John Ibson.Picturing Men: A Century of Male Relationships in Everyday American Photography. Washington: Smithsonian Institution Press, 2002. 237 pp. Photographs, notes, and index. $32.95. The old adage a picture is worth a thousand words immediately comes to mind when discussing the Smithsonian's new book Picturing Men. Its author John Ibson brings two important strengths to his enterprise: first as an avid collector of photographs of men in groups of two or more; and second, as an academic in the American Studies Program at California State, Fullerton. In his first role Ibson has assembled photographs from the 1860s through his cut-off date of 1950. (Interestingly, almost all of the images are from his extensive private collection.) He argues persuasively that these photos are representative, and the images do range across social class—from working-class men to middle- and upper-class figures; across age groups—from youths to men in their twilight years; across racial lines—although men from different groups almost never pose together in the same photograph; and where documentation is possible, across regions. Ibson's central argument is that men from the mid-nineteenth century through the early decades of the twentieth century, were far more comfortable showing affection for one another—holding hands, sitting on one another's laps, lying together on a blanket, to name a few examples—than men are today in the modern era. It is in his role as scholar that Ibson raises the volume beyond the facile curiosity of a coffee table book; along with the many photographs, his text presents a thorough and careful review of the current literature on men's history in the United States during these years. When brought together, this historical context and the many striking images of men displaying an intimacy no longer extant produces a clear confirmation of recent trends in the historiography. Without question, the book has clarified my own thinking of men's history, masculinity, and sexual identity in America's past. In his preface the author states, "the very meaning of men's relationships with each other has changed so much, as have the cultural boundaries regarding one man's physical (as well as verbal) expression of affection for another man" (pg. xi). Further, the opening pages explain that the book does not strive to be [End Page 526] a work of gay history—i.e., intent on recovering lost male sexual relationships—but serves rather to reconstruct and illustrate a sexual system that sometimes allowed for such intimacy. As Ibson's work stresses repeatedly, a cultural artifact such as a photograph necessarily had a very different meaning for someone in 1853 than it would for another in 1953—these two people would approach the image with two very different sets of cultural baggage. All too often we as historians have failed to fully appreciate this important distinction. In each chapter he presents, illustrations of the studio photograph, staged pageant photographs, team photos, and informal snapshots, the author again and again charts a transition from a nineteenth-century world where male intimacy was the norm to one resembling our own where such bonds came to be suspect. Significantly, the early photos reveal a world where men and women truly lived in separate spheres; men were far more likely to have their photograph taken with a male friend than with a female one—or often even a spouse. Many of the photos are located in the all-male sites where men of all social classes spent so much time: saloons, clubs, the YMCA, hunting, on the job, military locations, and, of course, sports teams. Even in the few photos presented where women are included, it is striking that the men hold one another's hands and remain physically separated from the fairer sex. Ibson wisely chooses to discuss these intimate reminders of nineteenth- and early-twentieth-century male romantic friendships not as prototypes of our modern homosexuals, but as common relationships, more the norm than...