If Lange’s essays of pictures and words are so significant, why are so few of her 1939 photographs well known and why were only four of her seventy-five general captions from that year published before now?
And why is Lange typecast as a photographer of people in trouble, when almost half of her 3,000 photographs from 1939 are of landscapes and buildings, with no people at all? The answers pose even larger mysteries about Lange’s work and identity.
This book is a story of discovery and recovery of what had been lost or overlooked or misinterpreted, a process of retrieving and recapturing Lange, the person and the artist.
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