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Plate 320. Lifting a 50 lb Dumb-Bell, 1872-85 (collotype on paper)
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Plate 320. Lifting a 50 lb Dumb-Bell, 1872-85 (collotype on paper)
3950308 Plate 320. Lifting a 50 lb Dumb-Bell, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 16.2x45.1 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA, USA; (add.info.: Animal Locomotion, 1887, Volume V, Men (Pelvis Cloth)); eAddison Gallery of American Art; gift of the Edwin J. Beinecke Trust; English, out of copyright
Media ID 23008526
© Addison Gallery of American Art gift of the Edwin J. Beinecke Trust / Bridgeman Images
Animal Locomotion Bend Bending Dumbell Early Motion Picture Sequence Frames Heavy Lift Lifting Loincloth Motion Pelvis Cloth Semi Naked Sequence Sequential Stoop Stooping Stop Motion Strength Strong Thong Weight Weightlifter Weightlifting B W Photo Black And White Photograph
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This photograph, titled "Plate 320. Lifting a 50 lb Dumb-Bell" was taken by the renowned photographer Eadweard Muybridge between 1872 and 1885. The print, a collotype on paper measuring 16.2x45.1 cm, is housed in the Addison Gallery of American Art at Phillips Academy in Andover, MA. Part of Muybridge's groundbreaking series "Animal Locomotion" this image captures a moment frozen in time from an early motion picture sequence. In this particular frame from Volume V dedicated to men's movements, we witness a strong and semi-naked man wearing only a pelvis cloth or loincloth as he stoops down to lift a hefty 50 lb dumbbell. Muybridge's scientific approach to photography revolutionized the study of movement through sequential images known as stop motion frames. This photograph showcases his meticulous attention to detail and dedication to capturing human strength and physicality. The weightlifter's powerful stance exudes determination and resilience while highlighting the immense effort required for such an act of strength. The contrast between light and shadow adds depth to the composition, emphasizing every muscle engaged during this challenging feat. As we gaze upon this remarkable piece of photographic history, we are reminded not only of Muybridge's significant contributions but also of the timeless fascination with capturing movement through artistry and science alike.
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