South as seen by three women photographers, Chansonetta Stanley Emmons, Doris Ulmann, Bayard Wootten, 1910-1940. Portland, Or., Douglas F. Cooley Memorial Art Gallery Reed College. • Ulmann, D. et al. (1999). Myth, memory and imagination: universal themes in the life and culture of the South: selections from the collection of Julia J. Norrell. McKissick Museum. Columbia, S.C., McKissick Museum University of South Carolina. • Kowalski, S. (2000). Fading light: the case of Doris Ulmann. University of Oregon. • Jacobs, P. W. (2001). The life and photography of Doris Ulmann. Lexington, University Press of Kentucky. • Gillespie, Sarah Kate (2018). Vernacular modernism: The photography of Doris Ulmann. Athens, Georgia Museum of Art.

Doris Ulmann is recorded as photographer and artist.