A pioneering photographer of the early cinema, James Abbe captured the spirit of entertainment in New York, Hollywood and Europe in the 1920s with his magically-lit portraits of the stars of screen and stage. A unique album of show business personalities, this book brings together Abbe’s iconic images of silent movie stars, his exuberant studies of revues at the Folies Bergere, and his fascinating record of early British cinema. Concluding with his reportage of the turbulent politics of the 1930s, Limelight encapsulates an era through one man’s brilliant career.
Born in Alfred, Maine, James Abbe’s boyhood took place in Portsmouth, Virginia. His family owned the most important bookstore in that maritime city. At its counter James sold his photographs of ship launchings and arrivals taken with an inexpensive camera. Saturated with the print culture of the period, Abbe realized that photography was underutilized as illustration in American periodicals. He began placing photo illustrations with magazines in 1916. In 1917 he moved to New York City.
A sociable, witty man, Abbe had little trouble placing photographs in periodicals, but his break into the world of theatrical photography took place when he made a number of memorable portraits of the Barrymore brothers on stage in costume during dress rehearsals for “The Jest” in 1919. Abbe became fascinated with the nascent movie industry. He did portrait photography for several New York based cinema groups, especially for D.W. Griffith, and became the third New York based camera artist (after Karl Struss & Frank Bangs) to venture to the West Coast and work as a lensman in Hollywood. He worked for Mack Sennett for several months, even directing a now-lost comic two reeler, and as a photographer for Photoplay for another several month stint. He was the first bicoastal entertainment photographer.
Abbe had a remarkable talent for inspiring trust in stars and Lillian Gish convinced him to come to Italy in 1923 to work as a lighting consultant and still photographer for “The White Sister.” He closed his Broadway studio, abandoned his wife and children, and moved to Italy. He spent the next period of his life in Europe, photographing movie and stage productions in Paris and London and working as a photojournalist. Several landmark photographs of Joseph Stalin in a trip into the Soviet Union during the late 1930s would make him a celebrity of news photography during the late 1930s. His book, I Photograph Russia, was one of the important volumes of early photojournalism. He signed his vintage prints with his last name in red crayon on the lower-left corner of his images. He used a credit stamp for publicity images. Despite the relatively short duration of his career on Broadway, he was one of the greatest portraitists of the great age of theatrical portrait photography.
Abbe’s theatrical work was one of three photographic specialties he cultivated during his career. He also became an expert movie still photographer in 1920 and an important photojournalist in the 1930s. Brought to New York by magazine publishers interested in his experiments for using photographs as illustrations for narratives, Abbe won overnight renown in 1919 for his stage portraits of performers in costume. Enhancing the available stage lighting with a battery of portable lamps, he made intensely vivid images suggestive of interrupted stories.
# # # # #