Abstract
Abstract In November 1905, Frederick Evans wrote to Alfred Stieglitz at the Little Galleries of the Photo-Secession (‘291’) proudly offering to send him sixty photographs of his latest work, interiors of English country churches. This work, involving nineteen parish churches over a period of three years, came about as a result of a ‘roving commission’ which Evans received that year from the publisher of the magazine Country Life. It has been taken for granted that Evans's acceptance of this commission branded him a professional, and that the work he did both in the parish churches and later in the French châteaux was ‘commercial’ and of no artistic status. But, in fact, it was the financial support he received from Country Life which afforded him the opportunity to pursue his artistic aims. Evans was given total control and free choice of subject—the publisher simply asked for his ‘artistic best’ in the negatives he submitted.
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