13:I[2754,["2972","static/chunks/2972-6f5d56019c5c6a42.js","3868","static/chunks/app/tags/%5Bid%5D/page-e0de42c5bec059fc.js"],"default",1] 14:I[8387,["2972","static/chunks/2972-6f5d56019c5c6a42.js","3868","static/chunks/app/tags/%5Bid%5D/page-e0de42c5bec059fc.js"],"default",1] 16:I[2972,["2972","static/chunks/2972-6f5d56019c5c6a42.js","3868","static/chunks/app/tags/%5Bid%5D/page-e0de42c5bec059fc.js"],""] 15:T751,

In a fascinating juxtaposition, The Metropolitan Museum of Art brings together two distinct photographic perspectives of Florida through the works of Walker Evans and Karl Struss. These pioneering photographers, though working in different eras and styles, both captured the unique essence of Florida's landscape and culture during pivotal moments in the state's development.

Walker Evans, renowned for his stark documentation of American life during the Great Depression, turned his lens to Florida in the 1940s. His black-and-white photographs reveal an unvarnished view of Florida's small towns, architectural details, and everyday scenes. Evans's work strips away the tourist-oriented glamour to expose the authentic character of the state.

Karl Struss, who worked in Florida decades earlier, approached the landscape with a different sensibility. As both a cinematographer and photographer, Struss brought a pictorialist's eye to Florida in the 1920s. His atmospheric images capture the state's tropical mystique, using soft focus and dramatic lighting to create romantic views of palm-lined shores and Spanish colonial architecture.

The exhibition demonstrates how these two distinct visions – Evans's documentary realism and Struss's pictorial romanticism – provide complementary perspectives on Florida's transformation from frontier to tourist destination. Through their lenses, visitors can trace the evolution of both photographic style and the changing face of the American South.

This thoughtful pairing of artists not only illuminates Florida's past but also demonstrates how di

Walker Evans on FusePop