exhibition entitledThese Are Our Peoplein 1956; consul-
tant advisor for use of photography for Nationwide
Mutual Insurance Company, 1959; worked with Edward
Steichen of MOMA in 1962 onThe Bitter Years,the
largest exhibition to date on the photographs of the
FSA. Received Brem Award from Rochester Institute of
Technology, 1950; the Honor Roll of the American
Society of Magazine Photographs in 1962; the National
Press Photographers Association Sprague Award in 1968;
Syracuse University Newhouse Citation in 1969.Further Reading
Daniel, Peter, Merry Foresta, Maren Stange, and Sally
Stein.Official Images: New Deal Photography. Washing-
ton, D.C.: Smithsonian Institution, 1987.
Ewen, Stuart.PR!: A Social History of Spin. New York:
Basic Books, 1996.
Fisher, Andrea. Let Us Now Praise Famous Women:
Women Photographers for the U.S. Government 1935 to
1944. London and New York: Pandora, 1987.
Hurley, F. Jack.Portrait of a Decade: Roy Stryker and the
Development of Documentary Photography in the Thirties.
Baton Rouge: Louisiana State University Press, 1972.
Keller, Ulrich.The Highway as Habitat: A Roy Stryker
Documentation, 1943–1955. Santa Barbara: University
Art Museum, 1986.
Lange, Dorothea, and Paul Schuster Taylor.An American
Exodus: A Record of Human Erosion. New York, Reynal
& Hitchcock, 1939.
Munro, Thomas, Roy Stryker, and Rexford Tugwell.Amer-
ican Economic Life and the Means of Its Improvement.
New York: Harcourt, Brace and Company, 1925.
Natanson, Nicholas.The Black Image in the New Deal: The
Politics of FSA Photography. Knoxville: University of
Tennessee Press, 1992.
Plattner, Steven. Roy Stryker, U.S.A., 1943–1950: The
Standard Oil (New Jersey) Photography Project. Austin:
University of Texas Press, 1983.
Stryker, Roy.These Are Our People. Emery Bacon, editor.
Pittsburgh, PA: United Steel Workers of America, 1956.
Stryker, Roy. The Humane Propagandist/Roy Stryker.
Louisville, Kentucky: University of Louisville, 1977.
Stryker, Roy, ed.A Pittsburgh Album: Revised for Bicenten-
nial U.S.A. Pittsburgh: Pittsburgh Post Gazette, 1975.
Stryker, Roy, and Nancy Wood.In This Proud Land: Amer-
ica 1935–1943 as Seen in the FSA Photographs. Boston:
New York Graphic Society, 1975.JOSEF SUDEK
Czechoslovakian
The lyrical photographs of Josef Sudek reveal the
artist’s craft in developing and perfecting his own
personal style devoid of strong outside influences.
Although he first attained recognition in Czechoslo-
vakia in 1928 and was named the ‘‘Poet of Prague’’
with the publication of a book on the medieval
cathedral of St. Vitus, the deeply individual style he
evolved was not recognized in North America until
the 1960s. Above all else, Sudek saw himself as an
artist and chose a personal expression true to the
‘‘music’’ that was playing inside him. He created a
world in which he lived on his own terms, indepen-
dent of time and place to capture a stern, but gentle
sense of order, as he said:
...every thing around us, dead or alive, in the eyes of a
crazy photographer mysteriously takes on so many var-
iations, so that seemingly each object comes to life
through light or by its surroundings... to capture some
of this—I suppose that’s lyricism.
Twelve years after Sudek was born in Kolı ́n,
Bohemia in 1896, he began his training as a book-
binder and started taking photographs in 1913 as
an amateur. He was inducted into military service
with the Czech army and sent to the Italian front,
where in 1917 he was severely wounded, resulting
in the amputation of his right arm. In 1920, he
joined the Prague Club of Amateur Photographers,
and in 1922 he enrolled in the newly formed State
School of Graphic Arts. Sudek and his close friend
Jaromı ́r Funke, joined by Adolf Schneeberger, cre-
ated the progressive Czech Photographic Society in- By 1927, Sudek moved into his garden atelier
at U ́jezd that he kept the rest of his life. For the
next nine years, he worked with the Druzˇstevnı ́
Pra ́ce ́artist cooperative taking portraits, advertis-
ing, and reportage assignments. In 1932, Sudek had
his premier one-man show in the rooms of Druzˇ-
stevnı ́Pra ́ce ́ and since has exhibited extensively
in Czechoslovakia.
From 1939–1945, Sudek retreated to his studio as
a result of the German occupation of Prague and the
regime’s subsequent banning of photography. This
further limited his world; he had not left Czechoslo-
vakia since 1926 and would never leave it again.
STRYKER, ROY